Nick Noble took us on a wonderful journey through the history of folk groups (trios and more) of the Folk Revival, filling us in on the interesting interconnections of personnel. As always, Nick supplemented our collection from his own and played a fabulous amount of music, from rarely heard versions of traditional songs to many number one and top 10 hits on the pop charts. Below are some fun videos of the Weavers, the Limeliters, The Tarriers and the Byrds reunion singing with Bob Dylan.
Thursday, December 27, 2007
Thursday, December 13, 2007
Bob Franke
http://www.bobfranke.com/default.htm
"It's his integrity. I always think of Bob as if Emerson and Thoreau had picked up acoustic guitars and gotten into songwriting. There's touches of Mark Twain and Buddy Holly in there, too." -- Tom Paxton
"While fans from Claudia Schmidt to June Tabor may have...incredible taste in picking songs...when they sing Massachusetts-based Bob Franke's tunes, neither they nor anyone else can come close to the emotional (and spiritual) depth Franke brings to his understated songs of the heart, from 'Hard Love' to 'The Great Storm Is Over'. He continues also to dig into Robert Johnson's blues, and songs that offer hilarious uses of everything from bicycle repair to computers as metaphors for sex. In the folk singer-songwriter realm, Franke is simply the best." Express, Berkeley, California
"In the folk singer-songwriter realm, Franke is simply the best." Larry Kelp, Express, Berkeley, CA
" . . . a singer-songwriter unsurpassed for his lyrical grace . . . one of our wisest and most spiritually graceful songwriters" The Boston Globe, Boston, MA
"...a standard of songs that most writers can only dream about, and admire in drop-jawed silence" Folk Roots
Bob's Latest Recording is "The Other Evening in Chicago."
See the article about Bob entitled "Bob Franke: Patience is a Virtue" in the Spring 2005 issue of Sing Out Magazine.
Bob's New Blog: The Song Journal
Bob has started a blog called The Song Journal (http://www.songjournal.blogspot.com), which is a way for him to offer "miscellaneous news and writing by Bob Franke, mostly about songs as a portable art form, and the process of creating them and enabling them to do their work in the world."
In 2003, Kathy Mattea covered Bob's song "Straw Against the Chill" on her second Christmas album, "Joy For Christmas Day."
In the spring of 2004, Peter, Paul and Mary released "Alleluia, The Great Storm Is Over" on their CD "In These Times."
"It's his integrity. I always think of Bob as if Emerson and Thoreau had picked up acoustic guitars and gotten into songwriting. There's touches of Mark Twain and Buddy Holly in there, too." -- Tom Paxton
"While fans from Claudia Schmidt to June Tabor may have...incredible taste in picking songs...when they sing Massachusetts-based Bob Franke's tunes, neither they nor anyone else can come close to the emotional (and spiritual) depth Franke brings to his understated songs of the heart, from 'Hard Love' to 'The Great Storm Is Over'. He continues also to dig into Robert Johnson's blues, and songs that offer hilarious uses of everything from bicycle repair to computers as metaphors for sex. In the folk singer-songwriter realm, Franke is simply the best." Express, Berkeley, California
"In the folk singer-songwriter realm, Franke is simply the best." Larry Kelp, Express, Berkeley, CA
" . . . a singer-songwriter unsurpassed for his lyrical grace . . . one of our wisest and most spiritually graceful songwriters" The Boston Globe, Boston, MA
"...a standard of songs that most writers can only dream about, and admire in drop-jawed silence" Folk Roots
Bob's Latest Recording is "The Other Evening in Chicago."
See the article about Bob entitled "Bob Franke: Patience is a Virtue" in the Spring 2005 issue of Sing Out Magazine.
Bob's New Blog: The Song Journal
Bob has started a blog called The Song Journal (http://www.songjournal.blogspot.com), which is a way for him to offer "miscellaneous news and writing by Bob Franke, mostly about songs as a portable art form, and the process of creating them and enabling them to do their work in the world."
In 2003, Kathy Mattea covered Bob's song "Straw Against the Chill" on her second Christmas album, "Joy For Christmas Day."
In the spring of 2004, Peter, Paul and Mary released "Alleluia, The Great Storm Is Over" on their CD "In These Times."
Wednesday, December 5, 2007
New friend - old music
New friend of the Folk Revival Nick Noble has sent us some
videos.
He will be co hosting and playing some Hannukah songs tomorrow night
December 6th 2007 9PM.
Below
From the ORIGINAL Highwaymen. Recorded on 05-05-07 at Spearfish, South Dakota.
"Michael" a traditional Georgia Sea Island spiritual, was a #1 hit for the Highwaymen in 1961 (and throughout much of the world-- their "Michael" is the most successful traditional recording by a folk group of all time). Here it is sung by the original Highwaymen (Burnett, Fisher, Trott, Butts, with Johann Helton on bass) at a recent concert (2006) in the Dakotas.
Huddie Ledbetter's (Leadbelly) "Cotton Fields" was a Top 20 hit for the Highwaymen in 1962. Here sung by the original Highwaymen (from l to r: Bob Burnett-- VP of Bank of America in RI; Dave Fisher-- professional musician; Steve Trott-- Federal Appeals Court Judge on the 9th Circuit; and Steve Butts-- retired college administrator; with bassist Johann Helton of Boise, ID). They are seen here on the 2002 PBS Special "This Land is Your Land-- the Folk Years".
Saturday, October 27, 2007
"If amethysts could sing...they would sound like Judy Collins." -Richard Farina.
This week we are thrilled to feature Judy Collins! And we have a ton of her recordings in the original vinyl. Below is fabulous video from youtube and her bio from http://www.judycollins.com/
Judy Collins has thrilled audiences worldwide with her unique blend of interpretative folksongs and contemporary themes. Her impressive career has spanned more than 40 years. At 13, Judy Collins made her public debut performing Mozart's "Concerto for Two Pianos" but it was the music of such artists as Woody Guthrie and Pete Seeger, as well as the traditional songs of the folk revival, that sparked Judy Collins' love of lyrics. She soon moved away from the classical piano and began her lifelong love with the guitar. In 1961, Judy Collins released her first album, A Maid of Constant Sorrow, at the age of 22 and began a thirty-five year association with Jac Holzman and Elektra Records.
Judy Collins is also noted for her rendition of Joni Mitchell's "Both Sides Now" on her classic 1967 album, Wildflowers. "Both Sides Now" has since been entered into the Grammy's Hall of Fame. Winning "Song of the Year" at the 1975 Grammy's Awards show was Judy's version of "Send in the Clowns," a ballad written by Stephen Sondheim for the Broadway musical "A Little Night Music."
Released on September 29th, Judy's new book, Sanity and Grace, A Journey of Suicide, Survival and Strength, is a deeply moving memoir, focusing on the death of her only son and the healing process following the tragedy. The book speaks to all who have endured the sorrow of losing a loved one before their time. In the depths of her suffering, Judy found relief by reaching out to others for help and support. Now, she extends her hand to comfort other survivors whose lives have been affected by similar tragedy.
In a recent appearance on ABC's Good Morning America, Judy performed "Wings of Angels," the heartbreaking ballad that she wrote about the loss of her son. The song is currently available on the newly released Judy Collins Wildflower Festival CD and DVD, which also feature guest artists Arlo Guthrie, Tom Rush and Eric Andersen. This extraordinary concert was filmed at the famed Humphrey's By the Bay in San Diego, CA. The concert was the culmination of a 25 city national tour.
With Leonard Cohen in 1976 on PBS
Judy Collins has thrilled audiences worldwide with her unique blend of interpretative folksongs and contemporary themes. Her impressive career has spanned more than 40 years. At 13, Judy Collins made her public debut performing Mozart's "Concerto for Two Pianos" but it was the music of such artists as Woody Guthrie and Pete Seeger, as well as the traditional songs of the folk revival, that sparked Judy Collins' love of lyrics. She soon moved away from the classical piano and began her lifelong love with the guitar. In 1961, Judy Collins released her first album, A Maid of Constant Sorrow, at the age of 22 and began a thirty-five year association with Jac Holzman and Elektra Records.
Judy Collins is also noted for her rendition of Joni Mitchell's "Both Sides Now" on her classic 1967 album, Wildflowers. "Both Sides Now" has since been entered into the Grammy's Hall of Fame. Winning "Song of the Year" at the 1975 Grammy's Awards show was Judy's version of "Send in the Clowns," a ballad written by Stephen Sondheim for the Broadway musical "A Little Night Music."
Released on September 29th, Judy's new book, Sanity and Grace, A Journey of Suicide, Survival and Strength, is a deeply moving memoir, focusing on the death of her only son and the healing process following the tragedy. The book speaks to all who have endured the sorrow of losing a loved one before their time. In the depths of her suffering, Judy found relief by reaching out to others for help and support. Now, she extends her hand to comfort other survivors whose lives have been affected by similar tragedy.
In a recent appearance on ABC's Good Morning America, Judy performed "Wings of Angels," the heartbreaking ballad that she wrote about the loss of her son. The song is currently available on the newly released Judy Collins Wildflower Festival CD and DVD, which also feature guest artists Arlo Guthrie, Tom Rush and Eric Andersen. This extraordinary concert was filmed at the famed Humphrey's By the Bay in San Diego, CA. The concert was the culmination of a 25 city national tour.
With Leonard Cohen in 1976 on PBS
Judy Collins Video 1966
Judy loses the words a bit here but that is beauty of live music.
Bob Dylan's Dream
Bob Dylan's Dream
Judi Collins on Pete Seeger's TV show 1966
The Background of Rainbow Quest:
Back in the mid-sixties Pete Seeger had an educational TV show called Rainbow Quest. In 1962 the Court of Appeals had ruled that the House Un-American Activities Committee was faulty in its charges against Seeger and dismissed the case against him. With his newfound freedom, Pete was anxious to appear on TV again and promote the cause of folk music. But in spite of the court ruling, networks and sponsors were still wary. The producers of the new show Hootenany claimed that they wanted Seeger, but that the sponsors weren't willing; and the sponsors claimed they wanted Seeger on the show, but that the public wouldn't stand for it.
Following the do-it-yourself ethic of folk music, Seeger finally decided to start his own show, Rainbow Quest. It began on UHF channel 47 in New York and had only been picked up by seven stations when Seeger began to run out of funds. During its brief run of 38 episodes, Pete talked and strummed with such guests as Elizabeth Cotten, Patrick Sky, Donovan, Judy Collins, and Buffy Sainte Marie. Richard and Mimi Fariña also appeared on the show in February of 1966
Back in the mid-sixties Pete Seeger had an educational TV show called Rainbow Quest. In 1962 the Court of Appeals had ruled that the House Un-American Activities Committee was faulty in its charges against Seeger and dismissed the case against him. With his newfound freedom, Pete was anxious to appear on TV again and promote the cause of folk music. But in spite of the court ruling, networks and sponsors were still wary. The producers of the new show Hootenany claimed that they wanted Seeger, but that the sponsors weren't willing; and the sponsors claimed they wanted Seeger on the show, but that the public wouldn't stand for it.
Following the do-it-yourself ethic of folk music, Seeger finally decided to start his own show, Rainbow Quest. It began on UHF channel 47 in New York and had only been picked up by seven stations when Seeger began to run out of funds. During its brief run of 38 episodes, Pete talked and strummed with such guests as Elizabeth Cotten, Patrick Sky, Donovan, Judy Collins, and Buffy Sainte Marie. Richard and Mimi Fariña also appeared on the show in February of 1966
Wednesday, October 17, 2007
Josh White Jr. Bio
Josh White Jr patiently waited while we futzed with equipment and tried to get him on live for a phone interview. Sadly we did not broadcast our conversations but I can tell you that Josh White Jr. is an interesting,gracious and very patient man.
He will be in the area at Passim in Cambridge MA www.clubpassim.org/passimcalendar/
JOSH WHITE, JR. Biography
JOSH WHITE, JR. (secular, folk/blues, pop, jazz, vocalist, guitarist, songwriter, actor, adult and children's concert performer and recording artist, teacher and social activist).
Born November 30, 1940, in New York City, one of five children, to Joshua Daniel White, famed singer/guitarist/actor/social leader, and his wife Carol (nee Carr).
Josh White, Jr., became, a 'hit' literally over night at the age of four, by performing with his legendary father JOSH WHITE one night at New York's famed "Café Society" night club (America's first integrated nightclub). For the next five years, Josh, Jr. performed with his father from New York to Boston to Philadelphia. In 1949, Josh, Jr. landed his first role on Broadway, and as Josh says, "It was type casting..." he played his father's son in How Long Til Summer? with Dorothy Gish and Don Hanmer. While continuing a solo acting career, Josh went on to perform and record with his father for the next seventeen years on radio, television, Broadway, concert halls and nightclubs around the world.
Josh attended New York's famed Professional Children's School, along with Elliott Gould, Sandra Dee, Brandan de Wilde, Leslie Uggams, Christopher Walken, and, among others, Marvin Hamlisch, who co-wrote Josh's first solo recording for Decca in 1956, "See Saw".
Between the years 1949 and 1960 Josh was in five Broadway plays and one off-Broadway play: "How Long Til Summer," in which he was honored with a Special TONY AWARD as "Best Child Actor" of the year in 1949; "The Man," with Josh White, Sr. (1950); "Touchstone" (1955); "Take A Giant Step" (1957) (the popular, long-running Off-Broadway play, in which he was the third person to take over the starring role, following Billy Gunn and Josh's friend Lou Gossett); "Only In America" (1959) starring Nehemiah Persoff; and "The Long Dream," (1959) book by Richard Wright, directed by Lloyd Richards, whose cast included Al Freeman, Jr. and newcomer Clarence Williams III. Some other actors he shared the stage with in these plays were Arthur O'Connell, Godfrey Cambridge, Patty McCormick, Beah Richards.
By 1961 Josh had already Guest Starred in more than 50 American Television Dramas, and costarred with his father in Great Britain for North Grenada television in "The Josh White Show." However, as he was approaching his 21st birthday, the number of acting jobs available on Broadway, TV and film for young Black actors was limited, while musically, the Folk Revival in America was beginning to take storm and offer more lucrative opportunities. Accordingly, Josh decided to focus on his career as a singer/guitarist, put his acting career on hold, and branch out from his long association with his father, to go on the road alone to pursue his solo concert and recording career.
After the 1956 Decca Records release of "See Saw", and after more recordings with his father (such as "Josh White at Town Hall" 1960), Josh, Jr.'s solo recording career continued with "Do You Close Your Eyes" - Mercury 1962, (which is a "golden oldie" in the Pittsburgh area to this day); "Good & Drunk & Goozey" (with sister, Beverly White) - Sonnet 1963; "I'm On My Own Way" - Mercury 1964; "The Josh White, Jr. Album" - United Artists 1967; "One Step Further" - United Artists 1968; Spoken Arts multi-media production, "The Dream Awake" with James Earl Jones, Josh White, Jr. and Josephine Premice, an educational aid complete with film strips, teacher guide and seven long-playing recordings containing performances by the cast, with an original text by Owen Dodson; "Josh White, Jr." Vanguard 1978; "Sing A Rainbow" - Mt. Railroad 1979, "Josh White, Jr. Sings Traditional Folk Songs" - National Archives 1980; the 1980 recordings of "The Strangest Dream" and "The King's Highway" (official Theme Song recordings for the "Peace Corps" and "VISTA" - both composed by his old friend Ed McCurdy); "May The Brush Be With You" (with Jimmy Carter, Frank Sinatra, Muhammad Ali & Lily Tomlin) - Cornucopia 1981; "Delia's Gone" - FFMM 1983; "Almost Alone" - Eagle 1984; "Jazz Ballads & Blues" (GRAMMY nominated instrumental jazz album tribute to his father) - RYKODISK 1986; "Live at the Soft Rock Café" - RTG/Oceansong 1990; "My Favorite Toy" (children's album) - Coden/White Records 1994; plus numerous appearances on festival, compilation and tribute albums; the recent "House of The Rising Son" (Silverwolf 1999) "Cortelia Clark" (Silverwolf 2001) and "Josh White, Jr. - LIVE" (Silverwolf, 2003)
After appearing on countless television variety and talk shows around the world as a solo artist, including such American shows as "Today," "Merv Griffin," "Steve Allen," "Joey Bishop," " Mike Wallace," "Mike Douglas," " Della Reese," "Gary Moore," "Arthur Godfrey," "Kate Smith," "Donald O'Connor," and "Hootenany," Josh, Jr. starred in his first PBS/TV Concert Special in 1979 "Ramblin" with Josh White, Jr.", and costarred (with Odetta, Tom Paxton, and Bob Gibson) in the 1980 "Soundstage - Just Folks" Concert TV Special, followed by two more PBS/TV Specials: "The Making of JOSH: The Man & His Music" 1984, and "Josh and Ron's Family Adventure", 1993, with Ron Coden. Josh Jr.'s composition "Say A Prayer For A Stranger" was performed by Harry Belafonte on the ABC-TV prime-time Special, "100 Years at The Music Hall."
As a concert artist, Josh, Jr. has performed on the world's greatest stages of four continents, including Kennedy Center, Carnegie Hall, Lincoln Center, Odeon Hammersmith Hall, Berlin Philharmonic Hall, and Madison Square Garden to name a few.
From 1963 through the 80s, Josh headlined more than 2000 college concerts. At the peak of this folk boom, in the mid 60s through the late 70s, Josh was considered one of NACA's most celebrated and honored performing artist. C. Shaw Smith, from Davidson College, North Carolina, penned him the 'Dean of College Concert Attractions'.
Josh returned to the theatrical stage in 1983, in his first musical - a musical revue - "One for Me, One for You". An original regional theater production, with all of the songs written by his good friend Mayon Weeks who was also one of the performers. In 1983, he premiered the musical dramatic biography of his father Josh White, Sr., entitled "JOSH: The Man & His Music" (written and directed by Broadway veteran Peter Link) to 'rave reviews' at the Center for the Arts, Boarshead Theater, in Lansing, Michigan, for a five-week, sold out, limited-run engagement. Every few years Josh, Jr. reprises the play on the road with great success and is proud to maintain the image, story and songs that his father gave us all. Josh also sang "The John Henry Suite", as Guest Star with the "Dance Theatre of Harlem" in a limited tour which took him from New York to San Francisco with one of the stops at the Kennedy Center in Washington, D.C.
Josh, Jr.'s marriage in 1963 to Jackie Harris produced two children - Joshua 'Buddah' White III, an actor/playwright born in 1963, and Jason, born in 1969. In November, 1971, following the death of his wife and just two years after the death of his father, Josh, Jr. left New York City, and moved to upstate New York with his two sons and slowed down his touring. During that time, he established an artist-in-residence program at many college campuses he performed at during the regular school year so he, his sons and their Malamute, Robin, could spend their summers together. Josh White, Jr. moved to Detroit in 1976 and married Sara in 1978. Sara brought four children to the marriage and Josh brought two. Their children, now all adults, have blessed Josh and Sara with 13 grandchildren.
Josh White, Jr. received Honorary Doctorate Degrees from the University of Maine, and the University of West Florida; was named the "Voice of The Peace Corps" and "Voice of VISTA" by the US Government in 1980; in 1982, he shared the stage with his mother at the Smithsonian Institution's 100th Birthday Celebration of Franklin Roosevelt. In 1983, he was presented with "Keys to the City" by Detroit and Lansing, Michigan, and on April 20, 1983, the State of Michigan honored he and his father with "JOSH WHITE and JOSH WHITE, JR. DAY"; in 1984, he was named "Michigan Man of The Year;" in 1984, NACA (National Association of Campus Activities) honored Josh with its first "Harry Chapin Humanitarian Award" at Opryland in Nashville; in 1987, he was honored to be named the Host and Emcee for the final two legs of festivities for Pope John Paul II's grand tour of America. In earlier years, he also appeared with his father at President Johnson's Inauguration and at a Command Performance for the Prime Minister of Canada. In July, 1997, Josh was the Special Guest Star Performer at the National Community Service Conference's Annual Banquet in New York honoring cofounder of the Peace Corps, Harris Wolford, with its Lifetime Achievement Award; Josh performed "Last Night I Had The Strangest Dream", the Peace Corps Theme Song he had recorded for Mr. Wolford and Sargent Shriver years earlier.
In recent years, Josh, Jr. has added to his multi-dimensional talents and touring schedule, by becoming a "single-digit" (as he calls it) performer, doing children and family concerts, including school concerts for grades K-4. And with the release of the U.S. Postal Service's stamp honoring his father (and Leadbelly, Woody Guthrie and Sonny Terry) he does a music/lecture session on his father, Josh, Sr. for grades 5 through 12. He provides an extraordinary, interactive experience for young people.[Read comments from some of the schools.] He has appeared many times on the Nickelodeon Network and he along with his good friend, Ron Coden, hosted their own PBS special, "Josh and Ron's Family Adventure."
In 1991, Josh teamed up with the founder of “StoryLiving,” Rändi Douglas, to create a highly successful outreach alternative educational program now called “Living History.” The program’s purpose is to teach history and social studies using multiple interactive intelligence systems, and as Josh says, “It is where you become the people you are learning about and then when you become emotionally involved, you never forget.” And all this happens in the classroom with music, imagination and role-playing. Sessions are held in schools, universities, churches, temples, community centers and at seminars.
SOME MEMORABLE CONCERTS. . .
In 2006, Josh appeared at the African-America Music Foundations’ First Annual Spirituals Festivals; at San Diego State University’s Tribute Concert to Josh White (Sr.) for their Black History Month; and at the Black History Month tribute to his father at the Franklin D. Roosevelt Presidential Library & Museum in Hyde Park, New York, where he used to play as a boy when it was the home of Franklin & Eleanor Roosevelt. In 2004, he celebrated his father’s music at the Montreal Jazz Festival. In 2002, he joined Judy Collins, Pete Seeger, Odetta, John Sebastian, David Amram, John Hammond,Jr., Bethany Yarrow (Peter’s daughter), John Sebastian and Oscar Brand at New York’s Cooper Union Theatre for the fund and conscious-raising concert to establish the “Folk Music Museum” in New York’s Greenwich Village City, from which came the Bitter End Records’ compilation album "The Folk Music Museum in Greenwich Village" where he performed “The Strangest Dream” and “Southern Exposure.” In 2001, he co-starred with Odetta, Ramblin’ Jack Elliott, Richie Havens, Tom Paxton and Oscar Brand in the National PBS-TV Tribute Special to Woody Guthrie, “Woody & Me.” In 2000, he was chosen as the sole performer representing the State of Michigan (his home state) on the Millennium stage at Washington’s Kennedy Center, celebrating “Michigan State Day.” On June 26, 1998 Josh gave a Tribute Concert to his father on the National Mall in Washington, D.C., celebrating the unveiling of the first American Folk Artists 32¢ stamp, sponsored by the United States Postal Service and the Smithsonian Institute - honoring Josh White, Sr., Leadbelly, Woody Guthrie and Sonny Terry, followed by other Stamp Tribute Concerts in Boston and Philadelphia. IN 1995, he co‑ starred with (sister) Beverly White, Pete Seeger, Odetta, Peter Yarrow, Richie Havens, Tom Paxton, Arlo Guthrie and Oscar Brand in a 'live' radio concert at New York's Cooper Union Theatre, celebrating Oscar Brand's 50th Anniversary radio show "Folk Song USA" on WNYC Radio. IN 1994, he co-starred with Burl Ives (in his last concert performance), Pete Seeger, Art Garfunkle, Theodore Bikel, Tom Paxton, Oscar Brand and the Chad Mitchell Trio at New York's "92nd Street Y's 50th Anniversary Folk Festival," and later that year was a co‑sponsor/co‑host (with Peter Yarrow) at Chicago's Park West Theatre, where a cast of folk stars performed in a Tribute Benefit Concert for folk legend Bob Gibson before his passing. He also felt a privilege of appearing with Ray Charles at the Peace Center Theatre in Greenville, South Carolina — the birthplace of his father, Josh White (Sr.).
He will be in the area at Passim in Cambridge MA www.clubpassim.org/passimcalendar/
JOSH WHITE, JR. Biography
JOSH WHITE, JR. (secular, folk/blues, pop, jazz, vocalist, guitarist, songwriter, actor, adult and children's concert performer and recording artist, teacher and social activist).
Born November 30, 1940, in New York City, one of five children, to Joshua Daniel White, famed singer/guitarist/actor/social leader, and his wife Carol (nee Carr).
Josh White, Jr., became, a 'hit' literally over night at the age of four, by performing with his legendary father JOSH WHITE one night at New York's famed "Café Society" night club (America's first integrated nightclub). For the next five years, Josh, Jr. performed with his father from New York to Boston to Philadelphia. In 1949, Josh, Jr. landed his first role on Broadway, and as Josh says, "It was type casting..." he played his father's son in How Long Til Summer? with Dorothy Gish and Don Hanmer. While continuing a solo acting career, Josh went on to perform and record with his father for the next seventeen years on radio, television, Broadway, concert halls and nightclubs around the world.
Josh attended New York's famed Professional Children's School, along with Elliott Gould, Sandra Dee, Brandan de Wilde, Leslie Uggams, Christopher Walken, and, among others, Marvin Hamlisch, who co-wrote Josh's first solo recording for Decca in 1956, "See Saw".
Between the years 1949 and 1960 Josh was in five Broadway plays and one off-Broadway play: "How Long Til Summer," in which he was honored with a Special TONY AWARD as "Best Child Actor" of the year in 1949; "The Man," with Josh White, Sr. (1950); "Touchstone" (1955); "Take A Giant Step" (1957) (the popular, long-running Off-Broadway play, in which he was the third person to take over the starring role, following Billy Gunn and Josh's friend Lou Gossett); "Only In America" (1959) starring Nehemiah Persoff; and "The Long Dream," (1959) book by Richard Wright, directed by Lloyd Richards, whose cast included Al Freeman, Jr. and newcomer Clarence Williams III. Some other actors he shared the stage with in these plays were Arthur O'Connell, Godfrey Cambridge, Patty McCormick, Beah Richards.
By 1961 Josh had already Guest Starred in more than 50 American Television Dramas, and costarred with his father in Great Britain for North Grenada television in "The Josh White Show." However, as he was approaching his 21st birthday, the number of acting jobs available on Broadway, TV and film for young Black actors was limited, while musically, the Folk Revival in America was beginning to take storm and offer more lucrative opportunities. Accordingly, Josh decided to focus on his career as a singer/guitarist, put his acting career on hold, and branch out from his long association with his father, to go on the road alone to pursue his solo concert and recording career.
After the 1956 Decca Records release of "See Saw", and after more recordings with his father (such as "Josh White at Town Hall" 1960), Josh, Jr.'s solo recording career continued with "Do You Close Your Eyes" - Mercury 1962, (which is a "golden oldie" in the Pittsburgh area to this day); "Good & Drunk & Goozey" (with sister, Beverly White) - Sonnet 1963; "I'm On My Own Way" - Mercury 1964; "The Josh White, Jr. Album" - United Artists 1967; "One Step Further" - United Artists 1968; Spoken Arts multi-media production, "The Dream Awake" with James Earl Jones, Josh White, Jr. and Josephine Premice, an educational aid complete with film strips, teacher guide and seven long-playing recordings containing performances by the cast, with an original text by Owen Dodson; "Josh White, Jr." Vanguard 1978; "Sing A Rainbow" - Mt. Railroad 1979, "Josh White, Jr. Sings Traditional Folk Songs" - National Archives 1980; the 1980 recordings of "The Strangest Dream" and "The King's Highway" (official Theme Song recordings for the "Peace Corps" and "VISTA" - both composed by his old friend Ed McCurdy); "May The Brush Be With You" (with Jimmy Carter, Frank Sinatra, Muhammad Ali & Lily Tomlin) - Cornucopia 1981; "Delia's Gone" - FFMM 1983; "Almost Alone" - Eagle 1984; "Jazz Ballads & Blues" (GRAMMY nominated instrumental jazz album tribute to his father) - RYKODISK 1986; "Live at the Soft Rock Café" - RTG/Oceansong 1990; "My Favorite Toy" (children's album) - Coden/White Records 1994; plus numerous appearances on festival, compilation and tribute albums; the recent "House of The Rising Son" (Silverwolf 1999) "Cortelia Clark" (Silverwolf 2001) and "Josh White, Jr. - LIVE" (Silverwolf, 2003)
After appearing on countless television variety and talk shows around the world as a solo artist, including such American shows as "Today," "Merv Griffin," "Steve Allen," "Joey Bishop," " Mike Wallace," "Mike Douglas," " Della Reese," "Gary Moore," "Arthur Godfrey," "Kate Smith," "Donald O'Connor," and "Hootenany," Josh, Jr. starred in his first PBS/TV Concert Special in 1979 "Ramblin" with Josh White, Jr.", and costarred (with Odetta, Tom Paxton, and Bob Gibson) in the 1980 "Soundstage - Just Folks" Concert TV Special, followed by two more PBS/TV Specials: "The Making of JOSH: The Man & His Music" 1984, and "Josh and Ron's Family Adventure", 1993, with Ron Coden. Josh Jr.'s composition "Say A Prayer For A Stranger" was performed by Harry Belafonte on the ABC-TV prime-time Special, "100 Years at The Music Hall."
As a concert artist, Josh, Jr. has performed on the world's greatest stages of four continents, including Kennedy Center, Carnegie Hall, Lincoln Center, Odeon Hammersmith Hall, Berlin Philharmonic Hall, and Madison Square Garden to name a few.
From 1963 through the 80s, Josh headlined more than 2000 college concerts. At the peak of this folk boom, in the mid 60s through the late 70s, Josh was considered one of NACA's most celebrated and honored performing artist. C. Shaw Smith, from Davidson College, North Carolina, penned him the 'Dean of College Concert Attractions'.
Josh returned to the theatrical stage in 1983, in his first musical - a musical revue - "One for Me, One for You". An original regional theater production, with all of the songs written by his good friend Mayon Weeks who was also one of the performers. In 1983, he premiered the musical dramatic biography of his father Josh White, Sr., entitled "JOSH: The Man & His Music" (written and directed by Broadway veteran Peter Link) to 'rave reviews' at the Center for the Arts, Boarshead Theater, in Lansing, Michigan, for a five-week, sold out, limited-run engagement. Every few years Josh, Jr. reprises the play on the road with great success and is proud to maintain the image, story and songs that his father gave us all. Josh also sang "The John Henry Suite", as Guest Star with the "Dance Theatre of Harlem" in a limited tour which took him from New York to San Francisco with one of the stops at the Kennedy Center in Washington, D.C.
Josh, Jr.'s marriage in 1963 to Jackie Harris produced two children - Joshua 'Buddah' White III, an actor/playwright born in 1963, and Jason, born in 1969. In November, 1971, following the death of his wife and just two years after the death of his father, Josh, Jr. left New York City, and moved to upstate New York with his two sons and slowed down his touring. During that time, he established an artist-in-residence program at many college campuses he performed at during the regular school year so he, his sons and their Malamute, Robin, could spend their summers together. Josh White, Jr. moved to Detroit in 1976 and married Sara in 1978. Sara brought four children to the marriage and Josh brought two. Their children, now all adults, have blessed Josh and Sara with 13 grandchildren.
Josh White, Jr. received Honorary Doctorate Degrees from the University of Maine, and the University of West Florida; was named the "Voice of The Peace Corps" and "Voice of VISTA" by the US Government in 1980; in 1982, he shared the stage with his mother at the Smithsonian Institution's 100th Birthday Celebration of Franklin Roosevelt. In 1983, he was presented with "Keys to the City" by Detroit and Lansing, Michigan, and on April 20, 1983, the State of Michigan honored he and his father with "JOSH WHITE and JOSH WHITE, JR. DAY"; in 1984, he was named "Michigan Man of The Year;" in 1984, NACA (National Association of Campus Activities) honored Josh with its first "Harry Chapin Humanitarian Award" at Opryland in Nashville; in 1987, he was honored to be named the Host and Emcee for the final two legs of festivities for Pope John Paul II's grand tour of America. In earlier years, he also appeared with his father at President Johnson's Inauguration and at a Command Performance for the Prime Minister of Canada. In July, 1997, Josh was the Special Guest Star Performer at the National Community Service Conference's Annual Banquet in New York honoring cofounder of the Peace Corps, Harris Wolford, with its Lifetime Achievement Award; Josh performed "Last Night I Had The Strangest Dream", the Peace Corps Theme Song he had recorded for Mr. Wolford and Sargent Shriver years earlier.
In recent years, Josh, Jr. has added to his multi-dimensional talents and touring schedule, by becoming a "single-digit" (as he calls it) performer, doing children and family concerts, including school concerts for grades K-4. And with the release of the U.S. Postal Service's stamp honoring his father (and Leadbelly, Woody Guthrie and Sonny Terry) he does a music/lecture session on his father, Josh, Sr. for grades 5 through 12. He provides an extraordinary, interactive experience for young people.[Read comments from some of the schools.] He has appeared many times on the Nickelodeon Network and he along with his good friend, Ron Coden, hosted their own PBS special, "Josh and Ron's Family Adventure."
In 1991, Josh teamed up with the founder of “StoryLiving,” Rändi Douglas, to create a highly successful outreach alternative educational program now called “Living History.” The program’s purpose is to teach history and social studies using multiple interactive intelligence systems, and as Josh says, “It is where you become the people you are learning about and then when you become emotionally involved, you never forget.” And all this happens in the classroom with music, imagination and role-playing. Sessions are held in schools, universities, churches, temples, community centers and at seminars.
SOME MEMORABLE CONCERTS. . .
In 2006, Josh appeared at the African-America Music Foundations’ First Annual Spirituals Festivals; at San Diego State University’s Tribute Concert to Josh White (Sr.) for their Black History Month; and at the Black History Month tribute to his father at the Franklin D. Roosevelt Presidential Library & Museum in Hyde Park, New York, where he used to play as a boy when it was the home of Franklin & Eleanor Roosevelt. In 2004, he celebrated his father’s music at the Montreal Jazz Festival. In 2002, he joined Judy Collins, Pete Seeger, Odetta, John Sebastian, David Amram, John Hammond,Jr., Bethany Yarrow (Peter’s daughter), John Sebastian and Oscar Brand at New York’s Cooper Union Theatre for the fund and conscious-raising concert to establish the “Folk Music Museum” in New York’s Greenwich Village City, from which came the Bitter End Records’ compilation album "The Folk Music Museum in Greenwich Village" where he performed “The Strangest Dream” and “Southern Exposure.” In 2001, he co-starred with Odetta, Ramblin’ Jack Elliott, Richie Havens, Tom Paxton and Oscar Brand in the National PBS-TV Tribute Special to Woody Guthrie, “Woody & Me.” In 2000, he was chosen as the sole performer representing the State of Michigan (his home state) on the Millennium stage at Washington’s Kennedy Center, celebrating “Michigan State Day.” On June 26, 1998 Josh gave a Tribute Concert to his father on the National Mall in Washington, D.C., celebrating the unveiling of the first American Folk Artists 32¢ stamp, sponsored by the United States Postal Service and the Smithsonian Institute - honoring Josh White, Sr., Leadbelly, Woody Guthrie and Sonny Terry, followed by other Stamp Tribute Concerts in Boston and Philadelphia. IN 1995, he co‑ starred with (sister) Beverly White, Pete Seeger, Odetta, Peter Yarrow, Richie Havens, Tom Paxton, Arlo Guthrie and Oscar Brand in a 'live' radio concert at New York's Cooper Union Theatre, celebrating Oscar Brand's 50th Anniversary radio show "Folk Song USA" on WNYC Radio. IN 1994, he co-starred with Burl Ives (in his last concert performance), Pete Seeger, Art Garfunkle, Theodore Bikel, Tom Paxton, Oscar Brand and the Chad Mitchell Trio at New York's "92nd Street Y's 50th Anniversary Folk Festival," and later that year was a co‑sponsor/co‑host (with Peter Yarrow) at Chicago's Park West Theatre, where a cast of folk stars performed in a Tribute Benefit Concert for folk legend Bob Gibson before his passing. He also felt a privilege of appearing with Ray Charles at the Peace Center Theatre in Greenville, South Carolina — the birthplace of his father, Josh White (Sr.).
Elijah Wald's book on Josh White, Sr.
Josh White: Society Blues
was published in Fall, 2000, by University of
Massachusetts Press.
"I learned things about Josh White from this detailed biography that I never knew. Elijah Wald has done a fine job. This is a more complete and fair book than I would have believed possible." -- Pete Seeger
"Complete, well written, and in-depth. Highly recommended."
-- Library Journal
"Wald deftly describes White's repertoire and that of his contemporaries, giving an immediacy to the music culture that surrounded him. The reader follows White as he maneuvers through the complexities of race, politics, and popular music. With White as its focal point, Society Blues provides a glimpse of the interaction between twentieth-century American society and its vernacular musics... that lucky combination of a writer who knows his topic, knows what story he wants to tell, and possesses the tools to tell that story."
--Tod Harvey, The Journal of American Folklore
was published in Fall, 2000, by University of
Massachusetts Press.
"I learned things about Josh White from this detailed biography that I never knew. Elijah Wald has done a fine job. This is a more complete and fair book than I would have believed possible." -- Pete Seeger
"Complete, well written, and in-depth. Highly recommended."
-- Library Journal
"Wald deftly describes White's repertoire and that of his contemporaries, giving an immediacy to the music culture that surrounded him. The reader follows White as he maneuvers through the complexities of race, politics, and popular music. With White as its focal point, Society Blues provides a glimpse of the interaction between twentieth-century American society and its vernacular musics... that lucky combination of a writer who knows his topic, knows what story he wants to tell, and possesses the tools to tell that story."
--Tod Harvey, The Journal of American Folklore
Friday, October 5, 2007
Topical Songs 2007 OCT 11 wicn.org= Roy Zimmerman and Robert Zimmerman and others...
Bob Dylan in 1964
David Masengill, live in 2007
Wednesday, October 3, 2007
Home movie Rufus, Martha, Kate and memé?
Rufus and Martha spoof on mom and aunty
Kate McGarrigle and Anna McGarrigle are sisters who write and perform together. They were born of Canadian and Irish parents in Saint-Sauveur-des-Monts, northwest of Montreal, and educated at a Roman Catholic convent school. Their careers in music began with the 1960s folk combo Mountain City Four, in conjunction with Jack Nissenson and Peter Weldon.
Their songs have also been covered by a variety of other artists, including Maria Muldaur, Linda Ronstadt, Emmylou Harris, Billy Bragg, Chloé Sainte-Marie and Anne Sofie von Otter. Although associated with Quebec's anglophone community, the McGarrigles have also recorded and performed many songs in French. Two of their albums, Entre Lajeunesse et la sagesse (also known as French Record) and La vache qui pleure, are entirely in French, but many of their other records include one or two French songs as well. Most of their French songs have been co-written by Philippe Tatartcheff, with occasional input from Kate McGarrigle's son, Canadian-American solo artist Rufus Wainwright. Rufus and his sister Martha Wainwright, also a singer, are the children of Kate and her former husband, singer-songwriter Loudon Wainwright III.
Their version of Wade Hemsworth's song, "The Log Driver's Waltz" grew famous as the soundtrack for a 1979 animated film by the National Film Board.
They provided backing vocals on Nick Cave and the Bad Seeds's 2001 album No More Shall We Part.
Another sister, Jane McGarrigle, is a film and television composer who has written and performed several songs with the duo.
They were appointed Members of the Order of Canada in 1993 and received the Governor General's Performing Arts Award in 2004.
They appear in the 2006 Leonard Cohen tribute film Leonard Cohen: I'm Your Man. Cohen, like them, originates from Montreal.
Kate, Anna and Emmy Lou + many more sing Hard Times
Your Mother and I Loudon WainwrightIII
Happy families are all alike; every unhappy family is unhappy in its own way.
Leo Tolstoy, Anna Karenina, Chapter 1, first line
Russian mystic & novelist (1828 - 1910)
Saturday, September 22, 2007
Joan in 1960s
This is a clip from the Concert/Film "The Big TNT Show"
which also features Ray Charles, Ike & Tina,
Donovan, The Lovin' Spoonful, The Ronettes and Man From UNCLE David MacCollum.
Some "skips" in the tape but if you stick with it, you will be glad.
in 1969 on Italian TV
which also features Ray Charles, Ike & Tina,
Donovan, The Lovin' Spoonful, The Ronettes and Man From UNCLE David MacCollum.
Some "skips" in the tape but if you stick with it, you will be glad.
in 1969 on Italian TV
Friday, September 21, 2007
Still singing and touring ~ Joan Baez
http://joanbaez.com/tourschedule07.html
But here she is in 1975
Joan Chandos Baez (born January 9, 1941) is an American folk singer and songwriter known for her highly individual vocal style. She is a soprano with a three-octave vocal range[1] and a distinctively rapid vibrato. Many of her songs are topical and deal with social issues.
She is best known for her 1970s hits "Diamonds & Rust" and "The Night They Drove Old Dixie Down" -- and to a lesser extent,"We Shall Overcome" "Sweet Sir Galahad" and "Joe Hill" (songs she performed at the 1969 Woodstock festival). She is also well known due to her early and long-lasting relationship with Bob Dylan and her even longer-lasting passion for activism, notably in the areas of nonviolence, civil and human rights and, in more recent years, the environment. She has performed publicly for nearly 50 years, released over 30 albums and recorded songs in over eight languages. She is considered a folksinger although her music has strayed from folk considerably after the 1960s, encompassing everything from rock and pop to country and gospel. Although a songwriter herself, especially in the mid-1970s, Baez is most often regarded as an interpreter of other people's work, covering songs by Bob Dylan, The Beatles, Jackson Browne, Paul Simon, The Rolling Stones, Stevie Wonder and myriad others. In more recent years, she has found success interpreting songs of diverse songwriters such as Steve Earle, Natalie Merchant and Ryan Adams.
in 1966
But here she is in 1975
Joan Chandos Baez (born January 9, 1941) is an American folk singer and songwriter known for her highly individual vocal style. She is a soprano with a three-octave vocal range[1] and a distinctively rapid vibrato. Many of her songs are topical and deal with social issues.
She is best known for her 1970s hits "Diamonds & Rust" and "The Night They Drove Old Dixie Down" -- and to a lesser extent,"We Shall Overcome" "Sweet Sir Galahad" and "Joe Hill" (songs she performed at the 1969 Woodstock festival). She is also well known due to her early and long-lasting relationship with Bob Dylan and her even longer-lasting passion for activism, notably in the areas of nonviolence, civil and human rights and, in more recent years, the environment. She has performed publicly for nearly 50 years, released over 30 albums and recorded songs in over eight languages. She is considered a folksinger although her music has strayed from folk considerably after the 1960s, encompassing everything from rock and pop to country and gospel. Although a songwriter herself, especially in the mid-1970s, Baez is most often regarded as an interpreter of other people's work, covering songs by Bob Dylan, The Beatles, Jackson Browne, Paul Simon, The Rolling Stones, Stevie Wonder and myriad others. In more recent years, she has found success interpreting songs of diverse songwriters such as Steve Earle, Natalie Merchant and Ryan Adams.
in 1966
Tuesday, September 18, 2007
The Phil Ochs FBI File
Folk Singer for the FBI: The Phil Ochs FBI File
by Federal Bureau of Investigation
Description: Hard to believe and who knows what they [FBI et alia] do these days.
Phil Ochs was one of the greatest political and topical folk singers of the 1960s. Ochs was first investigated by the Federal Bureau of Investigation (FBI) early on in his career, after writing a favorable article on Woody Guthrie in Mainstream magazine in 1963, which also brought another name to the attention of the FBI: Bob Dylan. The FBI attended political rallies where Ochs played, and he began noticing the attention, telling an audience in 1966: “I’m a folk singer for the FBI.” The FBI’s investigation intensified after the DNC riots in Chicago in August 1968. The FBI attempted to build a case against Ochs and other members of the Youth International Party (Yippies), but the indictment against Ochs never materialized due to a lack of evidence. Ochs instead later testified at the Chicago Seven trial for the defense. Despite the hundreds of pages in his FBI file, Ochs never committed a federal crime. He continued to be under investigation until his death by suicide in 1976.
by Federal Bureau of Investigation
Description: Hard to believe and who knows what they [FBI et alia] do these days.
Phil Ochs was one of the greatest political and topical folk singers of the 1960s. Ochs was first investigated by the Federal Bureau of Investigation (FBI) early on in his career, after writing a favorable article on Woody Guthrie in Mainstream magazine in 1963, which also brought another name to the attention of the FBI: Bob Dylan. The FBI attended political rallies where Ochs played, and he began noticing the attention, telling an audience in 1966: “I’m a folk singer for the FBI.” The FBI’s investigation intensified after the DNC riots in Chicago in August 1968. The FBI attempted to build a case against Ochs and other members of the Youth International Party (Yippies), but the indictment against Ochs never materialized due to a lack of evidence. Ochs instead later testified at the Chicago Seven trial for the defense. Despite the hundreds of pages in his FBI file, Ochs never committed a federal crime. He continued to be under investigation until his death by suicide in 1976.
Sunday, September 16, 2007
Phil Ochs on folk music - circa 1969
"Before the days of television and mass media, the folksinger was often a traveling newspaper spreading tales through music. There is an urgent need for Americans to look deeply into themselves and their actions, and musical poetry is perhaps the most effective mirror available. Every newspaper headline is a potential song."
- Phil Ochs
And Phil put this in his liner notes:
"A pamphlet, no matter how good, is never read more than once, but a song is learned by heart and repeated over and over." -- Joe Hill
Live music by Phil Ochs - keeping it real
History of Phil Ochs Song Nights from http://www.sonnyochs.com/
On April 9, 1976 my brother, Phil Ochs, ended his life by hanging himself. He was 35 years old. He had written over 100 songs, and had traveled to many countries. He suffered from manic-depression and had been experiencing a long term writer's block.
I had moved up to the Albany area in '86, so I decided to move the Song Night upstate so as not to have to travel to the city anymore. In 1987 the Song Night was held for the first time at the Eighth Step Coffeehouse on Nov. 6th, and it was held there every year until 1999 except once when there was a date mix-up, and it had to be held elsewhere in the Capitol District. That same year we did a Song Night in Philadelphia.
Up to this point all the Song Nights had the same formula. Each performer would sing one or two of Phil's songs, depending on how many they knew, and that was it. The philosophy behind Song Night was to keep Phil's music alive, to give all the monies collected to organizations in the folk field who were struggling financially, and to showcase performers. Money was given to groups like People's Music Network, Broadside Magazine, Sing Out Magazine, New Song Library, various non-profit folk clubs and college radio stations. I would appeal to the audience to go out and see the performers when they were in town doing their own material. I found it frustrating that people would pay money to hear Phil's songs, but not the songs of the performers. Sammy Walker said, "Phil Ochs draws a larger audience dead than we do alive."
A side benefit of the creation of the Song Night was that several performers liked the songs that I asked them to sing so much that they included them in their repertoires and sang them all around the country. The ultimate thrill was when Kim and Reggie Harris not only recorded "In the Heat of the Summer", they also made it the title song of their first cd.
After several years of only doing Phil's songs at the Song Nights I started to get bored hearing the same songs over and over by basically the same performers. We were playing in different venues including Washington DC and Cambridge, Massachusetts by this time so the audiences were different, but I needed a change. I decided to change to format so that each performer would do one of Phil's songs and one of his/her own, thus giving the audience a taste of what is being written today. As of now, this is still the formula we're using. I much prefer it, but some of the performers think we should only do Phil's songs, and that's what some of them do.
Another minor change was added when we did a show at the Village Gate in Manhattan in November of '93. There was a biography of Phil by Michael Schumacher being written at that time. He let us have some of his transcripts from several interviews. We had two excerpts read which described some of Phil's adventures in Africa and South America. They were quite humorous and added a new dimension to the Song Night. We have included this practice in several Song Nights since then.
So the Song Nights continue. Many performers have taken part in them, and many more will be invited in the future. Some of the regulars include Emma's Revolution (Pat Humphries & Sandy Apatow) , John Flynn, David Roth, Greg Greenway, Kim & Reggie Harris and Magpie. In 1994 we made our first foray into Canada, doing a show in Toronto, in 1996 we did a min-tour covering 8 cities in the mid west, and in 1999 we went to 7 cities in the mid west including a major tribute to Phil at the Rock and Roll Hall of Fame in Cleveland. We also did 2 nights at the Kennedy Center's Millennium Stage.
We toured the northwest in 2004, starting in Vancouver with shows in Washington and Oregon, ending up in California - San Francisco, Santa Cruz and Berkeley. It's really exciting to be a part of a constantly evolving show with the main purpose of keeping Phil Ochs' music out there.
On April 9, 1976 my brother, Phil Ochs, ended his life by hanging himself. He was 35 years old. He had written over 100 songs, and had traveled to many countries. He suffered from manic-depression and had been experiencing a long term writer's block.
I had moved up to the Albany area in '86, so I decided to move the Song Night upstate so as not to have to travel to the city anymore. In 1987 the Song Night was held for the first time at the Eighth Step Coffeehouse on Nov. 6th, and it was held there every year until 1999 except once when there was a date mix-up, and it had to be held elsewhere in the Capitol District. That same year we did a Song Night in Philadelphia.
Up to this point all the Song Nights had the same formula. Each performer would sing one or two of Phil's songs, depending on how many they knew, and that was it. The philosophy behind Song Night was to keep Phil's music alive, to give all the monies collected to organizations in the folk field who were struggling financially, and to showcase performers. Money was given to groups like People's Music Network, Broadside Magazine, Sing Out Magazine, New Song Library, various non-profit folk clubs and college radio stations. I would appeal to the audience to go out and see the performers when they were in town doing their own material. I found it frustrating that people would pay money to hear Phil's songs, but not the songs of the performers. Sammy Walker said, "Phil Ochs draws a larger audience dead than we do alive."
A side benefit of the creation of the Song Night was that several performers liked the songs that I asked them to sing so much that they included them in their repertoires and sang them all around the country. The ultimate thrill was when Kim and Reggie Harris not only recorded "In the Heat of the Summer", they also made it the title song of their first cd.
After several years of only doing Phil's songs at the Song Nights I started to get bored hearing the same songs over and over by basically the same performers. We were playing in different venues including Washington DC and Cambridge, Massachusetts by this time so the audiences were different, but I needed a change. I decided to change to format so that each performer would do one of Phil's songs and one of his/her own, thus giving the audience a taste of what is being written today. As of now, this is still the formula we're using. I much prefer it, but some of the performers think we should only do Phil's songs, and that's what some of them do.
Another minor change was added when we did a show at the Village Gate in Manhattan in November of '93. There was a biography of Phil by Michael Schumacher being written at that time. He let us have some of his transcripts from several interviews. We had two excerpts read which described some of Phil's adventures in Africa and South America. They were quite humorous and added a new dimension to the Song Night. We have included this practice in several Song Nights since then.
So the Song Nights continue. Many performers have taken part in them, and many more will be invited in the future. Some of the regulars include Emma's Revolution (Pat Humphries & Sandy Apatow) , John Flynn, David Roth, Greg Greenway, Kim & Reggie Harris and Magpie. In 1994 we made our first foray into Canada, doing a show in Toronto, in 1996 we did a min-tour covering 8 cities in the mid west, and in 1999 we went to 7 cities in the mid west including a major tribute to Phil at the Rock and Roll Hall of Fame in Cleveland. We also did 2 nights at the Kennedy Center's Millennium Stage.
We toured the northwest in 2004, starting in Vancouver with shows in Washington and Oregon, ending up in California - San Francisco, Santa Cruz and Berkeley. It's really exciting to be a part of a constantly evolving show with the main purpose of keeping Phil Ochs' music out there.
Saturday, September 15, 2007
Saturday, September 8, 2007
Big Bill Broozny
great video - from 1956
http://youtube.com/watch?v=KhPTfPykpDI
Born William Lee Conley Broonzy
June 26, 1893
Scott, MS.
Died
August 15, 1958
Chicago, IL.
Broonzy's body of work--including his enduring
originals "Key to the Highway" and "Black, Brown
and White"--ranks him among Muddy Waters, B.B.
King and Robert Johnson in terms of influence.
A storyteller as much as a lonesome singer, Broonzy was
among the first performers to marry rough rural blues (like
Johnson's brand of Mississippi Delta moaning) with upscale jazzy
city blues (like Charles Brown's cocktail piano crooning). He began
his career as a violinist (a skill he learned from an uncle) and learned
from mentor Papa Charlie Jackson how to adapt those skills to the guitar.
As his obvious talent gradually turned him into a star, he moved to Chicago
and started hooking up with Memphis Slim, Brownie McGhee, John Lee "Son-
ny Boy" Williamson and Big Maceo; he also recorded for many different
labels, including Columbia, OKeh and Bluebird. Most refused to put
out "Black, Brown and White"--a powerful attack on racism with
the memorable tell-it-like-it-is chorus, "Get back," after
Broonzy wrote it in 1949; two years later, in France,
writer-critic Hugues Panassie and record company
officials helped him get it in circulation.
Broonzy's pockets of regional popularity coagulated into an adoring
national audience after he played John Hammond's From Spirituals to Swing
concert (as a replacement for Robert Johnson, who had just died) at New York
City's Carnegie Hall in 1938. Regular Chicago and southern gigs followed until
the 1950s, when Broonzy--along with peers Leadbelly, Josh White and Sonny Terry
and Brownie McGhee--became an avatar of the folk movement. While touring and
recording in Europe throughout the 1950s, he wrote a fascinating biography,
Big Bill Blues, with Danish writer Yannick Bruynoghe.
Because Broonzy was such a prolific writer and because so many different
big record companies put out his stuff, plenty of thorough CD collections doc-
ument various stages of his career. Most impressive include Good Time Tonight
(Columbia/Legacy, 1990, prod. various) [Rating: 5.0] , which spans 1930 to
1940 (including, of course, his classic "I Can't Be Satisfied");
Do That Guitar Rag (1928-35) (Yazoo, 1973) [Rating: 4.5] ; and Blues in the
Mississippi Night (Rykodisc, 1990) [Rating: 5.0] , a sometimes chilling 1946 Alan
Lomax-recorded no-holds-barred conversation between Broonzy, pianist Memphis
Slim and harpist Sonny Boy Williamson about racism in the South.
What to Buy Next:
Feelin' Low Down (GNP Crescendo, 1973) [Rating: 3.5]
Worth Searching For:
Big Bill's Blues (Portrait) [Rating: 5.0] captures Broonzy's
seriousness and humor as well as the spontaneity of his record-
ing process.
From:
MusicHound Blues:
The Essential Album Guide
By Steve Knopper
Copyright © 1998 Visible Ink Press
A division of Gale Research
http://youtube.com/watch?v=KhPTfPykpDI
Born William Lee Conley Broonzy
June 26, 1893
Scott, MS.
Died
August 15, 1958
Chicago, IL.
Broonzy's body of work--including his enduring
originals "Key to the Highway" and "Black, Brown
and White"--ranks him among Muddy Waters, B.B.
King and Robert Johnson in terms of influence.
A storyteller as much as a lonesome singer, Broonzy was
among the first performers to marry rough rural blues (like
Johnson's brand of Mississippi Delta moaning) with upscale jazzy
city blues (like Charles Brown's cocktail piano crooning). He began
his career as a violinist (a skill he learned from an uncle) and learned
from mentor Papa Charlie Jackson how to adapt those skills to the guitar.
As his obvious talent gradually turned him into a star, he moved to Chicago
and started hooking up with Memphis Slim, Brownie McGhee, John Lee "Son-
ny Boy" Williamson and Big Maceo; he also recorded for many different
labels, including Columbia, OKeh and Bluebird. Most refused to put
out "Black, Brown and White"--a powerful attack on racism with
the memorable tell-it-like-it-is chorus, "Get back," after
Broonzy wrote it in 1949; two years later, in France,
writer-critic Hugues Panassie and record company
officials helped him get it in circulation.
Broonzy's pockets of regional popularity coagulated into an adoring
national audience after he played John Hammond's From Spirituals to Swing
concert (as a replacement for Robert Johnson, who had just died) at New York
City's Carnegie Hall in 1938. Regular Chicago and southern gigs followed until
the 1950s, when Broonzy--along with peers Leadbelly, Josh White and Sonny Terry
and Brownie McGhee--became an avatar of the folk movement. While touring and
recording in Europe throughout the 1950s, he wrote a fascinating biography,
Big Bill Blues, with Danish writer Yannick Bruynoghe.
Because Broonzy was such a prolific writer and because so many different
big record companies put out his stuff, plenty of thorough CD collections doc-
ument various stages of his career. Most impressive include Good Time Tonight
(Columbia/Legacy, 1990, prod. various) [Rating: 5.0] , which spans 1930 to
1940 (including, of course, his classic "I Can't Be Satisfied");
Do That Guitar Rag (1928-35) (Yazoo, 1973) [Rating: 4.5] ; and Blues in the
Mississippi Night (Rykodisc, 1990) [Rating: 5.0] , a sometimes chilling 1946 Alan
Lomax-recorded no-holds-barred conversation between Broonzy, pianist Memphis
Slim and harpist Sonny Boy Williamson about racism in the South.
What to Buy Next:
Feelin' Low Down (GNP Crescendo, 1973) [Rating: 3.5]
Worth Searching For:
Big Bill's Blues (Portrait) [Rating: 5.0] captures Broonzy's
seriousness and humor as well as the spontaneity of his record-
ing process.
From:
MusicHound Blues:
The Essential Album Guide
By Steve Knopper
Copyright © 1998 Visible Ink Press
A division of Gale Research
Saturday, September 1, 2007
History of Sing Out! from 2000 interview http://www.wjffradio.org
Folk Plus - Saturday March 4, 2000
Telephone interview with Mark Moss, editor of Sing Out! Folk Song Magazine.
Mark Moss talks about Sing Out! before the 3/4/2000 airing of Folk Plus on WJFF, featuring the music reviewed in the current Winter 2000 issue of the magazine.
Angela: This is Mark Moss, editor of Sing Out! and thanks for joining us and kicking off this show. I'd love it if you could give a basic intro to the history of Sing Out!...
Mark: Sure. Well, Sing Out!'s story started actually a few years before Sing Out! did. In 1946 at the close of the Second World War, when a group of folks were coming back from serving in the various branches of the armed service (these included Pete Seeger, Woody Guthrie and that era of folkies) they wanted a way to keep in touch with each other when going their separate ways all across the country. So, they started an organization called "People's Songs", which was an arts cooperative along with Pete, Woody, Paul Robeson, Lena Horne, Carl Reiner and tons of people from all parts of the entertainment field. They also published a monthly newsletter called "People's Songs" which was a way of keeping in touch with each other and publishing traditional songs, political songs, labor songs, to share with the work they were doing. It evolved into a cooperatively run booking organization that if you needed a singer to come and be in a rally or something like that you'd call "People's Songs" and you'd get Pete, or Woody or Sonny Terry, or one of the hundreds of artists that participated in the group.
In 1949 "People's Songs", coming off the heels of work that they had done on the Wallace campaign in 1948 (Henry Wallace was the socialist candidate that year) and "People's Songs" had put a whole bunch of work into trying to help him get elected and were essentially bankrupt at the close of the election. By the time the next year rolled around, they were done. By December of 1949 they published the final issue of "People's Songs". But the membership that was somewhere between six hundred and a thousand people at that point said "Hey, wait a minute, we really want this magazine. This way to share songs, keep in touch and link/bridge for the community." So People's Artists, which is what the organization evolved into after the bankrupcy, May of 1950, published the first issue of a little magazine called Sing Out! which derived its name from the lyrics to a song by Pete Seeger and Lee Hays, two members of the Weavers called "Hammer Song" which 10 or 12 years later became a big hit for Peter Paul and Mary as "If I Had a Hammer". So that's really where Sing Out! came from.
As the 50's involved into the 60's with the folk boom or folk scare however you want refer to it, took over. Sing Out! rode that crest along with it and grew to have a circulation/readership of pretty close to 20,000 in it hey day. By the late 70's the editor of the magazine since just about its inception, a fellow by the name of Irwine Silver, decided he wanted to move on and do other things and sold the magazine to a cooperative of folks which included Mose Ashe of Folkway Records. There have been a long standing symbiotic relationship between Folkways and Sing Out! Happy Traum, Harold Leventhal, Manny Soloman from Vangaard Records, a whole group of people who were involved in the late 60's folk era. That group of people then passed the ownership of the magazine on to itself. They saw it as buying out Irwin and giving a magazine a way to continue on its own.
All these years, right through, cause Sing Out! never stopped publishing during these transitions, they always published lots of songs, running the gammit. I mean I heard the distance sort of, the intro to your show, and like you say, the definition of what folk music is, is extremely broad. Along with Child Ballads and traditional Appalachian Mountain tunes, Cajun music, bluegrass and blues and a lot of stuff that's easier to put under the folk umbrella. They also printed music from all around the world before there was a way to explain traditional music from other cultures as World Music. Before that nomanclature was there, Sing Out! was including that under the umbrella of what folk music was. Starting in 1950 they had an "international music" section to the magazine. Ian Anderson, who is the editor of Folk Roots, one of our sister publications, published out of England, says that the first time he ever heard African Music was on a little flexible plastic record that was included in an issue of Sing Out! magazine in the 1970's. Ian was one of the folks who actually got together and created the "World Music" slot for marketing African and Middle Eastern Music into record stores in Great Britain. So, that has always been what our mission was.
By the late 1970's early 1980's Sing Out! was having another fiscal crisis, very similar to what had occurred in 1949. This time, Pete was still involved in the magazine we had the benefit of him really having lived through the history of what had gone on before, Pete came to a group of us who were involved in the magazine and said "Look you can't just pack it in. We have to go to the readership of the magazine and say 'What do you wnat us to do' because maybe we can find a way to save this?" So for about 3 or 4 months, Pete and I co-edited a newsletter that went out to the approximately 2,000 members that were still readers subscribing to Sing Out! at that time.
Angela: What year was that?
Mark: That was 1982. We said "What would you like us to do? Is this important to you? Would you like us to keep it going?" Resoundingly, both with their voices and their wallets, they spoke and helped us pay off a sizeable back debt. We moved the operation to Pennsylvania, formed a non-profit tax-exempt corporation and started publishing in Pennsylvania in April of 1983. It has taken off since then. Today our readership is approaching the peak that Sing Out! had in the 1960's during the folk boom. We have a circulation of approaching 20,000 about a third of which are members of the organization and get every issue mailed to their house. Today we are quarterly. The magazine is a lot bigger than it used to be. Each issue is more than 200 pages. We have 6 feature articles in each issue. Columns from all kinds of folks, including Pete, who still writes a regular column for us, instrumental teach-ins.... I think the most important aspect of what Sing Out! does and what really sets us apart from other music magazines is that we publish 20 songs in each issue of the magazine with full lead sheets and lyrics for people to learn. I guess our fundamental 'raison d'etre" our mission statement for what we do as a non-profit is, that we want people to not just consume music but to make music. Have it be part of their daily lives. Sing a lullabye to your kid when you are putting him or her to sleep, get friends in together and make music in your kitchen or living room. Along with publishing Sing Out!, about 10 years ago we started a book publishing arm of the organization. The first book we put out was a book called "Rise up Singing" which was become enormously popular among group singing circles and people who like to make music in their homes. We sold nearly 3/4 of a million copies of that book.
Angela: Its a bible.
Mark: Yeah, a lot of people call it the blue bible. We also maintain a multi-media archive and resource centre of recordings and photos and newspaper clippings and books and magazines and anything related to the folk revival from the 1940's to the present in our offices here in Pennsylvania. We are working diligently to try to make more of it accessable through our website.
Angela: It is endless work. It's endless!
Mark: Yeah. But you know it beats digging ditches.
Angela: Well if people listening for the next two hours Mark, really have their interest peaked - never heard of Sing Out! before and don't get a copy, I was going to tell them the website.
Mark: www.Singout.org
Angela: Is there a toll free number also I believe.
Mark: There is, 888 SINGOUT. One of the new toll free exchanges. If you go to the website people will notice that there is a link right there to get a free sample issue of the magazine if they'd like to try it out.
Telephone interview with Mark Moss, editor of Sing Out! Folk Song Magazine.
Mark Moss talks about Sing Out! before the 3/4/2000 airing of Folk Plus on WJFF, featuring the music reviewed in the current Winter 2000 issue of the magazine.
Angela: This is Mark Moss, editor of Sing Out! and thanks for joining us and kicking off this show. I'd love it if you could give a basic intro to the history of Sing Out!...
Mark: Sure. Well, Sing Out!'s story started actually a few years before Sing Out! did. In 1946 at the close of the Second World War, when a group of folks were coming back from serving in the various branches of the armed service (these included Pete Seeger, Woody Guthrie and that era of folkies) they wanted a way to keep in touch with each other when going their separate ways all across the country. So, they started an organization called "People's Songs", which was an arts cooperative along with Pete, Woody, Paul Robeson, Lena Horne, Carl Reiner and tons of people from all parts of the entertainment field. They also published a monthly newsletter called "People's Songs" which was a way of keeping in touch with each other and publishing traditional songs, political songs, labor songs, to share with the work they were doing. It evolved into a cooperatively run booking organization that if you needed a singer to come and be in a rally or something like that you'd call "People's Songs" and you'd get Pete, or Woody or Sonny Terry, or one of the hundreds of artists that participated in the group.
In 1949 "People's Songs", coming off the heels of work that they had done on the Wallace campaign in 1948 (Henry Wallace was the socialist candidate that year) and "People's Songs" had put a whole bunch of work into trying to help him get elected and were essentially bankrupt at the close of the election. By the time the next year rolled around, they were done. By December of 1949 they published the final issue of "People's Songs". But the membership that was somewhere between six hundred and a thousand people at that point said "Hey, wait a minute, we really want this magazine. This way to share songs, keep in touch and link/bridge for the community." So People's Artists, which is what the organization evolved into after the bankrupcy, May of 1950, published the first issue of a little magazine called Sing Out! which derived its name from the lyrics to a song by Pete Seeger and Lee Hays, two members of the Weavers called "Hammer Song" which 10 or 12 years later became a big hit for Peter Paul and Mary as "If I Had a Hammer". So that's really where Sing Out! came from.
As the 50's involved into the 60's with the folk boom or folk scare however you want refer to it, took over. Sing Out! rode that crest along with it and grew to have a circulation/readership of pretty close to 20,000 in it hey day. By the late 70's the editor of the magazine since just about its inception, a fellow by the name of Irwine Silver, decided he wanted to move on and do other things and sold the magazine to a cooperative of folks which included Mose Ashe of Folkway Records. There have been a long standing symbiotic relationship between Folkways and Sing Out! Happy Traum, Harold Leventhal, Manny Soloman from Vangaard Records, a whole group of people who were involved in the late 60's folk era. That group of people then passed the ownership of the magazine on to itself. They saw it as buying out Irwin and giving a magazine a way to continue on its own.
All these years, right through, cause Sing Out! never stopped publishing during these transitions, they always published lots of songs, running the gammit. I mean I heard the distance sort of, the intro to your show, and like you say, the definition of what folk music is, is extremely broad. Along with Child Ballads and traditional Appalachian Mountain tunes, Cajun music, bluegrass and blues and a lot of stuff that's easier to put under the folk umbrella. They also printed music from all around the world before there was a way to explain traditional music from other cultures as World Music. Before that nomanclature was there, Sing Out! was including that under the umbrella of what folk music was. Starting in 1950 they had an "international music" section to the magazine. Ian Anderson, who is the editor of Folk Roots, one of our sister publications, published out of England, says that the first time he ever heard African Music was on a little flexible plastic record that was included in an issue of Sing Out! magazine in the 1970's. Ian was one of the folks who actually got together and created the "World Music" slot for marketing African and Middle Eastern Music into record stores in Great Britain. So, that has always been what our mission was.
By the late 1970's early 1980's Sing Out! was having another fiscal crisis, very similar to what had occurred in 1949. This time, Pete was still involved in the magazine we had the benefit of him really having lived through the history of what had gone on before, Pete came to a group of us who were involved in the magazine and said "Look you can't just pack it in. We have to go to the readership of the magazine and say 'What do you wnat us to do' because maybe we can find a way to save this?" So for about 3 or 4 months, Pete and I co-edited a newsletter that went out to the approximately 2,000 members that were still readers subscribing to Sing Out! at that time.
Angela: What year was that?
Mark: That was 1982. We said "What would you like us to do? Is this important to you? Would you like us to keep it going?" Resoundingly, both with their voices and their wallets, they spoke and helped us pay off a sizeable back debt. We moved the operation to Pennsylvania, formed a non-profit tax-exempt corporation and started publishing in Pennsylvania in April of 1983. It has taken off since then. Today our readership is approaching the peak that Sing Out! had in the 1960's during the folk boom. We have a circulation of approaching 20,000 about a third of which are members of the organization and get every issue mailed to their house. Today we are quarterly. The magazine is a lot bigger than it used to be. Each issue is more than 200 pages. We have 6 feature articles in each issue. Columns from all kinds of folks, including Pete, who still writes a regular column for us, instrumental teach-ins.... I think the most important aspect of what Sing Out! does and what really sets us apart from other music magazines is that we publish 20 songs in each issue of the magazine with full lead sheets and lyrics for people to learn. I guess our fundamental 'raison d'etre" our mission statement for what we do as a non-profit is, that we want people to not just consume music but to make music. Have it be part of their daily lives. Sing a lullabye to your kid when you are putting him or her to sleep, get friends in together and make music in your kitchen or living room. Along with publishing Sing Out!, about 10 years ago we started a book publishing arm of the organization. The first book we put out was a book called "Rise up Singing" which was become enormously popular among group singing circles and people who like to make music in their homes. We sold nearly 3/4 of a million copies of that book.
Angela: Its a bible.
Mark: Yeah, a lot of people call it the blue bible. We also maintain a multi-media archive and resource centre of recordings and photos and newspaper clippings and books and magazines and anything related to the folk revival from the 1940's to the present in our offices here in Pennsylvania. We are working diligently to try to make more of it accessable through our website.
Angela: It is endless work. It's endless!
Mark: Yeah. But you know it beats digging ditches.
Angela: Well if people listening for the next two hours Mark, really have their interest peaked - never heard of Sing Out! before and don't get a copy, I was going to tell them the website.
Mark: www.Singout.org
Angela: Is there a toll free number also I believe.
Mark: There is, 888 SINGOUT. One of the new toll free exchanges. If you go to the website people will notice that there is a link right there to get a free sample issue of the magazine if they'd like to try it out.
Friday, August 31, 2007
September Folk Birthdays
September Birthdays of Folk Musicians
2 Paul Bellows
4 David Broza
4 Joel RL Phelps
5 Mary Ellen Bernard
5 John Stewart
5 Louden Wainwright III
6 Peter Mulvey
8 Jimmie Rodgers
10 Terry Kitchen
11 Leo Kottke
13 55 Don Conoscenti
14 Dougie MacLean
16 Maura O'Connell
17 48 Michael Hough Mustard's Retreat
19 Keith Grimwood Trout Fishing in America
19 41 Mama Cass Elliot
20 60 Dave Hemingway Beautiful South
23 Ani Difranco
23 4 Bruce Springsteen
26 Eddie Hartness Eddie From Ohio
29 07 Gene Autry
-Lee Larcheveque
2 Paul Bellows
4 David Broza
4 Joel RL Phelps
5 Mary Ellen Bernard
5 John Stewart
5 Louden Wainwright III
6 Peter Mulvey
8 Jimmie Rodgers
10 Terry Kitchen
11 Leo Kottke
13 55 Don Conoscenti
14 Dougie MacLean
16 Maura O'Connell
17 48 Michael Hough Mustard's Retreat
19 Keith Grimwood Trout Fishing in America
19 41 Mama Cass Elliot
20 60 Dave Hemingway Beautiful South
23 Ani Difranco
23 4 Bruce Springsteen
26 Eddie Hartness Eddie From Ohio
29 07 Gene Autry
-Lee Larcheveque
Thursday, August 30, 2007
Thanks to Dan Riles and Broadside Electric
http://www.broadside.org/contents.html
A contemporary band out of Philadelphia PA
who playing some of my fave music with great gusto!
A contemporary band out of Philadelphia PA
who playing some of my fave music with great gusto!
Sunday, August 26, 2007
English Folk -video suggestions from 2007 backwards
http://youtube.com/watch?v=EbdTHqlZMZI
http://youtube.com/watch?v=mEMjZ_fCb4k
below Eliza Carthy and the Ratcatchers at the Wath Folk Festival 2007 and more
"This was videoed at Maidstone in 1970 just behind my old school at Oakwood Park. I was in the audience and several kids from my school can be seen dancing. How young we were.
I've renamed this as I hope to upload the rest of the video in parts. Part is here:
http://www.youtube.com/watch?v=H4_Qna..."
http://youtube.com/watch?v=mEMjZ_fCb4k
below Eliza Carthy and the Ratcatchers at the Wath Folk Festival 2007 and more
"This was videoed at Maidstone in 1970 just behind my old school at Oakwood Park. I was in the audience and several kids from my school can be seen dancing. How young we were.
I've renamed this as I hope to upload the rest of the video in parts. Part is here:
http://www.youtube.com/watch?v=H4_Qna..."
Looks like a "home video" Steeleye Span and Martin Carthy
Here they are playing in someone's living room-1970
English folk - where to start
For information on the English Folk Revival, a HUGE topic take a look at http://eds.efdss.org/
English Dance & Song exists to interest, inform and stimulate the membership of the EFDSS, as well as the wider folk music and dance community.
The range of interests include traditional song, traditional dance (social, display, ceremonial), traditional music, custom and children's games. The geographical spread is not confined to England, but may also include Scotland, Wales and Ireland; as well as the USA, and other areas of the world which may be appropriate.
Some names to check out: Maddy Prior, June Tabor, Ceilidh Minogue, Lau, the Musical Tradition’s Meeting’s a Pleasure CDs, Mary Humphreys & Anahata, Cyril Tawney, Alison McMorland & Geordie McIntyre, Fernhill, All Jigged Out, The Watersons.
The ‘rediscovery’ of English folk song has taken place in two (not entirely discrete) waves. The first gathered momentum in the last decades of the nineteenth century and flourished in the early part of the twentieth. This ‘first’ revival arose out of a desire to collect and preserve what was held to be archetypically English song. The ‘second’ (post-war) folk revival has made extensive use of the materials collected in the first revival, but has also in part been a reaction to the way in which the earlier collectors selectively edited their material and arranged it for a more middle-class audience.
Information on the post-war revival can also be gleaned from the pages of magazines such as Folk Review, Sing, Spin, and more recently Folk Roots and The Living Tradition.
English Dance & Song exists to interest, inform and stimulate the membership of the EFDSS, as well as the wider folk music and dance community.
The range of interests include traditional song, traditional dance (social, display, ceremonial), traditional music, custom and children's games. The geographical spread is not confined to England, but may also include Scotland, Wales and Ireland; as well as the USA, and other areas of the world which may be appropriate.
Some names to check out: Maddy Prior, June Tabor, Ceilidh Minogue, Lau, the Musical Tradition’s Meeting’s a Pleasure CDs, Mary Humphreys & Anahata, Cyril Tawney, Alison McMorland & Geordie McIntyre, Fernhill, All Jigged Out, The Watersons.
The ‘rediscovery’ of English folk song has taken place in two (not entirely discrete) waves. The first gathered momentum in the last decades of the nineteenth century and flourished in the early part of the twentieth. This ‘first’ revival arose out of a desire to collect and preserve what was held to be archetypically English song. The ‘second’ (post-war) folk revival has made extensive use of the materials collected in the first revival, but has also in part been a reaction to the way in which the earlier collectors selectively edited their material and arranged it for a more middle-class audience.
Information on the post-war revival can also be gleaned from the pages of magazines such as Folk Review, Sing, Spin, and more recently Folk Roots and The Living Tradition.
Friday, August 24, 2007
Notes from AUG 23rd More video for PP&M
Thanks for the calls and emails.
We are having a blast doing this show and
appreciate your support. Someone asked about the Willie Dixon quote I mangled:
“The blues are the roots and the other musics are the fruits. It’s better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues.”
Willie Dixon (bass, vocals; born July 1, 1915, died January 29, 1992)
Willie Dixon has been called “the poet laureate of the blues” and “the father of modern Chicago blues.” He was indisputably the pre-eminent blues songwriter of his era, credited with writing more than 500 songs by the end of his life.
And "Love Has No Pride" covered so beautifully by Bonnie Raitt and Linda Ronstadt
was written by Eric Kaz and Libby Titus
Here are the links for PP&M videos:
http://youtube.com/watch?v=R0bFTq0Ivgk
http://www.youtube.com/watch?v=rPnLK1WnXxg
http://www.youtube.com/watch?v=iw4xAvm_DXE
We are having a blast doing this show and
appreciate your support. Someone asked about the Willie Dixon quote I mangled:
“The blues are the roots and the other musics are the fruits. It’s better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues.”
Willie Dixon (bass, vocals; born July 1, 1915, died January 29, 1992)
Willie Dixon has been called “the poet laureate of the blues” and “the father of modern Chicago blues.” He was indisputably the pre-eminent blues songwriter of his era, credited with writing more than 500 songs by the end of his life.
And "Love Has No Pride" covered so beautifully by Bonnie Raitt and Linda Ronstadt
was written by Eric Kaz and Libby Titus
Here are the links for PP&M videos:
http://youtube.com/watch?v=R0bFTq0Ivgk
http://www.youtube.com/watch?v=rPnLK1WnXxg
http://www.youtube.com/watch?v=iw4xAvm_DXE
Saturday, August 18, 2007
PP&M sing Dylan @ the Newport Folk Festival 1964
Some fabulous video on youtube, just type in Peter Paul and Mary.
Peter Paul and Mary - today and early days
Latest info from wikipedia
The trio broke up in 1970 to pursue solo careers, but found little of the success they had experienced as a group, although Stookey's "The Wedding Song (There is Love)" (written for Yarrow's marriage to Marybeth McCarthy, the niece of senator Eugene McCarthy) was a hit and has become a wedding standard since its 1971 release.
In 1978, they reunited for a concert to protest nuclear energy, and have recorded albums together and toured since. They currently play around 45 shows a year.[1]
The group was inducted into the Vocal Group Hall of Fame in 1999.
In 2004, Travers was diagnosed with leukemia, leading to the cancellation of the remaining tour dates for that year. She received a bone marrow transplant and is recovering. She and the rest of the trio resumed their concert tour on December 9, 2005 with a holiday performance at Carnegie Hall.
Peter, Paul and Mary received the Sammy Cahn Lifetime Achievement Award from Songwriters Hall of Fame in 2006.
The trio sang in Mitchell, South Dakota, George and Eleanor McGovern Library and Center for Leadership dedication concert on October 5, 2006.
Recently the trio had to cancel several dates of their summer 2007 tour, as Mary took longer than expected to recover from back surgery. [2] They will make up at least one of the dates, at the Northfork Theatre (formerly Westbury Music Fair) in December 2007.
from http://www.classicbands.com/ppm.html
The trio of Peter, Paul & Mary were launched during an unusually creative period in popular music. Peter Yarrow, who had come to Greenwich Village with a psychology degree from Cornell, recalls that, "The Village in the early 1960s was a crucible of creativity. Involvement in music was a matter of joyous discovery, not a business. We knew that folk music was having an enormous impact in the Village, but was a couple of years away from being embraced on a national scale."
At the same time, the Village was a starting place for Noel Paul Stookey, a fledgling stand-up comic from Michigan State University. He met up with Peter and independently, Mary Travers, who was already known for her work in the "Song Swappers", a folk group that had recorded with Peter Seeger. Having grown up in the Village, the flaxen-haired singer was a familiar figure at the Washington Square Sunday singing event. The three decided to work together, encouraged by the folk impresario, Albert Grossman, who became their manager.
After rehearsing for seven months in Travers' three flight walk-up apartment, Peter, Paul & Mary premiered at the Bitter End in 1961, and then played at other seminal folk clubs like the Chicago "Gate of Horn" and San Francisco's "Hungry I". Following their appearance at the famed "Blue Angel" nightclub in New York, they embarked on a rigorous touring schedule that lasted nearly ten straight years.
1962 marked the trio's debut on Warner Brothers Records with "Peter, Paul and Mary" which brought folk music to the vast American public and to the top of the charts. As Billboard Magazine noted, "It became an instant classic. The album was in the Top 10 for ten months, remained in the Top 20 for two years, and did not drop off the Hot 100 album chart until three-and-a-half years after its release." The trio's version of "If I Had A Hammer" was not only a popular single from this LP, it was also embraced as an anthem of the civil rights movement.
This success marked the beginning of an incredibly influential time for Peter, Paul & Mary, and for the contemporary urban folk tradition which they personified. In the third week of November 1963, they had 3 albums on the Billboard Top 6. Also in '63, their recording of "Puff, The Magic Dragon" written by Peter Yarrow and Leonard Lipton won the hearts of millions, while their recording of "Blowin' In The Wind" helped introduce a fellow Village songwriter named Bob Dylan. It was folk music that was to spark the imagination and the passion of a generation intent on social change.
The song, "Puff, The Magic Dragon" was actually the center of controversy when it was first released. At the time, the drug culture was making headlines and some radio stations mis-took the lyrics and refused to play the song. Years later, Paul Stookie laughed as he explained that the song is the story of a little boy growing up and had nothing at all to do with marijuana.
But Peter, Paul & Mary did more in those times than chronicle events; they lived their songs. They stood with Dr. Martin Luther King, Jr. in Selma and in Washington. They were deeply involved in the anti-Vietnam War crusade, consistently performing at demonstrations, fund-raisers and "teach-ins." In 1969, Yarrow co-organized the March On Washington, and Peter, Paul & Mary sang before the half-million people who had come together for that landmark event.
By virtue of the trio's popularity, their recordings effectively introduced the work of important new writing talents to the American public. Their renditions of Gordon Lightfoot's "In The Early Morning Rain" and John Denver's "Leaving On A Jet Plane," engineered by the legendary Phil Ramone, helped launch an appreciation and awareness of these "new" artists. By 1970, Peter, Paul & Mary had earned eight gold and five platinum albums.
The trio broke up in 1970 to pursue solo careers, but found little of the success they had experienced as a group, although Stookey's "The Wedding Song (There is Love)" (written for Yarrow's marriage to Marybeth McCarthy, the niece of senator Eugene McCarthy) was a hit and has become a wedding standard since its 1971 release.
In 1978, they reunited for a concert to protest nuclear energy, and have recorded albums together and toured since. They currently play around 45 shows a year.[1]
The group was inducted into the Vocal Group Hall of Fame in 1999.
In 2004, Travers was diagnosed with leukemia, leading to the cancellation of the remaining tour dates for that year. She received a bone marrow transplant and is recovering. She and the rest of the trio resumed their concert tour on December 9, 2005 with a holiday performance at Carnegie Hall.
Peter, Paul and Mary received the Sammy Cahn Lifetime Achievement Award from Songwriters Hall of Fame in 2006.
The trio sang in Mitchell, South Dakota, George and Eleanor McGovern Library and Center for Leadership dedication concert on October 5, 2006.
Recently the trio had to cancel several dates of their summer 2007 tour, as Mary took longer than expected to recover from back surgery. [2] They will make up at least one of the dates, at the Northfork Theatre (formerly Westbury Music Fair) in December 2007.
from http://www.classicbands.com/ppm.html
The trio of Peter, Paul & Mary were launched during an unusually creative period in popular music. Peter Yarrow, who had come to Greenwich Village with a psychology degree from Cornell, recalls that, "The Village in the early 1960s was a crucible of creativity. Involvement in music was a matter of joyous discovery, not a business. We knew that folk music was having an enormous impact in the Village, but was a couple of years away from being embraced on a national scale."
At the same time, the Village was a starting place for Noel Paul Stookey, a fledgling stand-up comic from Michigan State University. He met up with Peter and independently, Mary Travers, who was already known for her work in the "Song Swappers", a folk group that had recorded with Peter Seeger. Having grown up in the Village, the flaxen-haired singer was a familiar figure at the Washington Square Sunday singing event. The three decided to work together, encouraged by the folk impresario, Albert Grossman, who became their manager.
After rehearsing for seven months in Travers' three flight walk-up apartment, Peter, Paul & Mary premiered at the Bitter End in 1961, and then played at other seminal folk clubs like the Chicago "Gate of Horn" and San Francisco's "Hungry I". Following their appearance at the famed "Blue Angel" nightclub in New York, they embarked on a rigorous touring schedule that lasted nearly ten straight years.
1962 marked the trio's debut on Warner Brothers Records with "Peter, Paul and Mary" which brought folk music to the vast American public and to the top of the charts. As Billboard Magazine noted, "It became an instant classic. The album was in the Top 10 for ten months, remained in the Top 20 for two years, and did not drop off the Hot 100 album chart until three-and-a-half years after its release." The trio's version of "If I Had A Hammer" was not only a popular single from this LP, it was also embraced as an anthem of the civil rights movement.
This success marked the beginning of an incredibly influential time for Peter, Paul & Mary, and for the contemporary urban folk tradition which they personified. In the third week of November 1963, they had 3 albums on the Billboard Top 6. Also in '63, their recording of "Puff, The Magic Dragon" written by Peter Yarrow and Leonard Lipton won the hearts of millions, while their recording of "Blowin' In The Wind" helped introduce a fellow Village songwriter named Bob Dylan. It was folk music that was to spark the imagination and the passion of a generation intent on social change.
The song, "Puff, The Magic Dragon" was actually the center of controversy when it was first released. At the time, the drug culture was making headlines and some radio stations mis-took the lyrics and refused to play the song. Years later, Paul Stookie laughed as he explained that the song is the story of a little boy growing up and had nothing at all to do with marijuana.
But Peter, Paul & Mary did more in those times than chronicle events; they lived their songs. They stood with Dr. Martin Luther King, Jr. in Selma and in Washington. They were deeply involved in the anti-Vietnam War crusade, consistently performing at demonstrations, fund-raisers and "teach-ins." In 1969, Yarrow co-organized the March On Washington, and Peter, Paul & Mary sang before the half-million people who had come together for that landmark event.
By virtue of the trio's popularity, their recordings effectively introduced the work of important new writing talents to the American public. Their renditions of Gordon Lightfoot's "In The Early Morning Rain" and John Denver's "Leaving On A Jet Plane," engineered by the legendary Phil Ramone, helped launch an appreciation and awareness of these "new" artists. By 1970, Peter, Paul & Mary had earned eight gold and five platinum albums.
Thanks, all! for helping the show grow. AUG 16th
Big shout out to our friend and excellent storyteller, Libby Franck who opened up her home and extensive LP collection to the Folk Revival. Libby also has a collection of drinking songs she'd love to *gift* to anyone who would transfer them to CD or other digital media. Contact me if you are interested in this 30 volume collection. We will be able to do a Judy Collins feature and more with these valuable additions to the WICN library. Thanks Libby. http://www.libbyfranck.com/
Also a thanks is due to another great storyteller and folk enthusiast,Tony Toledo for fine collection of tunes from Island records. Tony has been volunteering at the Me and Thee Coffee house since the Salem Witch Trials ended. We will be featuring music of the British folk revival soon. http://www.tonytoledo.com/
Thanks to Magpie for an mp3 of one of my favorite songs and now our sign off song; "Its a Pleasure to Know You" and great collection of CDs of their work. http://www.magpiemusic.com/
And lastly, thanks to Klonakilty for their mp3s, from their
album Symbiosis used on our Joni Mitchell feature. http://www.klonakilty.com/
Also a thanks is due to another great storyteller and folk enthusiast,Tony Toledo for fine collection of tunes from Island records. Tony has been volunteering at the Me and Thee Coffee house since the Salem Witch Trials ended. We will be featuring music of the British folk revival soon. http://www.tonytoledo.com/
Thanks to Magpie for an mp3 of one of my favorite songs and now our sign off song; "Its a Pleasure to Know You" and great collection of CDs of their work. http://www.magpiemusic.com/
And lastly, thanks to Klonakilty for their mp3s, from their
album Symbiosis used on our Joni Mitchell feature. http://www.klonakilty.com/
Thursday, August 16, 2007
Friday, August 10, 2007
Find more about Arlo Guthrie
To find more about Arlo Guthrie check out his site: http://arlo.net/
Below: a young Arlo sings in Woodstock NY circa 1970?
Deportees - Arlo with Emmylou Harris
The words of the song are Woody Guthrie's...
"The song, as he wrote it, was virtually without music -- Woody chanted the words -- and wasn't performed publicly until a decade later when a schoolteacher named Martin Hoffman added a beautiful melody and Pete Seeger began singing it in concerts..."
Joe Klein, Woody Guthrie: A Life, London, 1981, pp. 349-350.
Below: a young Arlo sings in Woodstock NY circa 1970?
Deportees - Arlo with Emmylou Harris
The words of the song are Woody Guthrie's...
"The song, as he wrote it, was virtually without music -- Woody chanted the words -- and wasn't performed publicly until a decade later when a schoolteacher named Martin Hoffman added a beautiful melody and Pete Seeger began singing it in concerts..."
Joe Klein, Woody Guthrie: A Life, London, 1981, pp. 349-350.
Arlo Guthrie - hits the scene
Great videos available at youtube but we are not allowed to embed them here
Young Arlo sings Motorcycle song:
http://youtube.com/watch?v=g266Uwp6ZnI
And below, Arlo in 2005 sings Alice's Restaurant -
just a teaser here, the whole song is at youtube
http://youtube.com/watch?v=5_7C0QGkiVo
The son of legendary folk artist Woody Guthrie, Arlo appeared at the 1969 Woodstock festival enjoys a long career playing folk music. Discography for Arlo:
* Alice's Restaurant (1967)
* Arlo (1968)
* Running Down the Road (1969)
* Washington County (1970)
* Hobo's Lullaby (1972)
* Last of the Brooklyn Cowboys (1973)
* Arlo Guthrie (1974)
* Together In Concert (1975)
* Amigo (1976)
* The Best of Arlo Guthrie (1977)
* One Night (1978)
* Outlasting the Blues (1979)
* Power Of Love (1981)
* Precious Friend (1982)
* Someday (1986)
* All Over the World (1991)
* Son of the Wind (1992)
* 2 Songs (1992)
* More Together Again (1994)
* Mystic Journey (1996)
* Alice's Restaurant - The Massacree Revisited (1997)
* "Bouncing Around the Room" on Sharin' in the Groove (2001)
* Live In Sydney (2005)
Arlo's Alice's Restaurant Massacree is an 18 minute folk/talking blues satire on the Vietnam War draft and anti-hippie prejudice, and is based on a true story. Set 1965, it begins with Guthrie's arrest for illegally dumping garbage from the titular restaurant, and 17 minutes later, after many twists and turns, ends up being judged unfit for military service due to his criminal record. A rather amusing anecdote related to the song was that when Guthrie had heard that Richard Nixon was a fan of the song, he suggested that this explained the famous 16 and a half minute gap in the Watergate tapes.
In recent years, Mr. Guthrie has released new music, but he's also remained true to his roots. In 1997, Rounder Records released a new version of Woody Guthrie's classic "This Land is Your Land," pairing his voice with that of his late father. The album was nominated for a Grammy Award. He also released "32¢," a compilation of Woody Guthrie tunes with special guests including The Dillards and his own children, Abe, Cathy, Annie and Sarah Lee Guthrie. Abe and Sarah Lee Guthrie will be among the musicians backing their dad at his Fairfield University performance.
Mr. Guthrie believes his audience enjoys the combination of new musical challenges and the comfort of nostalgia.
"I think most people think of me as the happy hippie of the 60's, and that's fine," he told The New York Times. "I think we stood up for the right stuff, and many of us still do."
Over the years, Mr. Guthrie has toured extensively in the United States, Canada and Europe, winning fans for both his musicianship and the thoughtful tales and wry anecdotes he folds into his shows. He has also created a program of symphonic arrangements of his own songs and other American classics that he performs with orchestras across the country.
In 1983, Mr. Guthrie launched his own record label, Rising Son Records. The label offers his complete catalogue of more than two dozen albums, including "Alice's Restaurant: The Massacree Revisited," a 30th anniversary re-recording of the original album with an updated version of the title track.
In 1991, Mr. Guthrie found another way to preserve the spirit of the song: He purchased Trinity Church, the Massachusetts setting for "Alice's Restaurant." On the consecrated site, he's created two not-for-profit organizations to honor his father, who died in 1967 of Huntington's Disease. The Guthrie Center is an interfaith church foundation dedicated to a wide range of community services, including HIV/AIDS referral, art and music classes for children recovering from abuse and a lecture series. The Guthrie Foundation addresses issues of our time, such as education, healthcare, the environment and cultural exchange.
"I was raised in a family whose philosophy was to try to make the world better, and if you can't make it better, at least don't make it worse," Mr. Guthrie told the Washington newspaper The Olympian.
Young Arlo sings Motorcycle song:
http://youtube.com/watch?v=g266Uwp6ZnI
And below, Arlo in 2005 sings Alice's Restaurant -
just a teaser here, the whole song is at youtube
http://youtube.com/watch?v=5_7C0QGkiVo
The son of legendary folk artist Woody Guthrie, Arlo appeared at the 1969 Woodstock festival enjoys a long career playing folk music. Discography for Arlo:
* Alice's Restaurant (1967)
* Arlo (1968)
* Running Down the Road (1969)
* Washington County (1970)
* Hobo's Lullaby (1972)
* Last of the Brooklyn Cowboys (1973)
* Arlo Guthrie (1974)
* Together In Concert (1975)
* Amigo (1976)
* The Best of Arlo Guthrie (1977)
* One Night (1978)
* Outlasting the Blues (1979)
* Power Of Love (1981)
* Precious Friend (1982)
* Someday (1986)
* All Over the World (1991)
* Son of the Wind (1992)
* 2 Songs (1992)
* More Together Again (1994)
* Mystic Journey (1996)
* Alice's Restaurant - The Massacree Revisited (1997)
* "Bouncing Around the Room" on Sharin' in the Groove (2001)
* Live In Sydney (2005)
Arlo's Alice's Restaurant Massacree is an 18 minute folk/talking blues satire on the Vietnam War draft and anti-hippie prejudice, and is based on a true story. Set 1965, it begins with Guthrie's arrest for illegally dumping garbage from the titular restaurant, and 17 minutes later, after many twists and turns, ends up being judged unfit for military service due to his criminal record. A rather amusing anecdote related to the song was that when Guthrie had heard that Richard Nixon was a fan of the song, he suggested that this explained the famous 16 and a half minute gap in the Watergate tapes.
In recent years, Mr. Guthrie has released new music, but he's also remained true to his roots. In 1997, Rounder Records released a new version of Woody Guthrie's classic "This Land is Your Land," pairing his voice with that of his late father. The album was nominated for a Grammy Award. He also released "32¢," a compilation of Woody Guthrie tunes with special guests including The Dillards and his own children, Abe, Cathy, Annie and Sarah Lee Guthrie. Abe and Sarah Lee Guthrie will be among the musicians backing their dad at his Fairfield University performance.
Mr. Guthrie believes his audience enjoys the combination of new musical challenges and the comfort of nostalgia.
"I think most people think of me as the happy hippie of the 60's, and that's fine," he told The New York Times. "I think we stood up for the right stuff, and many of us still do."
Over the years, Mr. Guthrie has toured extensively in the United States, Canada and Europe, winning fans for both his musicianship and the thoughtful tales and wry anecdotes he folds into his shows. He has also created a program of symphonic arrangements of his own songs and other American classics that he performs with orchestras across the country.
In 1983, Mr. Guthrie launched his own record label, Rising Son Records. The label offers his complete catalogue of more than two dozen albums, including "Alice's Restaurant: The Massacree Revisited," a 30th anniversary re-recording of the original album with an updated version of the title track.
In 1991, Mr. Guthrie found another way to preserve the spirit of the song: He purchased Trinity Church, the Massachusetts setting for "Alice's Restaurant." On the consecrated site, he's created two not-for-profit organizations to honor his father, who died in 1967 of Huntington's Disease. The Guthrie Center is an interfaith church foundation dedicated to a wide range of community services, including HIV/AIDS referral, art and music classes for children recovering from abuse and a lecture series. The Guthrie Foundation addresses issues of our time, such as education, healthcare, the environment and cultural exchange.
"I was raised in a family whose philosophy was to try to make the world better, and if you can't make it better, at least don't make it worse," Mr. Guthrie told the Washington newspaper The Olympian.
Thursday, August 9, 2007
Covered...songs of Joni Mitchell
Just read about Herbie Hancock's upcoming Joni tribute project. The album is titled "River - The Joni Letters" and will feature some of the biggest names in pop and jazz music. Expected release is September 25th, 2007. Meanwhile at
http://jonimitchell.com
Find out all the news and stats like how many times Joni's songs have been covered:
1) Both Sides Now (537 times)
2) Big Yellow Taxi (196)
3) Woodstock (158)
4) The Circle Game (131)
5) River (128)
6) A Case Of You (104)
7) Chelsea Morning (76)
8) Urge For Going (55)
9) All I Want (50)
10) Carey (45)
http://jonimitchell.com
Find out all the news and stats like how many times Joni's songs have been covered:
1) Both Sides Now (537 times)
2) Big Yellow Taxi (196)
3) Woodstock (158)
4) The Circle Game (131)
5) River (128)
6) A Case Of You (104)
7) Chelsea Morning (76)
8) Urge For Going (55)
9) All I Want (50)
10) Carey (45)
Friday, August 3, 2007
Urge for Going in 1966 in Canada ~ An Arrival at the Revival
In 1965 Dylan had already plugged in and dropped out and the great folk boom of the 1960s was on the wane when Joni Mitchell moved to NYC and later played at the Newport Folk Festival. To learn more check out a great fan site @ www.jonimitchell.com.
And no, I didn't know Joni was going to be a Starbucks featured artist when I planned this feature. *sigh* Simply, Joni has one of my favorite folk acoustic sounds and embodies the morph of folk into the next phase. And then there is the "visual artist" connection.
Before she was Joni Mitchell she was Joni Anderson of Saskatoon, the fair young maid of Canadian folk music singing on the Oscar Brandt hootenany show, Let's Sing Out. "Born to Take the Highway" is unreleased elsewhere, as far as I know. Glimpses of the late Dave Van Ronk, Tom and Harry Chapin and the now octogenarian Oscar Brandt are found here. Oscar still hosts a radio show every week out of New York .
And no, I didn't know Joni was going to be a Starbucks featured artist when I planned this feature. *sigh* Simply, Joni has one of my favorite folk acoustic sounds and embodies the morph of folk into the next phase. And then there is the "visual artist" connection.
Before she was Joni Mitchell she was Joni Anderson of Saskatoon, the fair young maid of Canadian folk music singing on the Oscar Brandt hootenany show, Let's Sing Out. "Born to Take the Highway" is unreleased elsewhere, as far as I know. Glimpses of the late Dave Van Ronk, Tom and Harry Chapin and the now octogenarian Oscar Brandt are found here. Oscar still hosts a radio show every week out of New York .
Joni Mitchell, singer songwriter
from
http://jonimitchell.com/
1968-1970 Emerging Popular Artist
I came to the city
And lived like old Crusoe
On an island of noise
In a cobblestone sea
And the beaches were concrete
And the stars paid a light bill
And the blossoms hung false
On their store window trees...
http://jonimitchell.com/
1968-1970 Emerging Popular Artist
 |
| Photo by Mark Roth |
And lived like old Crusoe
On an island of noise
In a cobblestone sea
And the beaches were concrete
And the stars paid a light bill
And the blossoms hung false
On their store window trees...
Joni Mitchell moved to New York City in 1967, and took up residence in the arty Chelsea district. She met Elliot Roberts in the fall and he began to manage her career, helping to open up the circuit for her in New York City.
While performing at a club in Florida, Joni met ex-Byrds member David Crosby, who was quite taken with her. David was a great help in convincing the record company to agree to let Joni record a solo acoustic album without all the folk-rock overdubs that were in vogue at the time.
His clout earned him a producer's credit in March 1968, when Reprise records released her debut album. She continued her steady touring to promote the LP, and that stimulus, in addition to the performers who were covering her songs and exposing her to bigger and bigger audiences as a major "songwriter," was causing a major buzz. At Elliot's suggestion, she moved to southern California late in 1967, and moved in with David, who became an enthusiastic promoter of Joni's and had her play at the homes of his Hollywood friends, where she got noticed by press and radio people, who in turn wrote and spoke of her talent.
 |
| Joni with David Crosby and Eric Clapton |
She played the Troubadour in L.A., getting raves from the crowds and critics; she was also a big hit in London at the Royal Festival Hall in September, and at the Miami Pop Festival on the last weekend of 1968. Accompaning her at the fest was Hollies singer-songwriter Graham Nash, whom Joni had met through their mutual friend, David Crosby.
Also in December of '68, Judy Collins version of "Both Sides Now" peaked in the national music charts top ten, and brought Joni "lots of those little royalty pennies." This songwriting success helped create an eager anticipation for Joni's second LP, "Clouds", which was released in April '69. It contained Joni's own versions of songs already recorded and being performed by other artists; "Chelsea Morning,""Both Sides Now", and "Tin Angel."
Joni's concert at Carnegie Hall in February, and a later show in Berkeley, CA were recorded for a live album, but the project was shelved in favor of a third LP of original studio performances.
 |
| Promotional Headshot from Elliot Roberts' Ashley Famous Agency, Inc. |
I've looked at life from both sides now
From win and lose and still somehow
It's life's illusions I recall
I really don't know life at all...
She moved to Laurel Canyon, L.A. with Graham, purchasing a small house where they lived with "two cats in the yard..."
Saturday, July 28, 2007
Bob Dylan featured tonight AUG 2 ~ Bob Dylan today
Featuring early Bob Dylan tonight on PASTURES OF PLENTY
@WICN 90.5FM and wicn.org.
Dylan in his own voice and many of the other voices
who covered his songs, right up to a Nod to Bob, a
tribute album created in honor of his 60th birthday.
Blowin' In the Wind hit the airwaves
and the culture like only a few other "folk songs". Today, it may
sound dated and weak. So ubiquitous - like summer camp or elevator music.
But in its time, it was revolutionary. See him for yourself.
Check out youtube for more
Below is rare footage of Bob Dylan singing
Blowin' In the Wind from a TV appearance
on Folk Songs And More Folk Songs; WBC TV May 1963"
Currently, Bob Dylan hosts a radio show started in May 2006 called Theme Time Radio Hour, for XM Satellite Radio BBC Radio 2 commenced transmission of Dylan's radio show in the UK on December 23, 2006, and BBC 6 Music started carrying it in January 2007. The show has been praised by fans and critics for the way that Dylan conveys his eclectic musical taste and for his eccentric humor After 50 successful shows, a second season of Theme Time Radio Hour was commissioned to begin in September 2007.[ A new original Dylan song, "Huck's Tune", written and recorded for the soundtrack to the film Lucky You, was released on April 24, 2007. Dylan commenced the 2007 installment of his "Never Ending Tour" with concert dates in Europe in the spring, followed by Canada and the USA, and performing in Australia and New Zealand in the fall.
Dylan has played roughly 100 dates a year for the entirety of the 1990s and the 2000s and Dylan keeps the music unpredictable night after night. For a two and a half year period, between 2003 and 2006, Dylan ceased playing guitar, and stuck to the keyboard during concerts. Dylan chooses songs from throughout his long career, seldom playing the same set twice. However most of his tours have some staple songs, in particular his biggest hits including songs such as "Like a Rolling Stone" and "All Along the Watchtower
Here is Hurricane Carter:
http://youtube.com/watch?v=2-xIulyVsG8
@WICN 90.5FM and wicn.org.
Dylan in his own voice and many of the other voices
who covered his songs, right up to a Nod to Bob, a
tribute album created in honor of his 60th birthday.
Blowin' In the Wind hit the airwaves
and the culture like only a few other "folk songs". Today, it may
sound dated and weak. So ubiquitous - like summer camp or elevator music.
But in its time, it was revolutionary. See him for yourself.
Check out youtube for more
Below is rare footage of Bob Dylan singing
Blowin' In the Wind from a TV appearance
on Folk Songs And More Folk Songs; WBC TV May 1963"
Currently, Bob Dylan hosts a radio show started in May 2006 called Theme Time Radio Hour, for XM Satellite Radio BBC Radio 2 commenced transmission of Dylan's radio show in the UK on December 23, 2006, and BBC 6 Music started carrying it in January 2007. The show has been praised by fans and critics for the way that Dylan conveys his eclectic musical taste and for his eccentric humor After 50 successful shows, a second season of Theme Time Radio Hour was commissioned to begin in September 2007.[ A new original Dylan song, "Huck's Tune", written and recorded for the soundtrack to the film Lucky You, was released on April 24, 2007. Dylan commenced the 2007 installment of his "Never Ending Tour" with concert dates in Europe in the spring, followed by Canada and the USA, and performing in Australia and New Zealand in the fall.
Dylan has played roughly 100 dates a year for the entirety of the 1990s and the 2000s and Dylan keeps the music unpredictable night after night. For a two and a half year period, between 2003 and 2006, Dylan ceased playing guitar, and stuck to the keyboard during concerts. Dylan chooses songs from throughout his long career, seldom playing the same set twice. However most of his tours have some staple songs, in particular his biggest hits including songs such as "Like a Rolling Stone" and "All Along the Watchtower
Here is Hurricane Carter:
http://youtube.com/watch?v=2-xIulyVsG8
Sunday, July 15, 2007
Happy Birthday Folk of AUGUST
Who else can we wish a happy birthday to?
8/1 Gerry Garcia
8/3 Richard Shindell
8/6 Elliott Smith
8/8 Darryl Purpose
8/12 Peter Ostroushko
8/13 Dave Carter
8/13 Dan Fogelberg
8/14 Jennifer Kimball
8/17 Rod MacDonald
8 /0 John Hiatt
8/21 Kenny Rogers
8/22 Tori Amos
8/23 Eliza Carthy
8/1 Gerry Garcia
8/3 Richard Shindell
8/6 Elliott Smith
8/8 Darryl Purpose
8/12 Peter Ostroushko
8/13 Dave Carter
8/13 Dan Fogelberg
8/14 Jennifer Kimball
8/17 Rod MacDonald
8 /0 John Hiatt
8/21 Kenny Rogers
8/22 Tori Amos
8/23 Eliza Carthy
Friday, July 6, 2007
Folk of the Folk revivals @ WICN.org
Starting AUG 2 I will be live and on the air
as the host of:
Pastures of Plenty
Thursdays 7- 11pm
WICN-FM 90.5 and on the web at wicn.org
as well.
Folk music featuring but exclusive to
the urban boom - 50s, and 60s revival and more.
as the host of:
Pastures of Plenty
Thursdays 7- 11pm
WICN-FM 90.5 and on the web at wicn.org
as well.
Folk music featuring but exclusive to
the urban boom - 50s, and 60s revival and more.
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