In early 1961, a 19-year-old Bob Dylan, having dropped out of college at the end of his freshman year, traveled to New York City, ostensibly to visit his idol Woody Guthrie, hospitalized with Huntingdon's Disease. This 2-disc set represents the scene he discovered, the sounds he found 'Blowin' In The Wind' and the artists who were already playing the clubs and bars of the Village upon his arrival. From old timers like Pete Seeger and the Reverend Gary Davis, to the bright young stars of the new wave like Joan Baez, and Phil Ochs.
Disc 1
1. New York City (Pete Seeger)
2. Pretty Boy Floyd (Woody Guthrie)
3. Ramblin' Gamblin' Man (Cisco Houston)
4. When First Unto This Country (New Lost City Ramblers)
5. Little Maggie (Barbara Dane)
6. Crawling King Snake (John Lee Hooker)
7. Howl (Allen Ginsberg)
8. Step It Up and Go (Sonny Terry and Brownie McGhee)
9. Pallet On The Floor (Brownie McGhee)
10. Oh Babe It Ain't No Lie (Elizabeth Cotten)
11. Darling Corey (The Weavers)
12. The Bannana Boat Song (the Tarriars)
13. Pretty Polly (Erik Darling)
14. No More Cane On The Brazos (Odetta)
15. Red Wing (Oscar Brand)
16. Jack of Diamonds (Brother John Sellers)
17. Barbara Allen (Ed Mcurdy)
18. Duncan and Brady (Dave Van Ronk)
19. Rio Grande (The Focscle Singers)
20. Who's Gonna Buy You Ribbons (Paul Clayton)
21. The Steve Allen Show (Lenny Bruce)
22. The Flight Of The Bumble Bee (Jose Feliciano)
23. I Ain't Marching Anymore (Phil Ochs)
24. Turn, Turn, Turn (Judy Collins)
25. The Sound of Silence (Art Garfunkel)
Disc 2
1. New York City (Lead Belly)
2. Cocaine (Ramblin Jack Elliott)
3. Buffalo Boy (Theodore Bickel)
4. The Parting Glass (Clancy Brothers)
5. State Of The Nation (Kenneth Patchen)
6. Fixin' To Die (Bukka White)
7. Baby Please Don't Go (Big Joe Williams)
8. You Will Need Me (Lonnie Johnson)
9. The Wagoner's Lad (Kossoy Sisters)
10. Go' Way from My Window (John Jacob Niles)
11. Driving Wheel (Rosevelt Sykes)
12. On The Road (Jack Kerouac)
13. Silver Dagger (Joan Baez)
14. A Wayfaring Stranger (Bob Gibson)
15. Nottamun Town (Jean Ritchie)
16. Death Don't Have No Mercy (Reverend Gary Davis)
17. In My Time Of Dying (Josh White)
18. Uncloudy Day (Staple Singers)
19. Rocks and Gravel (Harry Belafonte)
20. Mojo Hand (Lightnin Hopkins)
21. New York Girls (Kingston Trio)
22. Little Wheel Spin And Spin (Buffy Sainte-Marie)
23. Ramblin' Boy (Tom Paxton)
24. Roll On Buddy (The Greenbriar Boys)
25. If I Had A Hammer (Peter Paul and Mary)
Showing posts with label joan baez. Show all posts
Showing posts with label joan baez. Show all posts
Tuesday, 27 September 2011
Sunday, 17 April 2011
Monday, 25 January 2010
Ao Dai: My War, My Country, My Vietnam
by Xuan Phuong and Daniele Mazingarbe
Joan Baez first sang three songs. Then she said in perfect French: "Now I am happy and moved to know that Doctor Phuong is here. With her, I experienced some unforgettable moments. Where are you, Doctor Phuong?" I found myself on stage next to her under the floodlights. She took my hand. 'Thanks to you, Phuong, I overcame my fear. I became calmer and stronger. To my dying day, I will never forget those moments. Now, dear audience, I would like to sing for you this song that Phil Ochs has written in memory of those events and that I am dedicating to Doctor Phuong: There but for Fortune." After the last note, the public got up and applauded.
Joan Baez first sang three songs. Then she said in perfect French: "Now I am happy and moved to know that Doctor Phuong is here. With her, I experienced some unforgettable moments. Where are you, Doctor Phuong?" I found myself on stage next to her under the floodlights. She took my hand. 'Thanks to you, Phuong, I overcame my fear. I became calmer and stronger. To my dying day, I will never forget those moments. Now, dear audience, I would like to sing for you this song that Phil Ochs has written in memory of those events and that I am dedicating to Doctor Phuong: There but for Fortune." After the last note, the public got up and applauded.
Friday, 18 September 2009
Wednesday, 4 March 2009
A Change is Gonna Come: Music, Race & the Soul of America
by Craig Hansen Werner
Many of the students looked to the folk revival for perspectives and information excluded from the nightly news. The framers of the Port Huron Statement belonged to the first generation raised on television; many of them were enthralled by the moral dramas the SCLC constructed for the nationwide audience. In the early days of the movement, TV coverage usually placed viewers in a position closer to the demonstrators than to the authorities resisting their demands. White middle-class viewers in the North gazed into the steely eyes of state troopers snatching American flags out of the hands of schoolchildren in Jackson, Mississippi, shared the tension as the Freedom Riders--white ministers wearing clerical collars and well-dressed young black men--were swept away by the hurricane of violence in the Birmingham bus station. In her autobiography, Joan Baez describes King's constant awareness that the whole world was watching his every move. Walking beside King during an SCLC-sponsored campaign in Grenada, Mississippi, Baez responded angrily to the crowd harassing the marchers:
However biased in favor of the movement TV coverage might have seemed to George Wallace or Spiro Agnew--the godfathers of Rush Limbaugh's "liberal media" hallucination--white students seeking the meanings behind the SCLC's carefully orchestrated morality plays found television useless. Many of them turned to folk music, to Baez, Dylan, Phil Ochs ("Talking Birmingham Jam," "Too Many Martyrs (The Ballad of Medgar Evers)," and the devastating satire "Love Me, I'm a Liberal") and Peter, Paul & Mary ("Very Last Day," "If I Had a Hammer," and the hit version of "Blowin' in the Wind"). The folk singers provided the kind of insight the students sought.
Many of the students looked to the folk revival for perspectives and information excluded from the nightly news. The framers of the Port Huron Statement belonged to the first generation raised on television; many of them were enthralled by the moral dramas the SCLC constructed for the nationwide audience. In the early days of the movement, TV coverage usually placed viewers in a position closer to the demonstrators than to the authorities resisting their demands. White middle-class viewers in the North gazed into the steely eyes of state troopers snatching American flags out of the hands of schoolchildren in Jackson, Mississippi, shared the tension as the Freedom Riders--white ministers wearing clerical collars and well-dressed young black men--were swept away by the hurricane of violence in the Birmingham bus station. In her autobiography, Joan Baez describes King's constant awareness that the whole world was watching his every move. Walking beside King during an SCLC-sponsored campaign in Grenada, Mississippi, Baez responded angrily to the crowd harassing the marchers:
They looked particularly pasty, frightened, and unhappy on this day, not at all like a "superior race." I whispered to King, "Martin, what in the hell are we doing? You want these magnificent spirits to be like them?," indicating the miserable little band on the opposite curb. "We must be nuts!" King nodded majestically at an overanxious cameraman, and said out of the corner of his mouth, "Ahem . . . Not while the cameras are rollin'."The SCLC's most effective use of the media strategy occurred in Birmingham, Alabama, where fire hoses and police dogs deployed against black schoolchildren made a clear moral statement in living rooms and dens throughout white America.
However biased in favor of the movement TV coverage might have seemed to George Wallace or Spiro Agnew--the godfathers of Rush Limbaugh's "liberal media" hallucination--white students seeking the meanings behind the SCLC's carefully orchestrated morality plays found television useless. Many of them turned to folk music, to Baez, Dylan, Phil Ochs ("Talking Birmingham Jam," "Too Many Martyrs (The Ballad of Medgar Evers)," and the devastating satire "Love Me, I'm a Liberal") and Peter, Paul & Mary ("Very Last Day," "If I Had a Hammer," and the hit version of "Blowin' in the Wind"). The folk singers provided the kind of insight the students sought.
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