Bob Dylan and Selections from the Newport Folk Festival - July 26, 1963

The Friday evening concert (July 26) of Newport 1963 marked the debut performance of Bob Dylan at the festival, which helped to create his reputation as one of the greatest American folk singer-songwriters of the 1960s. The show that night, which ran from 8:30-11:30 p.m., also featured the Freedom Singers, Jean Redpath, Doc Watson, Bill Monroe, Pete Seeger, Joan Baez, and Peter, Paul & Mary.

Video footage from that night:

Peter, Paul and Mary - "If I Had a Hammer":


Bob Dylan - "Talkin' World War III Blues":


Bob Dylan with Joan Baez - "With God on Our Side":


Bob Dylan - "Only a Pawn in Their Game":


Bob Dylan with Pete Seeger, the Freedom Singers, Joan Baez, and Peter, Paul & Mary - "Blowin' in the Wind":


Other songs performed that night:

Bill Monroe - "Uncle Pen":


Sonny Terry & Brownie McGhee - "Crow Jane Blues":


Jean Carignan - "Reel" (audio from a Newport show):


Jean Carignan - "Devil's Dream" (audio from a Newport show):


Peter, Paul and Mary - "Tell It on the Mountain":


Doc Watson - "Every Day Dirt":


Doc Watson - "Country Blues":


Bob Dylan - "Talkin' John Birch Paranoid Blues":


Bob Dylan - "A Hard Rain's A-Gonna Fall":


Ensemble - "We Shall Overcome":


The complete set list from the evening concert reel-to-reel tapes is as follows:

1. Bill Monroe & the Bluegrass Boys - Mule Skinner Blues
2. Bill Monroe & the Bluegrass Boys - Uncle Pen
3. Bill Monroe & the Bluegrass Boys - Devil's Dream
4. Bill Monroe & the Bluegrass Boys - Molly and Tenbrooks
5. Bill Monroe & the Bluegrass Boys - I Am a Pilgrim
6. Bill Monroe & the Bluegrass Boys - Rawhide
7. Raun MacKinnon - I Am Going Home
8. Raun MacKinnon - When I'm Gone
9. Raun MacKinnon - Medgar Evers Lullaby
10. Sonny Terry & Brownie McGhee - Crow Jane Blues
11. Sonny Terry & Brownie McGhee - I Woke Up This Morning and Could Hardly See
12. Sonny Terry & Brownie McGhee - If You Don't Want to Be My Neighbor, Please Be My Friend
13. Sonny Terry & Brownie McGhee - Movin' to Kansas City
14. Hélène Baillargeon & Jean Carignan - ("songs of French Canada")
15. Peter, Paul and Mary - Tell It on the Mountain
16. Peter, Paul and Mary - Settle Down (Goin' Down That Highway)
17. Peter, Paul and Mary - Blue (2 versions)
18. Peter, Paul and Mary - 500 Miles
19. Peter, Paul and Mary - Puff, the Magic Dragon
20. Peter, Paul and Mary - Blowin' in the Wind
21. Peter, Paul and Mary - If I Had My Way
22. Peter, Paul and Mary - If I Had a Hammer
23. The Freedom Singers - Trying to Make Georgia My Home
24. The Freedom Singers - Been Down Into the South
25. The Freedom Singers - Woke Up
26. The Freedom Singers - Get on Board
27. The Freedom Singers - Guide My Feet
28. Jean Redpath - Dowie Dens o' Yarrow
29. Jean Redpath - Muckin' o' Geordie's Byre
30. Jean Redpath - The Song of the Seals
31. Doc Watson - Every Day Dirt
32. Doc Watson - The Train That Carried My Girl from Town
33. Doc Watson - Country Blues
34. Doc Watson - What Does the Deep Sea Say (with Bill Monroe)
35. Doc Watson - What Would You Give in Exchange (with Bill Monroe)
36. Doc Watson - Feast Here Tonight (with Bill Monroe)
37. Bob Dylan - Talkin' World War III Blues
38. Bob Dylan - With God on Our Side (with Joan Baez)
39. Bob Dylan - Only a Pawn in Their Game
40. Bob Dylan - Talkin' John Birch Paranoid Blues
41. Bob Dylan - A Hard Rain's A-Gonna Fall
42. Bob Dylan - Blowin' in the Wind (with Pete Seeger, the Freedom Singers, Joan Baez, and Peter, Paul & Mary)
43. Bob Dylan - We Shall Overcome (with Pete Seeger, the Freedom Singers, Joan Baez, and Peter, Paul & Mary)

Bob Dylan and Selections from the Newport Folk Festival - July 27, 1963

The Saturday morning set of Newport 1963 (July 27) on Porch 1 was hosted by Jean Ritchie and featured Sam Hinton, Bess Lomax Hawes, Clarence Ashley, Judy Collins, Paul Clayton, Joan Baez, Dock Boggs, Raun MacKinnon, Doc Watson, Jane Chatfield, Bob Davenport, Tony Snow, Jean Redpath, Jim Garland, Tom Paxton, and Bob Dylan.

Video from that day:

Bob Dylan took the stage at the end of the set and began with a captivating performance of "North Country Blues":


He then closed off the morning set with Joan Baez and the song "With God on Our Side" (referencing Jean Redpath, who earlier had played "The Patriot Game," the inspiration behind this song):


Other songs performed that day:

Clarence Ashley - "The House Carpenter":


Judy Collins - "The Great Silkie":


Joan Baez - "The Unquiet Grave":


The complete set list was as follows:

1. Jean Ritchie - Barbara Allen
2. Sam Hinton - Great God I'm Feelin' Bad
3. Sam Hinton - Three Nights Drunk (Our Goodman)
4. Bess Lomax Hawes - An Old Lady
5. Clarence Ashley - The House Carpenter
6. Judy Collins - The Great Silkie
7. Paul Clayton - The Two Sisters
8. Jean Ritchie - (chat)
9. Joan Baez - The Unquiet Grave
10. Dock Boggs - Rowan County Crew
11. Raun MacKinnon - Ballad of Haute Midi
12. Doc Watson - Little Orphan Girl
13. Jane Chatfield - The Green Bed
14. Bob Davenport - Seven Day Drunk
15. Bob Davenport - Shoals of Herring
16. Tony Snow - Fungus
17. Jean Redpath - The Patriot Game
18. Jim Garland - The Death of Harry Simms
19. Tom Paxton - Sully's Pail
20. Bob Dylan - North Country Blues
21. Bob Dylan & Joan Baez - With God on Our Side

Bob Dylan and Selections from the Newport Folk Festival - July 28, 1963

On this date on Porch 2 at the Newport Folk Festival, Pete Seeger hosted "Topical Songs and New Songwriters," which featured Jim Garland, Peter La Farge, Tom Paxton, Phil Ochs, The Freedom Singers, Mississippi John Hurt, Mike Settle, and Bob Dylan.

Audio/Video from Newport 1963:

Phil Ochs' set included "Too Many Martyrs" and "Talking Birmingham Jam."

Later, Mississippi John Hurt took the stage with "Candy Man Blues":


Bob Dylan's set included a performance of "Who Killed Davey Moore":


To close the set, Bob Dylan and Pete Seeger performed "Playboys and Playgirls":


Other songs performed that day:

Jim Garland - "I Don't Want Your Millions, Mister":


Tom Paxton - "Ramblin' Boy":


Pete Seeger - "Tom Dooley":


Bob Dylan - "Masters of War":


The complete set list from July 28, 1963 on Porch 2 is as follows:

1. Pete Seeger - (intro regarding topical songs and new songwriters)
2. Jim Garland - I'm Crazy 'Bout You, Baby
3. Jim Garland - I Don't Want Your Millions, Mister
4. Peter La Farge - Ira Hayes
5. Peter La Farge - Custer
6. Peter La Farge - Coyote, My Little Brother
7. Tom Paxton - The Willing Conscript
8. Tom Paxton - Ramblin' Boy
9. Pete Seeger - Intoxicated Rat
10. Pete Seeger - Weave Room Blues
11. Phil Ochs - Too Many Martyrs
12. Phil Ochs - Talking Birmingham Jam
13. Phil Ochs - Talking Cuban Crisis
14. Pete Seeger - Tom Dooley
15. The Freedom Singers - Fighting For My Rights
16. The Freedom Singers - I Love Your Dog, I Love My Dog
17. The Freedom Singers - Calypso Freedom
18. Mississippi John Hurt - Candy Man Blues
19. Mississippi John Hurt - Stagolee
20. Mississippi John Hurt - Trouble, I've Had It All My Days
21. Mike Settle - Little Boy
22. Mike Settle - Sing Hallelujah
23. Tom Paxton with Pete Seeger - A Little Brand New Baby
24. Tom Paxton with Pete Seeger - Hope You Have a Mighty Nice Life
25. Bob Dylan - Who Killed Davey Moore
26. Bob Dylan - Masters of War
27. Bob Dylan with Pete Seeger - Playboys and Playgirls

In Defense of Bob Dylan (1965)

AN OPEN LETTER FROM PHIL OCHS
TO IRWIN SILBER, PAUL WOLFE AND JOSEPH E. LEVINE

Just between you and me, I would like to ask you to sheath your critical swords so I can get a word in edgewise. I couldn't help but notice the frontal attack on brother Bob Dylan lately, who is being criticized a lot more than most of us thought possible.

It is as if the entire folk community was a huge biology class and Bob was a rare, prize frog. Professor Silber and student Wolfe appear to be quite annoyed that the frog keeps hopping in all different directions while they're trying to dissect him.

It seems the outrage occurred at Newport, and there are many different confusing versions of what went on. Was Dylan raped by success? Did Dylan rape his fans? Did Dylan's fans rape Elizabeth Cotton? Nobody seems to know for sure.

And so Irwin Silber wrote an open letter to Bob telling him he couldn't really write about the world honestly without writing protest songs and accused him of relating only to himself and his cronies.

I agree, and I would like to add my name to the list of accusers. I hereby publicly smack Bob's hand and demand that he be made to stand in a dark corner, preferably at Newport, and be forced to write "Forgive me, Joe Hill" at least a thousand times.

Who does Dylan think he is, anyway? When I grow used to an artist's style I damn well expect him not to disappoint me by switching it radically. My time is too precious to waste trying to change a pattern of my thought.

If you're reading this, Bob, you might as well consider this an open letter to you too. Where do you get off writing about your own experiences? Don't you realize there's a real world out there, a world of bombs, and elections, folk music critics and unemployed folksingers? Instead of writing about your changes like "My Back Pages", for example, you could write a song about Joanie called "My Back Taxes." Oh well, you'll get yours. See if they try to give you any more medals.

In order to prevent this from happening to another angry young man of song, I hereby suggest the formation of an annual prize for the most militant protester in the form of a Silber bullet, on which is inscribed "Go get 'em, kid!"

In the last issue of Broadside Paul Wolfe handed me the topical crown saying I had won it from Bob at Newport and states the future of topical music rested on me. Then he went on to attack the former champion for the low level of his new writing and his lack of consideration for the audience at Newport.

Well, I'm flattered by the compliments but I'd like to point out several misconceptions in the article. In the first place it's not really important who is the better writer and it's pointless to spend your time arguing the issue. The important thing is that there are a lot of people writing a lot of fine songs about many subjects and what concerns me is getting out the best number of good songs from the most people.

In point of fact, when Bob came to Newport he had completely changed the basic subject matter of his songs, and his only real choice as an artist was to be honest to himself and the work he was doing at the time, not how his fans would react to the change. To cater to an audience's taste is not to respect them, and if the audience doesn't understand that they don't deserve respect.

It didn't take any more nerve for me to go on the Newport stage and sing strong protest material since protest songs are so accepted. In reality I didn't show any more respect for the audience than Bob did, because we were really doing exactly the same thing, that is writing naturally about what was on our minds.

With so many good writers around, the future of topical music clearly rests in many hands. And if you want to give credit where credit is due, I pay the greatest homage to Guy Carawan, who not only writes songs, but devotes his full time to the civil rights movement in the South, actively working in a real struggle, promoting workshops on how to use music in the movement, and getting his banjo broken over hi head on a picket line.

As for Bob's writing, I believe it is as brilliant as ever and is clearly improving all the time. On his last record, "Ballad in Plain D" and "It Ain't Me Babe" are masterpieces of personal statement that have as great a significance as any of his protest material. How can anyone be so pretentious as to set guidelines for an artist to follow?

As a matter of fact, in order to save you folks out there from needless aggravation, you may now consider me sold out, completely depraved, and happily not giving a damn about where your tastes happen to be at the moment. I am not writing out of nobility; I am only writing out of an urge to write, period.

My major concern is how honest and well-written I can make a song, not how well it can be used by the movement or how well it fits into the accepted pattern.

These rigorous requirements for songwriters could really get out of hand. Before long you may hear some enraged voice screaming backstage at a Broadside Hootenanny, "You're sorry?....You're sorry?....You wrote a non-topical song and you're sorry?"

It seems you just can't win; no matter what you do these days you're criticized. I really don't see what's so wrong with Bob and I putting all our royalty money into chemical warfare stock.

And so the question still remains. Can I withstand the pressures of fame? Will I be chewed up by the American success machine? Perhaps I might mold topical music into a significant voice in a new and revolutionary America. Or on the other hand you might pick up the Times one day and read the startling headlines: OCHS TURNS TABLES ON TOPICAL TRAITORS.... UNDERGROUND FBI INFORMER ASTOUNDS FOLK WORLD BY ARRESTING DYLAN AND PAXTON AT HOOT.... CITES TAPE RECORDINGS OF SECRET CONVERSATIONS AS DAMAGING EVIDENCE.

As for you, Mr. Levine, some of your movies are really quite bad.

Phil Ochs

Newport 1963

Phil Ochs' "Birch Society Song" was not only a "tribute" to the John Birch Society, but his solution to the dearth of song material available as "groups move farther and farther to the right...I wrote this song for them, so they can sing when they get together," he said. The very basic song began with the line "I like Hitler, jolly, jolly Hitler" and ended with a chorus "Loyally we Birch along." Since it was not as clever or well-written as Bob Dylan's "Talkin' John Birch Paranoid Blues," would Ochs have chosen to perform it at Newport, and during his first appearance there, no less?

Pictured at the top right are Dylan and Pete Seeger, performing the song "Playboys and Playgirls" at the Newport Folk Festival on July 28, 1963. Earlier that day on the same stage, Phil Ochs made his debut performance at the festival, singing "Too Many Martyrs" and "Talking Birmingham Jam." That much everyone agrees on, as these two tracks are included on the releases Phil Ochs Live At Newport and The Early Years. Beyond this point, accounts have differed. Marc Eliot in Death of a Rebel reports that Ochs played two more songs, "Birch Society Song" ("the enthusiasm was boisterous, contagious") and an encore of "Power and the Glory." Eliot then writes that after the show Seeger passed Ochs a note that called the "Birch" song "sophomoric." Michael Schumacher in There But for Fortune seems to indicate that Ochs' performance ended with "Talking Birmingham Jam." Neither accounts are true.

As the original sound recording of the event reveals, Ochs rounded off his set with "Talking Cuban Crisis," which was certainly more polished than "Birch Society Song." The note from Seeger on the "Birch" being "sophomoric" had been in fact passed to Ochs in September of the previous year. Seeger likely heard the song from Ochs' 1962 demo of the song recorded by Sis Cunningham of Broadside Magazine. So, Ochs did not play "Birch" at Newport (or ever in front of an audience, as far as we know). He instead played two "talking blues" numbers, with similar musical accompaniment, in a row. He would play another, "Talking Vietnam," the following year at Newport. Within two years, he was finished with "talking blues" genre, abandoning the songs altogether. Eliot's presumed selection, "Power and the Glory," would likely have made a better choice to close his 1963 set, but Ochs instead chose to use the song to open his 1964 Newport nighttime performance.

The full three reels of the July 28, 1963 Newport performances contain the following:

1. Pete Seeger - (intro regarding topical songs and new songwriters)
2. Jim Garland - I'm Crazy 'Bout You, Baby
3. Jim Garland - Gimme Back My Job
4. Peter La Farge - Ira Hayes
5. Peter La Farge - Custer
6. Peter La Farge - Coyote, My Little Brother
7. Tom Paxton - The Willing Conscript
8. Tom Paxton - Ramblin' Boy
9. Pete Seeger - Intoxicated Rat
10. Pete Seeger - Weave Room Blues
11. Phil Ochs - Too Many Martyrs
12. Phil Ochs - Talking Birmingham Jam
13. Phil Ochs - Talking Cuban Crisis
14. Pete Seeger - Tom Dooley
15. The Freedom Singers - Fighting For My Rights
16. The Freedom Singers - I Love Your Dog, I Love My Dog
17. The Freedom Singers - Calypso Freedom
18. Mississippi John Hurt - Candy Man Blues
19. Mississippi John Hurt - Stagolee
20. Mississippi John Hurt - Trouble, I've Had It All My Days
21. Mike Settle - Little Boy
22. Mike Settle - Sing Hallelujah
23. Tom Paxton with Pete Seeger - A Little Brand New Baby
24. Tom Paxton with Pete Seeger - Hope You Have a Mighty Nice Life
25. Bob Dylan - Who Killed Davey Moore
26. Bob Dylan - Masters of War
27. Bob Dylan with Pete Seeger - Playboys and Playgirls

Interestingly, Ochs' performance that day was not only recorded on audio tape, but there is a good chance it was captured on film as well. Dylan's Newport performance of "Who Killed Davey Moore" listed above is available on the DVD The Other Side of the Mirror: Bob Dylan Live at Newport Folk Festival 1963-1965.