5 comments about The Complete A&M Recordings.

1. It was refreshing to hear again one of the great voices of the protest era! The recordings were of excellent quality.



2. After pleading and cajoling with A&M records for years, they finally remastered the recordings Joan Baez made while with their label and released them in one package. Her most politically sound and vigorous recordings were during this turbulent time in US history.
   
   "Where Are You Now, My Son?" contains an audio recording of Baez' visit to Hanoi during Christmas of 1972 which included some of the worst of the US bombing raids. The plaintive voices of parents whose children have been killed by American bombs dropped from the sky is heartbreaking all these decades later.
   
   The A&M collection also includes "Gulf Winds", of which the autobiographical song of the same name is worth the price of the entire set. It is Baez, a guitar and her voice telling her childhood in her own words. It is hauntingly beautiful as it explores concerns that are still of interest as she describes what it was like to grow up a brown-skinned girl in a world that values only white. "From Every Stage" is a live recording featuring Joan acoustically and with a band. One of the show stoppers on this album is her rendering of "Lily, Rosemary and the Jack of Hearts" from the recently released "Tangled up in Blue" by Bob Dylan. This CD includes two pieces never released before to sweeten the deal. This really is a wealthy of goodies for Joan's fans.



3. For years I have been looking to replace my lost, "Come from the Shadows LP".On this great collection of Joan Baez recordings is the complete album.
   Come from the Shadows contains memorable tracks such as Prison Trilogy,Imagine,and To Bobby.
   This disc is worth the money of the set on its own however the other recordings contain some classic Joan.
   Highly recommended for all Joan Baez fans.



4. I don't think anyone can argue that "Diamonds and Rust" was Joan's finest album. I believe it was also her best selling album since her earliest Vanguard recordings. Her work during her tenure with A&M represents some of the best of her career. And that label gave her the treatment she deserved. I purchased the "Come from the Shadows" album first on a QS quad LP, and the sound blew me away. I was already a JB fan, but this more than cemented my fandom. I somehow missed "Where Are You Now, My Son", but was glad to have it on this set. "Gulf Winds" was another favorite of mine, especially the track "Caruso". I had all of these on vinyl; now, on these remastered CD's, the music and all the subtleties show through even better than ever. I have to agree with the reviewers who were less than satisfied with the packaging. I, too, would have liked to see the tracks listed on each disc. I would have also liked for these discs to be hybrid SACD's. Guess you can't have everything.



5. This box set gives you the complete A&M Recordings (1972 -- 1976) containing Come From The Shadows (1972), Where Are You Now My Son? (1973), Gracias A La Vida (Here's To Life) (1974), Diamonds And Rust (1975), Gulf Winds (1976) and From Every Stage (1976). Also are a trio of 45-rpm b-sides making their digital debut on this compendium, including a cover of Bob Dylan's "Forever Young", and Baez originals "Where's My Apple Pie" and "Johnny I Hardly Knew Yeh".
   
   After a dozen years on Vanguard Records, her first effort for A&M was the politically-charged Come In From The Shadows. The album became notable not only for its' heavy Nashville influence, but also for the bold "Song Of Bangladesh," her open letter to Dylan on "Bobby," as well as the cover of John Lennon's "Imagine".
   
   
   This was followed by Where Are You Now My Son?, which quickly became controversial due to her strident viewpoints on the continuing conflicts in Southeast Asia. The title track is a 26-minute semi-biographical epic, with ambient sounds documented by Baez in Hanoi, Vietnam during the final weeks of 1972. Its' brutal honesty did not sit well with many, although it re-established her as a key political and musical conduit.
   
   
   This was followed by Gracias A La Vida (Here's To Life) which took an artistic detour as it was recorded in Spanish. It became no less of a controversial statement, containing a version of the Pablo Neruda poem "No Nos Moveran (We Shall Not Be Moved)". The government of Spain banned the work and it was deleted from subsequent pressings.
   
   The brilliant and mostly non-political Diamonds & Rust became not only a touchstone for Baez, but was also considered essential listening in the mid 1970s. It remains resonant with the Dylan-influenced title composition, and the covers of Janis Ian's "Jessie," Jackson Browne's "Fountain Of Sorrow," the Allman Brothers' "Blue Sky" and John Prine's "Hello In There."
   
   
   Her last studio offering for A&M was Gulf Wind. It yielded considerably lighter fare, reflecting much of the same escapism and ennui America was concurrently enduring. One of the most outstanding elements is the plethora of strong originals. Chief among them are "Oh Brother!" -- an admitted response to Dylan's "Oh Sister" -- and the picturesque title song, which Baez claims as having been influenced by an experience during Dylan's all-star Rolling Thunder Review tour.
   
   
   Although technically From Every Stage was issued before Gulf Winds, for the sake of continuity the double-LP live collection concludes The Complete A&M Recordings (1972 -- 1976). Baez is spotlighted in both acoustic as well as band settings. Her repertoire at the time included tunes dating back to her days on Vanguard -- such as "Stewball" and "Blessed Are .." as well as a few that had yet to be recorded by Baez before. Among them were the civil rights anthem "(Ain't Gonna Let Nobody) Turn Me Around," and a reading of "Blowin' In The Wind" which would be used in the film Forrest Gump during the March On Washington scene.
   
   
   The sound is spectacular as all 80 tracks have been thoroughly remastered. The accompanying 32-page booklet is replete with rarely publish photos, as well as reminiscences from the artist herself and faithful reproductions of the LP liner notes.

5 comments about The Asch Recordings, Vol. 1-4.

1. Like countless others, I started listening to Woody Guthrie's recordings as a fan of Bob Dylan. I'm happy to say that listening to Woody has enhanced my appreciation for him as a singer and songwriter, and also has made me appreciate Dylan more once I was aware with what elements of Guthrie's influence he incorporated into his art and which he expanded upon. I highly recommend purchasing this entire collection (rather than just one or two discs, since they're available individually) along with the essential Dust Bowl Ballads as a strong foundation for a Woody Guthrie collection (not to mention his amazing autobiography, Bound for Glory).
   
   What can you say about a 4-disc retrospective of such a prolific, improvisational songwriter? In my reviews I generally talk about some specific songs, but there are so many here that I'll try not to get boring and long-winded with too many details. The discs are each loosely-based on a different theme and are named (1) "This Land is Your Land," (2) "Muleskinner Blues" (3) "Hard Travelin'" and (4) "Buffalo Skinners." Although the track sequencing isn't too strict, the songs on each generally do fall in the categories of patriotic, interpretive ballads (mostly classic folk covers), topical/working class ballads, and cowboy ballads. As you'll find out, though, these labels aren't too exclusive, and Woody writes and sings about pretty much anything you could imagine, and he sure was good at it.
   
   As the legend goes, Woody wrote on anything he could get his hands on, and composed songs on the fly (freestyle rap anyone?), so this historical document is also quite amazing considering Asch told Guthrie he could drop by and be recorded whenever he wanted. These off-the-cuff recordings not only represent the broadness of Woody's musical vision, but also a pretty accurate representation of the spontaneous singing he did while wandering the country, living (and hearing about first-hand) the lives of the characters in his songs.
   
   And what great songs they are. The tracks range from classics you may or may not have known Woody wrote and sang; "This Land is Your Land," "Grand Coulee Dam," "Pretty Boy Floyd," "So Long, It's Been Good To Know You," "Hard Travelin'," and "Car song," to name a few. What makes the wealth of music here extraordinary is hearing Woody come up with social anthems, dark ballads, heartbreaking stories, and hilarious blues time and time again. Although folk music is simple (fans of more complex chord changes and instrumentation may take a few listens to appreciate what it is about Woody's music that makes it so classic), the magic is in the storytelling and lyrics. Some of his talking blues like "Talking Hard Work" and "Mean Talking Blues," for example, are laugh-out-loud funny, especially on repeated listens.
   
   Some people have griped about the sound quality, but I personally wouldn't have it any other way. The scratchy, old-timey production fits perfectly, and that analog sound probably accounts for much of Woody's timbre. I'll bet it wouldn't sound half as good if recorded in digital. Woody's signature flat-picked acoustic and occasional harmonica makes most of the accompaniment, although Cisco Houston and a few others make appearances singing and playing acoustic instruments, so there's not really any complex overdubbing that is in danger of being covered up by the quality. As for Woody's voice, it's like a warm blanket or the familiar sound of a grandfather telling a story. Even though it's simple, there's a warmth and magic, subtle wit there all the time that only Woody could pull off so genuinely.
   
   The liner notes only add to the quality of this treasure, providing info for each song, as well as great, informative biographical info. Taken together, this really is an academic historical document both on paper and on CD, but it's also a real pleasure to listen to.
   
   As you might have guessed, I highly recommend this collection, but if you don't have any Guthrie recordings yet, I'd probably recommend the shorter Dust Bowl Ballads first, since it's not as daunting in size or price. Once you're hooked, though, this is the next place to go. I hope you take the time to discover why Woody's such a legend, and treasure this set for years to come.



2. I chose this boxed set over the Library of Congress Collection because the latter did not list "This Land is Your Land." The re-mastered recordings are of good quality and the collection is comprehensive. Each of the four CDs contains a booklet of information about the songs and surrounding events.
   
   The real motivation to own this set is, of course, Woody's songs. Using familiar melodies combined with wry narratives and heart-breaking stories, Woody paints a portrait of America from the turn of the century, through the depression and dust bowl years, to WWII and after. The songs are haunting while being deceptively complex and simple at the same time. In this collection, the gravity of his more serious work is artfully countered by his very funny narrative and nonsense songs (one of my favorites in the latter category is "Mean Talking Blues"). Folk music aficionados or not, this collection will contain that will touch everyone's heart.
   
   A final note: Woody Guthrie is perhaps one of the most under-rated guitar players in the genre. The recordings don't do justice to the subtly of his picking style. The same can be said of his abilities with the harmonica.



3. This is a great collection. The recordings are great, and there is a lot of information provided in each cd booklet.



4. 
   Woody wrote "This Land is Your Land" on 23 February 1940.It is his best known song and one of the most widely sung songs in the United States.Woody's stated reason for writing it is possibly open to criticism--he said he was tired of hearing Kate Smith,one of the nation's most popular singers during the 1930's,sing "God Bless America".So he voiced a different perspective on the United States,ending each verse with "God blessed America for me".Later he changed the last line to "This land was made for you and me".
   Woody wrote six verses,of which two were about Great Depression
   experiences and were not heard when the song was first issued in 1951.
   They were:
   Was a big high wall there that tried to stop me
   A sign was painted said:Private Property
   But on the back side it didn't say nothing-
   God blessed America for me.
   
   One bright sunny morning in the shadow of the steeple
   By the Relief Office I saw my people-
   As they stood hungry,I stood there wondering if
   God blessed America for me.
   
   A seventh verse was added in 1945;the verse is:
   
   Nobody living can ever stop me
   As I go walking my freedom highway
   Nobody living can make me turn back
   This land was made for you and me.
   This set of four discs contains 105 of Woody's songs.Each disc is accompained by a 36 page booklet giving all sorts of information and background on the songs and the people Woody worked with.There are many super photos of Woody and others.As an example,one of Woody,Fred Hellerman,Jean Richie and Pete Seeger in the recording studio.Then,how about one of Woody,'s pen and ink drawings from April 23,1946;"Hang down my head and cry".
   This fantastic recording was put together by Smithonian Folkways Recordings and no matter how much you try you won't find anything else that comes close to it.
   What's your favorite Woody song?
   Hobo's Lullaby
   Hard,Ain't it Hard
   Picture from life's other Side
   Going Down the Road Feeling Bad
   Worried Man Blues
   I Ain't Got No Home in this World Anymore
   Pretty Boy Floyd
   Blowing Down that Old Dusty Road
   
   Whatever it is,You'll find it here in this collection.
   If you like Folk music,and Woody in particular,this is for you.If you have a friend who knows some of Woody's songs,this will make a gift that will be highly treasured.
   By the way,if you get it ,never lend it;you'll never see it again!!!



5. No complaints other than the sound quality--which isn't very good. It's O.K. on some songs, but all in all, it's pretty poor. Everything else is great and at about fifty cents a song it's a really good deal. The liner notes are really great as well and there's a pamphlet for each CD. I've just recently started to listen to Woody Guthrie but have been a Dylan fan for a long time. It's really neat to see all of the similarities in some of Dylan's early work with Guthrie's. Dylan's CD "Good as I Been to You" actually has a few songs that are on this CD. That's a great album as well--1991 I believe. All in all a great deal and great music.

5 comments about Songbook.

1. This set encompasses both the well-known Lightfoot songs and a number of others--a great collection.



2. A wonderful journey through Gordon Lightfoot's career. His voice matures through the years represented on the 4 discs. The liner notes give some great background material. Lightfoot has been one of the most underrated writers and singers in the folk movement, as his insistence at doing things his way limited his commercial appeal in the US.
   
   Hours of great music that is easy to listen to. The lyrics are so clear that you can really appreciate the poetry in these songs. Several songs have not appeared on other CD's.
   
   A great find for Lightfoot fans.



3. I have followed Meistro Lightfoot's music since the middle 60's and have seen him in concert more times than I can count from Masey Hall to Washington state. His music opens my heart and warms my soul. Anyone who is a Gordon Lightfoot fan SHOULD have this collection as it traces his music career from the beginning. HIs voice is strong and the musicianship of both Gordon and his band is extraordinary. Speckign of that I think that it is unfortunate that Terry Clement's has not received more press for his extraordinary and understated guitar playing. His talent is absolutely amazing. If anyone has had the pleasure and the privilige of seeing Mr. Clements perform the leads on "The Auctioneer" live you certainly know what I mean. In 1979 I had the privilige of going to Gordon's boyhood home and meeting his mother (I have her autograph). There were fotos of Lightfoot all over the house. As I was about to leave there was a foto of a family gathering hanging in the kitchen. Mrs. Lightfoot ask me "See if you can find my lottle Gordy in that picture". I looked and could not. She pointed to a very young mother sitting in the middle of the family holding an infant child. Mrs. Lightfoot said "There I am holding my little Gordy..."



4. Lightfoot is such an amazingly gifted songwriter and performer, and it's so refreshing to have this set, into which so much effort was put, that it seems petty to complain.
   
   But here goes. There are quite a few songs that were hits on Canadian radio stations that are missing in action. Here's the list:
   
   Just Like Tom Thumb's Blues (single only)
   Spin Spin (single only)
   (these two have never yet to my knowledge been released on LP or on CD)
   Black Day in July (from Did She Mention My Name)
   Talking In Your Sleep (from Summer Side Of Life)
   You Are What I Am (from Old Dan's Records)
   Daylight Katy (from Endless Wire)
   If You Need Me (from Dream Street Rose)
   Anything For Love (from East Of Midnight)
   
   For someone who grew up listening to Lightfoot on Canadian top 40 stations the omission of these songs is inexplicable.
   
   I also would have included:
   
   Wherefor And Why (from Did She Mention My Name)
   Walls (from The Way I Feel - that must be Charlie McCoy playing harmonica)
   Ballad Of Yarmouth Castle (from Sunday Concert)
   
   And I know it ultimately comes down to personal taste, but I would have omitted:
   
   Something Very Special
   Poor Little Allison
   Cobwebs And Dust (surely Me & Bobbie McGhee would have been a better choice)
   Ode To Big Blue



5. These are all really good cds. My whole family, especially the kids, love to listen to Gordon. He is awesome for writing songs that relax and put my children to sleep. You rock Gordon! What makes this set so good is the book that Gordon wrote explaining his journey to stardom and what each song means. It really makes you think and feel like you are a part of it all.

5 comments about Carry It On.

1. This is an absolutely great CD. it has most of the songs that PP&M have ever sung. It will take days to listen to all of them. Share them with your kids, cry and laugh as you relive those moments in time that we all shared in trying to make the world a better place. Everyone should take the time to revisit the past and enjoy the songs that make you feel good.
   Loved it!!!



2. I'm 53,live in Chiba-prefecture nearby Tokyo. PPM's music came over the radio ,when I was a elementary school boy.Then I didn't understand the lyrics. But I'd felt something resistant with them,which had all melancholic tune.Later I found them anti-war songs.Since then,I've loved them deeper.
   These CDs are very good in sound.Its high-fidelity sound is remarkable. It is very importan for us to listen these CDs in the era The US-Iraq War.



3. I had the same problem as many other people with the hidden tracks. None of my CD players or computers could play them.
   I decided to try to go to the source of the music, and sent this problem through the feedback email address of the Peter, Paul & Mary website(www.peterpaulandmary.com), asking for a solution.
   
   To my surprise, I got a very rapid and clear reply from the webmaster of the site, pointing out where to download the songs. Here it is:
   
   On the main page of thePP&M site, in the box labelled "latest updates", click on "free stuff", and there they are - all 4 of them, in mp3 format!!!!!. I guess they agreed that the hidden tracks were unworkable as recorded on the cd.
   ENJOY!
   
   It's nice to see that they (and the people taking care of their website) still care about their fans, and have NOT ben "assimilated"



4. With the Peter, Paul and Mary CD's selling between fourteen and nineteen dollars on Amazon, there is obviously a demand for their music. How about releasing the solo albums on CD?? If Warner's doesn't think there is a demand, make them two fers. Two albums on one CD. I would just love to have the "Mary" album on CD.



5. The music is fine. However, I bought this collection especially for the bonus tracks. I have most all of their CDs (and had them in Cassette Tape, and 8 track tape and vinyl format before that - time marches on). But I play my music on my computer these days, and these bonus tracks do NOT play from my computer (and I have two drives, and have been able to play pretty much anything else). I do not share music or make copies for friends, but I do copy to my hard drive and play from play lists. Call me old fashioned, but if I pay for a song, I expect to hear the song, or be warned that this might NOT be possible. The tricks the others reviewers speak of do not work for me. I've unfortunately been ripped off. Peter, Paul and Mary, welcome to Corporate America, you have been assimilated.
   
   Sigh!

3 comments about Starlight on the Rails: A Songbook.

1. Although this space is mainly dedicated to reviewing political books and commenting on past and current political issues as a way to orient today's alienated radical youth on the lessons of the past literary output is hardly the only form of political creation. Occasionally in the history of the American and international left musicians, artists and playwrights have given voice or provided visual reminders to the face of political struggle. With that thought in mind, every once in a while I will use this space to review those kinds of political expression.
   
   My musical tastes were formed, as were many of those of the generation of 1968, by `Rock and Roll' music exemplified by the Rolling Stones and Beatles and by the blues revival, both Delta and Chicago style. However, those forms as much as they gave pleasure were only marginally political at best. In short, these were entertainers performing material that spoke to us. In the most general sense that is all one should expect of a performer. Thus, for the most part that music need not be reviewed here. Those who thought that a new musical sensibility laid the foundations for a cultural or political revolution have long ago been proven wrong.
   
   That said, in the early 1960's there nevertheless was another form of musical sensibility that was directly tied to radical political expression- the folk revival. This entailed a search for roots and relevancy in musical expression. While not all forms of folk music lent themselves to radical politics it is hard to see the 1960's cultural rebellion without giving a nod to such figures as Dave Van Ronk, the early Bob Dylan, Utah Phillips, Joan Baez, Pete Seeger, Woody Guthrie and others. Whatever entertainment value these performers provided they also spoke to and prodded our political development. They did have a message and an agenda and we responded as such. That these musicians' respective agendas proved inadequate and/or short-lived does not negate their affect on the times.
   
   My leftist political consciousness, painfully fought for in my youth coincided with an expansion of my musical tastes under the influence of the great blues and folk revivals of the 1960's. Unfortunately my exposure to the blues greats was mainly on records as many of them had been forgotten, retired or were dead. Not so with the folk revival which was created mainly by those who were close contemporaries. Alas, they too are now mainly forgotten, retired or dead. It therefore is with special pleasure that I review Utah Phillips Songbook while he is very much alive.
   
   Many of the folksingers of the 1960's attempted to use their music to become troubadours for social change. The most famous example, the early Bob Dylan, can be fairly described as the voice of his generation at that time. However, he fairly quickly moved on to other concepts of himself and his music. Bob Dylan's work became more informed by the influences of Rimbaud and Verlaine and the French Symbolists of the late 1800's and thus moved away to a more urban, sophisticated vision. From the start and consistently throughout his long career Utah has acted as a medium giving voice to the troubles of ordinary people and the simpler ethos of a more rural, Western-oriented gone by day in the American experience. He evokes in song the spirit of the people Walt Whitman paid homage to in poetic form and John Dos Passos and John Steinbeck gave in prose. He sits comfortably in very fast company. Therefore, Utah Phillips can justly claim the title of a people's troubadour.
   
   A word about politics. Generally, one rates music without reference to politics. However, Utah has introduced the political element by the way he structured the Songbook. Each song is introduced by him as to its significance heavily weighted to his political experiences, observations and vision. Thus, political comment is fairly in play here. Utah is a long time anarchist and unrepentant supporter of the Wobblies (Industrial Workers of the World, hereafter IWW). Every militant cherishes the memory of the class battles led by the IWW like the famous Lawrence strike of 1912 and honors the heroes of those battles like Big Bill Haywood and Vincent St. John and the militants they recruited to the cause of the working class in the first part of the 20th century. They paved the way for the later successful organization drives of the 1930's.
   
   Nevertheless, while Utah and I would both most definitely agree that some old-fashioned class struggle by working people in today's one-sided class war would be a very good thing we as definitely differ on the way to insure a permanent victory for working people in order to create a decent society. In short, Utah's prescriptions of good moral character, increased self-knowledge and the creation of small intentional communities are not enough. Under modern conditions it is necessary to take and safeguard political power against those who would quite consciously deny that victory. History has been cruel in some of the bitter lessons working people have had to endure for not dealing with the question of taking state power to protect their interests. But, enough said. I am more than willing to forgive the old curmudgeon his anarchist sins if he'll sing `I Remember Loving You' the next time he tours the Boston area.



2. This is a great box set by a true master of folk songs and stories. I've been to many a Utah concert.
   
   Yet I can't give it 5 Stars. How can a 4 CD compilation omit two of his classics? :
   
   Hallelujah I'm A Bum, and Moose Turd Pie.



3. In this day of proliferation of boxed sets from even marginal figures, we are fortunate to finally have a collection of Utah's work from the early '70s through the '90s, mostly recorded in live performance from a variety of sources, together with one disc containing performances of his songs by others. Utah's studio albums are still availiable, so this is no "greatest hits" repackaging of available material, but consists in the main previouly unavailable work. The exceptions are 5 cuts from "Loafer's Glory," and one from Legends of Folk. Similarly, a few of the covers are from an albumn by Kate Brislin and Jody Steicher.
   
   Liner documentation could be better, as there is no information on the other performers on the cuts where Utah is not solo, although recording dates and locations are given. My only real beef, however, is the absence of a version of what I believe is his greatest song, "I Remember Loving You," either by Utah, or by others who have covered this such as Priscilla Herdman. But I'm most thankful for the live performances of all of his other great train, polictical and love songs. The spoken intros. to each cut are great to have, particularly for those who have not heard Utah in concert. Utah, I ran into you a couple of years ago near Union Station in Chicago; thanks again for this and I hope you keep writing and performing.

5 comments about Voices Of The Civil Rights Movement: Black American Freedom Songs 1960-1966.

1. This is an amazing collection of Civil Rights songs all on one CD. It is like listening to history. This collection of music will bring back memories to the older generations and introduce younger people to voices from the past.



2. Forty years later it is too easy to forget or too easy to have missed the courage and passion that fueled the Civil Rights movement. While America is still far from perfect, it is a better nation for all its citizens because some citizens took great risks for high principles in the years from 1954 through 1965. Our pledge speaks of "one nation indivisible with liberty and justice for all" the inspiration provided by these songs and sermons helped make this a truer statement than it ever was before.
   
   Everyone who is proud to be an American should own and listen to this CD.



3. This Cd is an excellent docuemtnary with complete versions of the Freedom songs of the Civil rights movmeent of the 60s.
   
   Wonderful stuff both for the historian or a lover of uplifting music. The Calypso takeoff of Harry belafonte's "Day-o" (Calypso Freedom) is quite witty and would have done Handsome Harry proud. ("Come Mr. Kennedy give us integration/Freedom come and me want to go home!"). "Get Your Rights Jack" does the same with Ray Charles' "Hit the Road Jack" ("And don't be a tom no more no more no more no more"). But songs like the "Ballad of Medgar Evers" "I Shall Not Be Moved" and the tribute to Schwerner, Chaney and Goodman (the Black and Jewish civil rights team that was killed in Mississippi in 1964) strike straight to the heart as do the tunes sung by the legendary Mrs. Fannie Lou Hamer. The sermon and song by Rev. Lawrence Campbell of Danville Virginia needs no explaination. Hear it and you'll understand that MLK was by no means the only eloquent preacher of this movement. Oginga Odinga, BTW, was an African freedom fighter of that era and Malcolm X was quite pleased when the SNCC Freedom Singers (who later morphed into Sweet Honey in the Rock) sang this at a 1964 program where he spoke.
   
   Fans of the similar CD "Sing For Freedom" are bound to compare the 2 CD's. "SFF" has more in the way of little-known speeches by such luminaries as Dr. King, Medgar Evers, Ralph Abernathy, etc. Some tunes overlap on the two cd's but buy "SFF" for the speeches and this one for the music as a companion piece.



4. This double-CD reissue of "The Voices of the Civil Rights Movement: Black American Freedom Songs 1960-1966" documents the importance of songs in the Civil Rights Movement. Teachers covering this tumultuous time in American History in their class can certainly give students a better sense for the time by not only showing videos of the peaceful demonstrations and police brutality, but by playing them some of the songs from this album. Many of these freedom songs were recorded live in mass meetings held in churches. These are not just spirituals and gospel songs, but draw upon rhythm and blues, football chants, blues, and calypso for their beauty and energy. The first disc features songs from mass meetings, where a singer or core of singers leads the people in the singing of the songs, while the second focuses on ensemble works by the SNCC Freedom Singers and other groups. The accompanying booklet written by Bernice Johnson Reagon combines historic photographs with insights into each song, providing an excellent education in the meaning of the music. Reagon not only explains how these songs were song, but also which songs were prominent for the Selma-to-Montgomery March ("Governor Wallace"), "Freedom Train" for the vigil for the Mississippi Democratic Party elections, and so on.

   Chances are that unless you were involved in the Civil Rights Movement you will not especially recognize many of these songs, with "This Little Light of Mine," "Go Tell It On the Mountain," and "We Shall Overcome" being the obvious exceptions. But you will be surprised at some of the popular songs that were appropriate for the cause, such as "Calypso Freedom," based on Harry Belafonte's "The Banana Boat Song," and "Get Your Rights, Jack," based on the Ray Charles hit "Hit the Road, Jack." For me the song that stood out was "In the Mississippi River," written by Marshall Jones after the disappearance of three Civil Rights workers in Mississippi during the summer of 1964. As local rivers were dragged in search of the men, many other bodies were discovered, a chilling fact that certainly needs to be more than a historic footnote to that tragic event. There is also a lengthy segment from a sermon by Rev. Lawrence Campbell, which illustrates the song-sermons that were an integral part of the movement and its traditions. The result is a historical document of immense value to teachers and their students.

   Folkways Records was founded by Moses Asch and Marian Distler in 1948 to document music and spoken word from around the world. The Smithsonian Institution acquired Folkways from the Asch estate and has succeeded in preserving the best of the label's 2,200 albums. Smithsonian Folkways Recordings has continued this grand tradition. I have checked out a half-dozen of their offerings and their are uniformly superb, especially in terms of providing the historical context by which we can best appreciate these songs from another place and another time.




5. For any one interested in the freedom struggle in the sixties this is essential listening. The first disc of recordings made in the South during the mid sixties captures the importance of music at the mass meetings.

   The second disc with ensemble recordings shows the skill of the SNCC singing groups.

   The cd is accompanied by extensive liner notes by Bernice Johnson Reagan, herself a member of a SNCC ssinging group and founder of "Sweet Honey in the Rock". She draws out not only the historical references in the songs, but also the different African American musical influences at play.

5 comments about The Leo Kottke Anthology.

1. If you like music and especially play guitar Leo Kottke is fantastic.



2. I've read all of the reviews of this and other music from Leo Kottke and everyone seems to refer to his 1969 lp "6&12String" as being his debut, it's not.
   I had hoped that a retrospective would include (at long last) some if not all of his earlier lp on symposium Records "Circle Round the sun". there is an even earlier lp by Leo which includes a song about "Mary" (and my memory fails me as to the exact title) that Leo claimed in the liner notes "people listen to this song for the same reasons that people stop to look at car wrecks". This may be the earliest recording Leo made and only hints at what was to come later.
   "Circle 'Round the Sun" is a wonderful lp, full of Leo's rich baritone, and more straightforward "folk" style lyrics (If Mamma Knew and Tell me this ain't the Blues being my favorites)
   I hope someone, somewhere can convince the powers that be to reissue this long lost treasure.



3. This is a great collection of a guitar playing master. Twelve string guitar pieces are especially powerful. The singing is warm and soulful. If you like great guitar playing you will enjoy this collection of songs.
   Gary Gloris
   Lake Worth, Florida



4. This is a great selection of Leo Kottke's work, including the vocals. I found some things I hadn't heard before, some things I had almost forgotten, and some of my favorites. I enjoyed them all. No, I don't mind the vocals. There is something about some artists, Dylan and Louie Armstrong among others, that makes the voice a real positive part of the performance even though they aren't opera stars.



5. For me Leo Kottke revolutionised the guitar.As a young man (and of course a young guitarist)hearing him produce those gorgeous tunes from his range of twelve string guitars changed my thinking on the how and what of music forever.Not only that but he was one of the few artists at the vanguard who actually bothered to tour down here in Australia on a regular basis ( thanks Leo).So we have great technique,great tunes and super guitar tunings so what else do you want?.Well actually, a better complilation than this.This set has some of his best work as a musician but in my opinion also has some of his worst.
   Eight miles high and embryonic journey have no place on this disc for starters and we can only wonder what possessed Leo to record Pamela Brown in the first place let alone why it was chosen for this set( well maybe as a representation of Leo's total output)so I can only award 3 stars because I think Leo Kottke is a guiarist, not a singer,and even the wonderful version of endless sleep will not change my mind.

5 comments about Legacy.

1. Doc Watson is without doubt one of the best guitarist in the world in the area of folk/bluegrass music. Above that, he is a genuine lovable down to earth person and it is a real joy to hear him tell the stories on this album. I've been a Doc Watson fan since first hearing him play about 1973 and I never get tired of listening to his brilliant guitar playing or his wonderful vocals. A true American icon, I can't get enough of him. This ablum is truly special because of the interviews that seem to bring him into your living room. Love it!



2. Doc Watson & David Holt are two living legends of old-time Appalachian and Roots music. This is a awesome collection of our American Heritage through the traditional music of the mountains. Doc tells how he lost his sight at a young age. David Holt tells many storied of the old timers and their love of music spread through music called, "oral tradition."



3. This review is meant to point out that this 3 CD set is made up of a lot of spoken word interviews. Folks should know what they are buying since this set is fairly expensive. I love Doc Watson, he is a national treasure. I saw him live with David Holt awhile back, it was a very enjoyable evening, just as this set is if you are in the mood for the wondrous stories behind the man and his experiences. Think of it as a superb podcast, if you are going on a road trip and want stories and music, this is an excellent choice. But, if you are looking for just music, you might be frustrated. Most of the songs have talking as part of the cut, so if you tire of hearing the stories and just want music, you might be better served by Doc's many other great discs. I particularly like "Elementary Doctor Watson" and the two fer "Live & Pickin' / Doc And The Boys."



4. Legacy showcases the legendary life and work of Doc Watson in this three-disc collection featuring a concert CD with Grammy-Award Winter David Holt. Two the CDs of songs and conversation look back over Doc's 79 years in a informative and solidly entertaining presentation. The discs comprising this unique and highly recommended collection include Beginnings (18 songs ranging from Cousin Sally Brown and Deep River Blues, to Beaumont Rag and Freight Train); A Life In Music (16 selections ranging from Sittin' on Top of the World and Down the Road, to The Tennessee Stud, and Tom Dooley); and The Legacy Concert (18 cuts ranging from Shady Grove and Old Molly Hare, to Don't Get Weary and Stand By Me). Legacy would make a superb addition to any music library collection and is a "must" for the legions of Doc Watson fans everywhere.



5. Wow. How did I miss this guy for the past few decades?!?!? I love blues music, and traditional blues led me in a roundabout way to Doc Watson. Anyone who loves music with a FEELING should buy this album. He has one of the smoothest, most soulful guitar styles I've ever heard. He can play harp with the best of them and he plays a mean banjo as well! His stories about his life in music are priceless. This is easily one of the best CD collections I've purchased in a long, long time.

5 comments about The Music of Bill Monroe.

1. Oh my goodness!! This is great for those who love the mandolin and Monroe's talents. Background and words included. Just wish it had the written music standards.



2. The only criticism I could weigh against this collection is that--although it's true that (as advertised) this is the only domestically available anthology of Bill Monroe's music that is cross-licensed across all of the major labels that he recorded for--within that, it's definitely weighted very heavily toward his MCA years. Four early tracks from his RCA/Bluebird period are represented, and his classic Columbia era gets the shortest shrift relative to its importance with only six songs in total. After that, the set moves quickly to his Decca/MCA period starting in 1950 and covers that in much greater depth over the remaining 87 tracks. The early songs, it must be said, are judiciously chosen and do represent the high points of this era, but a real Monroe afficionado will probably want that period to be represented in greater depth.
   
   This is undoubtedly a major drawback, then, if you are expecting this set to exhaustively document Monroe's early years, but if you're looking for a good general overview of his career--or if you're willing to invest separately for an in-depth anthology of his Columbia years--then this boxed set gets very high marks. It contains well over four hours' worth of prime Bill Monroe music and handsomely showcases his restless inventiveness within his notoriously persnickety insistence on purism and devotion to the classic bluegrass sound he helped to birth.
   
   It is because of that famous refusal to alter his sound that two things should be said about this collection--first, that the quality of the music is uniformly high. Unlike most artists with such longevity (the set covers nearly 60 years!), Bill never attempted to modernize his sound or pander to current trends, as even the great Johnny Cash did in the 80s. Bill Monroe was and remained Bill Monroe. This also means that the set can sound a little same-y after a while, especially if you're not a true bluegrass devotee, so consider before buying whether or not you really are committed to 98 tracks' worth of (true-)bluegrass.
   
   If you are, and if you're not deterred by the emphasis on his MCA period, then this set is hard to top. The sound is excellent throughout--even on the 1936 recording that kicks things off--and the accompanying booklet is gorgeous, with a wealth of great pictures and loving documentation & research. It's not perfect for all purposes, but it's a treasure trove of thrilling, exciting music of uncompromising excellence and energy, perfect for lovers of old-timey music. Dig in...



3. I have been listening to contemporary bluegrass for awhile now. So I decided it was time to go back and check out the original source of it all - the legendary Bill Monroe.
   
   This outstanding collection begins with his early days playing with brother Charlie in 1936 and goes all the way to a 1994 performance. In between are gathered 98 Monroe songs, including such classics as "Uncle Pen", "Blue Moon Of Kentucky" and "With Body And Soul".
   
   Of course, there were other old timey string bands featuring mandolin and fiddle before Bill Monroe came along. But it was his high pitched tenor vocals and fast playing style that created the unique "high lonesome sound" that came to be known as bluegrass. I can't imagine a better introduction to Monroe's music than this, so many great songs and also a a well designed booklet which provides photos and detailed liner notes outlining the different stages in Monroe's career. For any fan of bluegrass, new or old, this is a great musical purchase.



4. The packaging of this box set is very nice. The booklet that comes with the set is a pretty good abbreviated history of this fascinating icon of American music. Particularly interesting is reading about all of the Bluegrass Boys who later became bluegrass greats themselves- Flatt and Scruggs, Del McCoury, Sonny Osborne, Mac Wiseman, Jimmy Martin and the list goes on.
   The only knock I have against this set is that some of the recordings are re-records of earlier Columbia classics, apparently at the behest of MCA records. It seems every box set either contains alternates or re-records which is puzzling to me. In the interest of history, I am only interested in the originally released recordings...



5. ...the foundation to all forms of American music. Having this much Monroe all in one place helps the listener understand the truly profound impact he had on the American musical soul. This collection is as timeless and current now as 50 years ago. Listen to all four discs chronologically the first time. The accompanying book with wonderful old photos is worth the price of the whole set.

5 comments about The Complete Vanguard Studio Recordings.

1. If you've seen the folk music mockumentary 'A Mighty Wind' you'll remember Mitch and Mickie, the canadian duo that had that perfect chemistry and created some of the folk 'anthems' of their generation - well, Ian and Sylvia are their real-life counterparts. This CD box-set covers every I&S Vanguard release. The songs are a great mixture of originals, covers (early Dylan, Lightfoot, among others), and traditional (blues, appalachian, british isles). Over the course of these four discs Ian & Sylvia evolve from tradional acoustic folkies to singer-songwriters making country-tinged electrified rock. The sound quality of this collection is excellent. If you are or Ian & Sylvia - or Mitch & Mickie - you need these DCs.



2. Although I already owned all the albums from Vanguard that Ian and Sylvia have produced, I purchased this one as soon as I saw that it was available. Their music was without parallel and with the remastering and clearer cd sound it is well worth the cost to add it to your collection. I know that for many a cd just doesn't compare to the old LP's and to an extent I agree, but to have this much music on just four discs is irresistible. An awesome collection from an awesome pair of singers.



3. 2 GREAT voices together in the best 2 part harmony ever. Saw them in person at The Bear in Hunington Beach in 19??. Either solo or together
   is great music.



4. This is a wonderful collection of one of the really great folk groups of the 60s.
   Fantastic baritone singing from Ian with soaring harmonies from Sylvia.
   In working through the collection one is offered a rather poignant reflection of the separation of their relationship and their music. The latter recordings are sad but subtract nothing from their early achievements.



5. What distinguished Ian and Sylvia was a driving respect for music, and Ian strong roots in real Western music, and a musical integrity and ingenuity that surpassed that of most "folksingers" of their period. They never drifted off into the direction of smooth pop oriented singing. There might have been the usual attempt to take them in a "folk rock" direction in the last years they were together, something they did take seriously and made fun of from the stage of their performances in the late 1960s.
   
   However, these recordings have a strength of their commiment to music that has the bite, the twang, the strength, and the snap of real folk music and of folk originated blues and country music. The standards of production particularly their work with the great guitarists Johnny Herald and Monte Dunn, not to mention Ian Tyson's own developing skill with the guitar, and the tastefulness of the ensembles has not been matched since in acoustic music.
   
   Ian and Sylvia's music works now even when the pop folk sensibility that surrounded them has deservedly withered away. I spend a lot of time talking with, playing with, hanging out with people who treasure completely traditional folk music which is not at all what Ian and Sylvia ever pretended to play, although especially at the beginning it was one of their most important sources. I have found even three or four decades after the duo ended, that a tremendous respect and a lot of listening goes on to Ian and Sylvia which is not true for other folkies like Joan Baez or Bob Dylan.
   
   Of course, Ian Tyson continued a great career of his own, longer and actually larger than what happened with Ian and Sylvia as a writer of songs rooted in his Canadian Western origins. The skills unveiled in songs like "You were on my mind" and "Four strong winds" have won Ian a bunch of Grammies and Junos (the Canadian equivalent). He is still out there performing, making great albums and being who he has always been, a straight shooter, a no bs artist.
   
   Sometime in the 1980s, an urban legend appeared that is still strong that Sylvia Fricker had died, killed herself, or otherwise left this life. She is very much alive, still singing, and over the years has done great folk oriented shows for the CBC.
   
   Oh, one thing I forgot.
   
   Aside from all this analysis, Ian and Sylvia are just so darned good that anyone with ears desperately needs to have as much of their music as they can either afford or steal!