Folk music in Folk Music

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"Myself When I Am Real" (09/10/2002) Folk Norman, Bebo, Brentwood RecordsPersonnel: Bebo Norman (vocals, acoustic guitar); Jerry McPherson (electric guitar); Ed Cash (guitar, strings, keyboards); Carl Hergsell (keyboards); Craig Young (bass); Dan Needham (drums, percussion, programming). Recorded at Ed's, Franklin, Tennessee. With a few solid and successful albums already behind him, Christian pop singer-songwriter Bebo Norman takes the title of MYSELF WHEN I AM REAL literally, splicing away any layers of sonic distraction in favor of a more roots-oriented approach that spotlights the melodies and messages of his songs. This isn't exactly a lo-fi recording; there are plenty of panoramic moments, but there's more of an organic quality to the production and arrangements, as warm-sounding acoustic guitars mix with the plangent electric instruments, and Norman's inviting voice sails over the top. While there are plenty of full-speed-ahead pop-rockers here, it's telling that Bebo himself feels one of the key tracks to be "Great Light of the World," an acoustic guitar-driven, waltz-time ballad that offers simultaneously one of the most introspective and most faith-oriented lyrics on the album.

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"Anthology of American Folk Music [Box]" (01/04/2005) Folk Various Artists, Smithsonian Folkways RecordingsThis newly remastered six-CD box set is a reissue of the six-LP set compiled by folk archivist Harry Smith in 1952. Some of the many artists influenced by this collection of field recordings from the '20s and '30s are Bob Dylan, Bruce Springsteen, Jerry Garcia, Joan Baez and Peter, Paul & Mary. The ANTHOLOGY contains a 100-page booklet that incorporates Smith's original annotations, archival photos, graphics and testimonials by well-known musical figures including Elvis Costello, Dave Van Ronk and Eric von Schmidt. The final disc of this 6 CD set contains a multimedia portion which provides a hypertext essay of images, text, and additional information. Recorded between 1926 and 1932. Includes liner notes by Greil Marcus, Anthony Seeger, Amy Horowitz, Jon Pankake, Luis Kemnitzer, Moses Asch, Harry Smith, Neil V. Rosenberg and Jeff Place. Digitally remastered by Dave Glasser and Charlie Pilzer. ANTHOLOGY OF AMERICAN FOLK MUSIC won the 1998 Grammy Awards for Best Album Notes and Best Historical Album. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. This six-CD box set is nothing less than a blueprint for virtually every form of 20th Century pop music. A staggering compendium of the varied but closely connected styles of early American music, the ANTHOLOGY collects folk, blues, hillbilly, and church music to present a textured and unbelievably rich tapestry. This collection's worth as both a historical document and a source of infinite delight cannot be overstated. Folk archivist Harry Smith envisioned the project and compiled these 78s in 1952. His choice of material reveals not only his impeccable taste but also the spirit of true democratic humanity, manifested and reflected in song. Recorded largely in the rural South of the early '20s and '30s, the ANTHOLOGY covers forlorn ballads of lost love, Creole chants, Christian hymns, deep swamp blues, novelty songs, political music, and innumerable tunes that dazzle with their melodic and rhythmic charms and risks. Included here are many legends of roots music, including The Carter Family, Blind Lemon Jefferson, Charlie Patton, Dock Boggs, and Mississippi John Hurt, as well as dozens of others less heard. Make no mistake. This definitive examination of the roots of America's musical family tree is of monumental importance. It belongs in every music lover's library.

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"Firecracker *" (06/06/2006) Folk Wailin' Jennys (The), Red House RecordsThe Wailin' Jennys: Ruth Moody (vocals, acoustic guitar, banjo, accordion); Annabelle Chvostek (vocals, acoustic guitar, mandolin, violin); Nicky Mehta (vocals, acoustic guitar, harmonica). Additional personnel include: Mike Hardwick (acoustic guitar, electric guitar, dobro); Richard Moody (violin, viola); David Travers-Smith (trumpet, horns, organ, percussion); Joe Phillips (acoustic bass); Christian Dugas (drums).

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"Beautiful People: The Greatest Hits of Melanie" (07/13/1999) Folk Melanie (Singer/Songwriter), Buddha RecordsCompilation producers: Peter Schekeryk, Mike Ragogna. Includes liner notes by David Okamoto. Digitally remastered by Robert Fripp.

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"Eastmountainsouth" (06/17/2003) Folk Eastmountainsouth, Dreamworks SKGEastmountainsouth: Peter Adams (vocals, acoustic guitar, high-strung acoustic guitar, piano, Moog, Wurlitzer piano, harmonium, glockenspiel); Kat Maslich (vocals, acoustic guitar). Additional personnel includes: Bernie Locker (acoustic guitar); Greg Leisz (electric guitar, high-string electric guitar, tenor guitar, pedal steel, mandolin, mandola); Val McCallum (electric guitar, bouzouki); Shane Fontayne (electric guitar); Bem Peeler (lap steel); Herb Pederson (banjo); Gabe Witcher (fiddle); David Boucher (bass clarinet); Mitchell Froom (keyboards); Davey Faragher, Jeniffer Condos (bass); Quinn (drums, percussion); Tim Gordine (programming). Recorded at Black Hog and Casa Carrie Studio # 9, Losa Angeles, California.

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"Roll It Down" (08/24/2004) Folk Bonneville, Ray, Red House RecordsPersonnel: Ray Bonneville (vocals, electric guitar, harmonica); Jonell Mosser (vocals); Brad Hayes (guitar); Colin Linden (slide guitar, baritone guitar); Richard Bell (piano); Joey Spaminato (bass guitar); Bryan Owings (drums); George Arsenault (percussion). Recording information: Fast Forward Studios, Montr?al, Canada.

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"One Guitar, No Vocals" (06/29/1999) Folk Kottke, Leo, Private MusicSolo performer: Leo Kottke (acoustic guitar). Recorded at Hudson-Forester Studios, Minneapolis, Minnesota. Includes liner notes by Leo Kottke. After a decade and a half spent exploring new age, jazz, and other forms, Leo Kottke revisited his original style with 1999's ONE GUITAR, NO VOCALS, in some ways a return to the albums which had made him famous, like SIX AND TWELVE STRING GUITAR. Only in some ways, however; while these 12 songs may superficially sound like those on his early albums, there's a greater variety of influences at work here. Impressively, for a style of music which has seen more than its share of aimless noodling, Kottke writes purely substantial melodies, even on the lightest tunes. The highlights include the album's centerpiece, "Chamber of Commerce," a tribute to recently deceased guitarist Michael Hedges, and the puckish country blues "Peckerwood." Released 30 years after his debut, ONE GUITAR, NO VOCALS features Leo Kottke at the top of his game.

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"Defying Gravity *" (02/08/2005) Folk Wheeler, Cheryl, PhiloPersonnel: Cheryl Wheeler (vocals, acoustic guitar); Jonatha Brooke, Lucy Kaplansky, Rachael Davis, Ben Wisch (vocals); Duke Levine (acoustic guitar, electric guitar, steel guitar, lap steel guitar, National guitar, mandola); Marc Shulman (acoustic guitar, electric guitar); Kenny White (piano, organ); Zev Katz, Paul Bryan (bass guitar); Jay Bellerose (drums, percussion); Shawn Pelton (drums). Recording information: The Bottom Line, New York, New York; Bailey Building & Loan, New York, New York (2004).

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"In the Kind Land" (04/15/2005) Folk Bok, Gordon, Timberhead Music

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"Songs...Of Hattie Mae Tyler Cargill" (n/a) Folk Various Artists, Folk LegacyIncludes liner notes by Acie Cargill.

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"Carry It On [Box]" (02/24/2004) Folk Peter, Paul & Mary, Rhino Records (USA)This release includes a bonus DVD featuring interview footage and live concert footage of "If I Had A Hammer" from the 1963 Civil Rights March On Washington, "Leaving On Jet Plane" with John Denver, and clips from a 1970 PBS documentary. Each Audio disc has a hidden track at the beginning of the program. To play one of these selections, cute track #1 and press "reverse" on your player unti you reach the starting point. Peter, Paul & Mary: Peter Yarrow, Noel Paul Stookey, Mary Travers. Additional personnel includes: Paul Prestopino (guitar, banjo, dobro, mandolin, harmonica); Richard Kniss, Edgar DeHaas (bass); Producers include: Albert B. Grossman, John Court, Jacques Wolfson, Milton Okun, Phil Ramone. Compilation producers: Peter Yarrow, Noel Paul Stookey, Mary Travers, Patrick Milligan. Includes liner notes by Barry Alfonso, David Halberstam, and Ronnie Gilbert. One of the most beloved and successful folk groups of all time, Peter, Paul & Mary are well represented by this impressive four-CD/one-DVD Rhino box set. Formed in New York City's Greenwich Village during the early 1960s, the trio--consisting of Peter Yarrow, Noel "Paul" Stookey, and Mary Travers--garnered a huge following with their thoughtful, easy-going performances of socially conscious tunes by lauded songsmiths such as Woody Guthrie ("This Land Is Your Land"), Pete Seeger ("If I Had a Hammer"), and a then relatively unknown troubadour from Minnesota named Bob Dylan ("Blowin' in the Wind"). These songs and many revered PP&M originals (most notably the gentle "Autumn to May" and the whimsical children's classic "Puff the Magic Dragon") are included on this collection, along with lesser-known tunes, rare concert recordings, and solo tracks by Yarrow, Stookey, and Travers. This remarkably comprehensive set is mainly geared towards PP&M's most adoring fans, but listeners seeking a pared-down compilation can find many of these selections on 2005's THE VERY BEST OF PETER, PAUL & MARY.

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"Hills of Home: 25 Years of Folk Music on Rounder Records" (06/15/1995) Folk Various Artists, Rounder Records

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"Harry Smith's Anthology of American Folk Music Vol. 4" (11/01/2005) Folk Various Artists, RevenantIncludes a 96 page hardbound book with essays by Ed Sanders, John Cohen, Dick Spottswood, John Fahey and Greil Marcus. Digitally remastered by Dave Glasser (Airshow Mastering, Boulder, Colorado). Legendary filmmaker/cultural icon Harry Smith (1923-1991) was the living definition of the term "culture vulture." Smith pioneered animation in film and associated with everyone from Jean-Luc Goddard to Billie Holliday and Jimmy Page, and in the early 1950's compiled the six-volume ANTHOLOGY OF AMERICAN FOLK MUSIC for Folkways Records. This collection's aim was to document the entire continuum of American roots music in all its diversity. It succeeded fabulously (and helped sparked the folk boom of the '50s and '60s). After 50-odd years, Revenant in conjunction with the Harry Smith Archives has released VOLUME FOUR. This two-CD set details the beginnings of both 20th century country music and bluegrass (The Blue Sky Boys' "Down on the Banks of the Ohio") as well as their roots in Appalachian/Celtic folk (The Carter Family's "Black Jack David"). The blues, and its impact on folk and rock & roll, is represented by Leadbelly's epochal "Packin' Trunk" (a direct influence on Carl Perkin's rockabilly classic "Matchbox"), and the Memphis Jug Band's rollicking, irreverent "Memphis Shakedown." Anyone wishing to explore the roots of these classic American musics would do well to acquire this edition of HARRY SMITH'S ANTHOLOGY.

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"We Shall Overcome - Complete Carnegie Hall" (10/31/1989) Folk Seeger, Pete, Columbia (USA)Recorded at Carengie Hall on June 8, 1963, this recording is one of Pete Seeger's most famous concerts. It contains the entire concert, about twice as much music as the LP. Capturing a complete mid-'60s solo concert at New York's Carnegie Hall on two hour-long discs, Pete Seeger's WE SHALL OVERCOME is a glorious-sounding document of the folksinger/musicologist/social activist at the peak of his powers. Opening with a fleet-fingered banjo medley and ending more than two hours later with a stirring version of his classic "Guantanamera," Seeger touches on every aspect of his music, from protest songs to blues to traditional ballads to leftist anthems. The entire concert is remarkable, but a particular highlight comes in the middle of the first disc, when Seeger covers two songs by Bob Dylan, the apocalyptic "A Hard Rain's a-Gonna Fall" and the anti-boxing tirade "Who Killed Davey Moore?," a gesture of solidarity from one generation of folkies to another. The remastered sound is pristine and the set includes new liner notes.

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"American Folk Music Pioneer" (06/03/2003) Folk Odetta, American Legends

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"Folk Music of the World" (07/18/1994) Folk Seeger, Pete, BescolThe 22-track compilation FOLK MUSIC OF THE WORLD is as fine an introduction to Pete Seeger's music as you're likely to find. Despite his well-earned reputation as a social activist, Pete Seeger is first and foremost a musicologist and folk historian, and these tracks focus almost entirely on this side of his work. For nearly an hour, you hear one folk classic after another, from gospel standards like "Michael, Row the Boat Ashore" and "Joshua Fit the Battle of Jericho" to work songs such as "I've Been Working on the Railroad" and "The Greenland Fisheries" to ballads like "Black Is the Color of My True Love's Hair," each performed by Seeger, most often alone and accompanying himself on banjo or guitar, with easy grace, sly humor, and limitless passion. The relative lack of protest songs aside, this collection is flawless.

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"Folk Classics: Roots of American Folk Music" (07/11/1989) Folk Various Artists, Columbia (USA)

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"Greatest Stars of Folk Music" (12/06/1993) Folk Various Artists, Legacy International

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"New Directions in Folk Music" (12/15/2004) Folk Journeymen (Folk) (The), Collectors' Choice MusicIncludes bonus tracks. The Journeymen: Scott McKensie, John Phillips, Dick Weissman.

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"Classic Folk Music" (01/04/2005) Folk Various Artists, Smithsonian Folkways RecordingsLiner Note Author: Jeff Place. Recording information: 1955 - 1973.

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"Ingrian Folk Songs" (03/24/2005) Folk Kargian Folk Music Ensemble, Gadfly Records

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"Gabby Road" (10/21/1997) Folk Four Bitchin' Babes, Shanachie RecordsFour Bitchin' Babes: Sally Fingerett (vocals, guitar, piano); Debi Smith (vocals, guitar, bodhran); Megon McDonough, Camille West (vocals, guitar). Recorded live at The Birchmere, Alexandria, Virginia.

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"Butt Naked Free" (03/14/2000) Folk Davis, Guy, Red House RecordsPersonnel includes: Guy Davis (vocals, 6- & 12-string guitars, steel bodied dobro, harmonica, tambourine); T-Bone Wolke (mandolin, accordion, Hammond B-3 organ, electric bass); John Platana (guitar, tambourine); Levon Helm (mandolin, drums); Mark Murphy (acoustic double bass); Gary Burke (percussion). Recorded at The Club House, Germantown, New York. Armed with both 6- and 12-string guitars and an engagingly raspy singing style, Guy Davis carries on the legacy of country-blues alongside a small class of younger musicians that includes Keb' Mo, Corey Harris and Alvin Youngblood-Hart. On his fourth album, Davis pens a broad range of songs that touch on broken dreams ("Raining In My Soul"), teenage femme fatales ("Sugarbelle Blue") and high-stakes gambling ("Waiting On The Cards To Fall"). Family serves as important motivation for this raconteur (whose parents are actors Ossie Davis and Ruby Dee). Results of this inspiration include the fleet-fingered instrumental "The Place Where I Come From (Butt Naked Free)" inspired by Davis' then infant son's crazy-legs dance and the jaunty "Ain't No Bluesman," written for this same child to sing when he got older. Elsewhere, Davis looked to Blind Willie McTell for a strolling version of his "Writing Paper Blues" (fleshed out by organist T-Bone Walk and drummer Levon Helm). Other highlights include the bittersweet "Let Me Stay Awhile" and "High Flying Rocket," a humorous sexual ode rife with double-entendres.

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"Dust Bowl Ballads" (07/11/2000) Folk Guthrie, Woody, Buddha RecordsSolo performer: Woody Guthrie (vocals, guitar, harmonica). Reissue producers: Rob Santos, Nora Guthrie, Glenn Korman. Recorded in New York, New York on April 26 & May 3, 1940. Includes liner notes by Dave Marsh & Woody Guthrie. Digitally remastered by Doug Pomeroy (Pomeroy Audio). American folk music has produced few artists as gifted and complex as Woody Guthrie. Guthrie's talents as a singer, harmonica player, and guitar player were merely ordinary, but as a songwriter, storyteller, and provocateur Guthrie had few equals. Guthrie's genius lay in his gift for seamlessly integrating his leftist political principles into his tales of common folks. Nowhere is this gift more evident than on DUST BOWL BALLADS. The fourteen-song set, originally released in 1940 on two albums of 78s, contains some of Woody Guthrie's most immediate and vibrant compositions, not surprising given that Guthrie had lived through the horrific Oklahoma dust storms of the early '30s. DUST BOWL BALLADS benefits from its thematic cohesion, which allows it to play as a travelogue through the hard lives of Okie refugees. A number of tunes here will be instantly familiar: "I Ain't Got No Home," "Vigilante Man," "Pretty Boy Floyd," "Do Re Mi," and "So Long, It's Been Good to Know Yuh" are all campfire standards. The less well-known tunes here, however, are no less great. Particularly memorable are "Tom Joad" (a seven-minute Cliff Notes version of "The Grapes of Wrath"), and "Talking Dust Bowl Blues." A classic album.

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"In the Wind" (07/24/1990) Folk Peter, Paul & Mary, Warner Bros. Records (Record Label)Peter, Paul & Mary: Peter Yarrow, Paul Stookey (vocals, guitar); Mary Travers (vocals). Includes original release liner notes by Bob Dylan. In the early 1960s Peter, Paul and Mary sweetened folk music with their genial harmonies and crystalline performances, making folk acceptable to the unenlightened masses. It's true that their version of Bob Dylan's "Blowin' in the Wind" is infinitely more commercial than the original. However, commercializing an impassioned protest song like "Blowin' in the Wind," and therefore getting its message out to a much larger audience than Dylan himself could hope to garner in his early FREEWHEELIN' days, is actually a pretty subversive thing to do. Late 1963's IN THE WIND features two more Dylan songs, along with versions of the standards "Tell It on the Mountain" and "Freight Train" among other folkie favorites.

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"In Concert" (10/25/1990) Folk Baez, Joan, Vanguard Records (USA)Solo performer: Joan Baez (vocals, guitar). Recorded during Joan Baez's tours in August 1962 and October-November 1963. "We Shall Overcome" recorded at Miles College, Birmingham, Alabama. Includes liner notes by Bob Dylan. The 'queen of folk' was an accomplished live performer as this, the first of two In Concert albums proved. Accompanying herself on acoustic guitar, Baez brought her pure, virginal soprano to contrasting material. Her interpretations of Childe ballads 'Matty Groves' and 'The House Carpenter' are particularly moving, but an empathy with American folklore, including Woody Guthrie and the Carter Family, is equally apparent. Baez's reading of Malvina Reynolds' protest song, 'What Have They Done To The Rain', is especially arresting and inspired a later pop hit for the Searchers. This album helped take folk music out of the coffee-house circuit and into national consciousness.

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"In the Jailhouse Now: Prison Songs & Murder Ballads" (05/10/2005) Folk Various Artists, Vitamin Records (USA)

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"Old-Time Fiddle Tunes and Songs From North Georgia" (04/16/1996) Folk Skillet Lickers, County

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"The Complete A&M Recordings [Box]" (09/23/2003) Folk Baez, Joan, A&M Records (USA)Personnel includes: Joan Baez (vocals, acoustic guitar, guitar, piano); Mimi Farina (vocals, guitar); Larry Carlton (acoustic & electric guitars); Dean Parks (acoustic guitar, banjo); Charlie McCoy (guitar, harp); Grady Martin, Pete Wade, John Buck Wilkin, Reggie Young (guitar); Stuart Bosore, Welldon Myrick (steel guitar); Sid Sharp (violin); Tom Scott (flute); Mike Leech (brass); Larry Knechtel (piano, organ); David Biggs (piano, keyboards); Glenn Spreen (keyboards); Norbert Putnam, Wilton Felder, Duck Dunn (bass); Kenneth Buttrey, Jerry Carrigan, John Guerrin (drums); Farris Morris, Mucho Gordo (percussion). Producers: Joan Baez, Henry Lewy, David Kershenbaum. Compilation producer: Mike Ragogna. Recorded between 1972 & 1976. Includes liner notes by Arthur Levy. All tracks have been digitally remastered using 96K/24-bit technology.

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"Christmas With the New Christy Minstrels: Complete" (12/15/2004) Folk New Christy Minstrels, Collectors' Choice MusicCHRISTMAS WITH THE NEW CHRISTY MINSTRELS: COMPLETE contains 2 LPs on 1 CD: MERRY CHRISTMAS! (1963)/CHRISTMAS WITH THE CHRISTIES (1966). Originally released on Columbia Records.

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"Beautiful Dreamer: The Songs of Stephen Foster" (08/24/2004) Folk Various Artists, Emergent Music MarketingThough Stephen Foster died in 1864, his songs have remained part of the essential fabric of American culture. But even while most people can hum the melodies to "Camptown Races" and "Oh! Susanna," not many recognize Foster's name. BEAUTIFUL DREAMER, a tribute album that gives life to 18 of songwriter's most enduring compositions, may rectify that situation. The collection showcases Foster's witty, indelibly catchy tunes in inventive, diverse cover versions by an eclectic array of contemporary artists. Raul Malo gives voice to the lilting title track, while Alison Krauss and Yo-Yo Ma team up for a near-ambient treatment of the lullaby "Slumber My Darling." The Duhks turn in a calypso-touched version of "Camptown Races," and John Prine's ragged, weary version of "My Old Kentucky Home, Goodnight" suits the song's haunting sense of nostalgia. Roger McGuinn's chiming, Byrds-esque take on "Jeanie with the Light Brown Hair" keeps things varied, but the highlight might be Mavis Staples's inspired, gospelized reading of "Hard Times Come Again No More." The proceeds from the album go to American Roots Publishing (a non-profit organization that preserves rural American culture and art). All told, the project is a fitting tribute to one of the great-grandfathers of American song.

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"40 Days" (08/10/2004) Folk Wailin' Jennys (The), Red House RecordsThe Wailin' Jennys: Cara Luft (vocals, guitar, dobro); Nicky Mehta (vocals, guitar, harmonica); Ruth Moody (vocals, guitar, accordion, keyboards, bodhran). Recording information: Private Ear, Winnipeg, Canada.

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"Wildflowers" (10/25/1990) Folk Collins, Judy, Elektra EntertainmentPersonnel: Judy Collins (vocals); Joshua Rifkin (conductor). With her pure, silky voice and ornate, stately arrangements, Judy Collins appealed to the mainstream pop and folk audiences of the '60s. But there was a fair amount of subversion on her agenda. She did more than anyone to popularize the work of then-unknown songwriters like Leonard Cohen, giving their music access to masses they could never have otherwise reached. Paying homage to the darker side of her muse, Collins covers three Cohen songs here (including one Cohen never recorded), as well as Jaques Brel's "Song Of Old Lovers." This album helped establish her as a major figure in the '60s folk scene.

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"Judith" (10/25/1990) Folk Collins, Judy, Elektra EntertainmentPersonnel: Judy Collins (vocals, piano); Steve Goodman (acoustic guitar, background vocals); Hugh McCracken, David Spinozza, Steve Burgh, Charlie Brown, Cliff Morris (guitar); Gene Orloff, Harry Cykman, Alvin Rogers, Bob Reynolds (violin); Jerry Smith, Sidney Weinberg (woodwinds); Wayne Andre, Garnett Brown, Vinnie Fanuele (trombone); Frank Wess, Randy Brecker, Wechsler (horns); Dominic Cortes (accordion); Don Brooks (harmonica); Ken Ascher (electric piano); Ken Bichel (synthesizer); Tony Levin, John Beal (bass); Stephen Gadd (drums); Ralph MacDonald, Hank Jaramillo (percussion); Denver Collins, Sylvia Shemwell, Eunice Peterson (background vocals). Recorded at A&R Studios, New York, New York. All tracks have been digitally remastered using HDCD technology. Widely and appropriately considered the masterpiece of Judy Collins' '70s pop albums, 1975's JUDITH is both an artistic success and a commercial triumph. This album's single, a sensitive, piano-based reading of Stephen Sondheim's "Send in the Clowns," was a surprise hit which to this day evokes memories of mid-'70s AM radio for anyone old enough to remember. The rest of the album, perhaps surprisingly, is up to that same level of quality. The opening, a low-key version of Jimmy Webb's oft-covered "The Moon is a Harsh Mistress," is spectacular, and other covers, like Steve Goodman's "City of New Orleans" and the Rolling Stones' "Salt of the Earth"--which works much better than you might think--showcase various aspects of Collins' remarkable interpretive facility. Unlike many albums of the era, the production does not feel particularly dated. JUDITH is a fine example of mid-'70s adult contemporary pop.

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"The Very Best of David Wilcox" (05/07/2005) Folk Wilcox, David (American), A&M Records (USA)Additional personnel includes: Randy Brecker, Mark Egan. Producers include: Pat McCarthy, Ben Wisch, Richard Gottehrer, Jeffrey Lesser. Compilation producer: Mike Ragogna. Includes liner notes by David Okamoto. All tracks have been digitally remastered.

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"A Little Bitty Tear" (1994) Folk Ives, Burl, Universal Special Products

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"The Best of Tom Paxton: I Can't Help But Wonder Where I'm Bound" (01/19/1999) Folk Paxton, Tom, Rhino Records (USA)Personnel: Tom Paxton (vocals, guitar); Barry Kornfeld (guitar, banjo, harmonica); David Bromberg (acoustic & electric guitars); Paul Prestopino, Mark Horowitz (guitar); Felix Pappalardi (guitarron, bass); David Grisman (mandocello); Jim Tyler (banjo); Max Pollikoff (violin); Seymour Barab, Robert Sylvester (cello); Jack Bonus (flute, tenor saxophone); Hank Freeman (flute); Richard Grando (soprano saxophone, soprano recorder); Johnny Coles (flugelhorn); David Horowitz (piano, keyboards) Herb Bushler (acoustic & electric basses); Herbert Brown, Richard Davis, Bill Lee (bass); John Nagy, Jonathan Raskin (electric bass); Maurice Baker, Paul Dillon, Teddy Sommer (drums). Producers: Paul Rothchild, Jac Holzman, Peter K. Siegel, Milton Okun, Keith Holzman. Compilation producer: Patrick Milligan. Engineers include: Dave Sanders, Shelly Yakus, Phil Ramone. Principally recorded from 1964 to 1970 at Masterstone Studios & A&R Studios, New York, New York and live at The Bitter End, New York, New York in June 1970. Includes liner notes by Scott Alarik. Digitally remastered by Dan Hersch (Digiprep). A 26-track compilation titled after one of Tom Paxton's most beloved songs, I CAN'T HELP BUT WONDER WHERE I'M BOUND is a well-balanced overview of the singer-songwriter's 1964-'71 tenure at Elektra Records. Paxton is sometimes overlooked among the top tier of the Greenwich Village folkies, because of the range and variety of his material. Unlike the sometimes-strident Phil Ochs, Paxton mixed his serious, topical compositions with witty, Tom Lehrer-like satires, including "What Did You Learn in School Today?" and "Forest Lawn." He also wrote disarmingly tender love songs, including "The Last Thing on My Mind" and the title track. Naturally, this collection also features two of Paxton's most durable songs, "Bottle of Wine" and the Woody Guthrie-like children's classic "Goin' to the Zoo," along with other tracks from all of Paxton's Elektra albums, many of which have never been available on CD.

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"Popular Songs of Christmas & New Year's" (10/17/1990) Folk Fahey, John, VarrickPersonnel: John Fahey, Terry Robb (guitar). Recorded at High Tech Recorders, Portland, Oregon.

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"The Broadside Tapes Vol. 1" (10/15/1989) Folk Ochs, Phil, Smithsonian Folkways RecordingsOriginally released as THE BROADSIDE TAPES LP NO. 14". Recorded 1962-64. Collecting 16 songs originally recorded for the popular folk music magazine Broadside in 1963 and 1964, Phil Ochs' THE BROADSIDE TAPES, VOLUME ONE captures the young folkie at the very beginning of his career. Few of these songs ever appeared on album during Ochs' lifetime, but they're hardly mere curiosity pieces. From humorous story songs like "The Ballad of Alferd Packer," a tribute to a famous Colorado cannibal, to the topical "Christine Keeler," about the prostitute who nearly brought down the British government in the early '60s, Ochs shows the range that made him one of the folk scene's most influential members. The most fascinating track, though, is the last, a faithful cover of the Beatles' "I Should Have Known Better," which makes the pop orientation of his last three albums seem like much less of a departure. Though some of these recordings are of less than stellar audio quality, they're still musically essential.

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"Kindness" (04/22/1997) Folk Reagon, Toshi, Smithsonian Folkways RecordingsSolo Performer: Toshi Reagon (vocals, guitar, percussion). Additional personnel: Bernice Johnson Reagon (vocals). Recorded at Bias Recording Studios, Springfield, Virginia. Includes liner notes by Amy Horowitz, Ray Rogers, and Nikky Finney.

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"Dark Chords on a Big Guitar" (09/09/2003) Folk Baez, Joan, Koch Records (USA)Personnel: Joan Baez (vocals); Doug Pettibone (acoustic guitar); Duke McVinnie (guitar, electric bass); Byron Isaacs (acoustic & electric basses); George Javori (drums, percussion); Rani Arbo, Gail Ann Dorsey (background vocals). Recorded at Allaire Studios, Shokan, New York.

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"The Christmas Revels" (10/01/1997) Folk Revels (The), Revels Inc.

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"Any Day Now [Remaster]" (02/08/2005) Folk Baez, Joan, Vanguard Records (USA)Personnel: Joan Baez (vocals); Stephen Stills, Grady Martin, Ken Buttrey, Norbert Putnam, Junior Huskey, Hargus Robbins, Pete Drake, Hal Rugg, Pete Wade, Tommy Jackson, Buddy Spicher, Harold Bradley, Jerry Reed, Jerry Kennedy, Bill Purcell, David Briggs, Fred Carter, John Gimble. Originally released in 1968, ANY DAY NOW: SONGS OF BOB DYLAN finds Joan Baez in a Nashville studio cutting country-inflected renditions of 16 Dylan favorites, backed by Pete Drake, David Briggs, Norbert Putnam, Jerry Reed, Stephen Stills, and others. Foreshadowing the country direction of Dylan's forthcoming NASHVILLE SKYLINE and reflecting the rootsy sound of the Band's recent MUSIC FROM BIG PINK, ANY DAY NOW shows that once again, Baez was in the right place at the right time in terms of the musical zeitgeist. But where the Nashville cats on 1971's BLESSED ARE occasionally came close to overpowering Baez, the singer is more firmly in control on this earlier album, as witnessed by a remarkable a cappella reading of "Tears of Rage." Liberally salted with BASEMENT TAPES-era songs that were at the time otherwise unavailable, including a sly, almost flirty take on "You Ain't Goin' Nowhere," ANY DAY NOW: SONGS OF BOB DYLAN shows Baez not just as an interpreter and a close friend, but a fan.

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"1200 Curfews" (10/11/1995) Folk Indigo Girls, Epic (USA)Indigo Girls: Emily Saliers (vocals, acoustic & electric guitars, dobro); Amy Ray (vocals, acoustic & electric guitars, mandolin, melodica). Additional personnel: Gail Ann Dorsey (vocals); Jerry Marotta (vocals, saxophone, drums); Jimmy Descant (electric guitar, background vocals); Michelle Malone (mandolin, background vocals); Scarlet Rivera, Sheila Doyle (violin); Jane Scarpantoni (cello, pennywhistle); Sara Lee (pennywhistle, bass, background vocals); Sandy Garfinkel (harmonica); Michael Lorant (tambourine, background vocals); Gerard McHugh, Dede Vogt, Russell Carter (background vocals). Producers: Indigo Girls, Russell Carter, Jerry Marotta, Richard Winn, David Kehrer. Engineers include: Don McCollister, Fred Derby, Tchad Blake. Recorded between 1982 and 1995. Includes liner notes by Indigo Girls, Steve Morse and Russell Carter. The idea started off simple enough--record a couple of the Indigo Girls' better shows, and release a live album. Well, 1200 CURFEWS later, this celebrated acoustic duo has released a double album, chock full of exceptional live performances from a wide variety of settings. And they're not all from the stage either. "Thin Line," a modest little gem of a song, was recorded in the dressing room of the Santa Monica Civic Center. The majority of tunes on this formidable set were, however, recorded on stage, and the Girls deliver on all fronts. We get raw emotion, shimmering acoustic hooks and plenty of straight-up, honest music. The Indigo Girls rarely use any percussion, and are happy to present their songs with bare-bones arrangements. The aforementioned "Thin Line" is a perfect example. As Amy Ray starts off with her powerful, deep voice and deliberate phrasing, Emily Saliers joins in with her trademark harmonies. She expertly rides a few notes above, or sometimes right alongside, her partner. The effect is mesmerizing. The band also gives Buffy Saint Marie's "Bury My Heart At Wounded Knee" a go, and they achieve a haunting rendition of a timeless protest song. Another highlight is "Jonas And Ezekial," a bluesy, tightly-wound exploration of heaven and hell. "Every devil I meet is an angel in disguise," sings Ray. As they often do, these two fine musicians build to a harrowing climax, where they are wailing in a mesh of layered harmony and perfect vocal counterpoint. This is a great live act that has recorded an immaculately-mixed two-disc set. Loyal fans as well as newcomers should be more than satisfied.

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"There But For Fortune" (03/28/1989) Folk Ochs, Phil, Elektra Entertainment2 LPs on 1 CD. Liner notes by Lenny Kaye. Songs from the LPs ALL THE NEWS THAT'S FIT TO SING, I AIN'T MARCHIN' ANYMORE, PHIL OCHS IN CONCERT. THERE BUT FOR FORTUNE is an excellent complement to the other single-disc Phil Ochs compilation, THE WAR IS OVER. Where that album covers the singer/songwriter's later, more pop-oriented A&M albums, THERE BUT FOR FORTUNE anthologizes Ochs' three Elektra releases, 1964's ALL THE NEWS THAT'S FIT TO SING, 1965's I AIN'T MARCHIN' ANYMORE, and 1966's IN CONCERT. At this time, Ochs was a Greenwich Village-based topical folksinger, somewhere between the sometimes strident declamatory style of early Bob Dylan and the sly, ironic humor of Ochs' contemporary Richard Farina. The caustic "Love Me, I'm a Liberal" and the haunting title track, perhaps better known in Joan Baez's rendition, are particular highlights, but by eliminating the albums' weaker or more dated tracks and sequencing the songs with thoughtful care, THERE BUT FOR FORTUNE provides an excellent introduction to the early work of one of folk's most gifted performers.

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"I Sincerely Apologize For All the Trouble I've Caused" (05/02/2006) Folk Ford, David, Columbia/Red InkPersonnel: David Ford (vocals, various instruments); Franco Bidanco (tenor saxophone); Frances Law (background vocals).

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"Rudolph the Red-Nosed Reindeer" (06/01/1996) Folk Ives, Burl, Universal Special Products

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"Strange Histories" (04/25/2006) Folk Raynard, James, One Little Indian (USA)Personnel: James Raynard (vocals, guitar, mandolin, fiddle); Richard Masters (guitar); Jim Moray (bouzouki, concertina, piano); Gavin Davenport (cittern); Nick Cooke (melodeon); Peter Rophone (double bass).

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"Christmas Album" (09/01/2005) Folk Ives, Burl, BMG Special ProductsEngineers: Rafael O. Valentin, Neil Wilburn. Recorded between May 9, 1968 and August 9, 1968 in Hollywood, California. Includes liner notes by Fred Flanagan. Digitally remasterd by Mark Wilder (Sony Music Studios, New York). Recording information: 1968.

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"Have a Holly Jolly Christmas" (09/11/1993) Folk Ives, Burl, Universal Special Products

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"La Guitara: Gender Bending Strings" (11/01/2005) Folk Various Artists, Vanguard Records (USA)This revelatory overview of a dazzling roster of women guitarists spans both time and genre, from the blues of Memphis Minnie's 1940s "Let's Go to Town" to the contemporary ex-subway performer Kaki King's percussive, innovative "Kewpie Station." Perennially rediscovered phenomenon Ellen McIlwaine contributes a stunning raga-style improvisation on "Sidu (Grandmother)," and Brazilian classical and jazz guitarist Badi Assad's "Preludio e Toccatina" inventively fuses flamenco and jazz. There are pyrotechnics galore on Jennifer Batten's electrifying "Whammy Damage," while pipa player (it's a kind of lute) Wu Man incorporates Chinese classical music and electronics on her album-opening "Invocation." The breadth of musical scope and wealth of talent on display here is breathtaking.

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