J&R in Folk Music

"Best of Burl Ives: 20th Century Masters/The Christmas Collection" (09/23/2003) Folk Ives, Burl, MCA Records (USA)Liner Note Author: Joseph F. Laredo. Recording information: 03/13/1952-07/14/1965. This edition in Universal's discount-priced compilation series 20th Century Masters/The Christmas Collection is actually a re-titled reissue of the 1999 collection The Very Best of Burl Ives Christmas. That album, in turn, was drawn from several previous Ives albums, the 1952 set Christmas Day in the Morning, Christmas Eve (1956), Have a Holly Jolly Christmas (1965), and the TV soundtrack Rudolph the Red-Nosed Reindeer (1966). Ives came to be closely associated with Christmas when he served as narrator for the animated TV special Rudolph the Red-Nosed Reindeer in 1964 and scored a hit with the then-newly written "A Holly Jolly Christmas." But his earlier seasonal recordings had been of a more folk-ish and traditional cast, particularly on the Christmas Eve LP. Appropriately, his Have a Holly Jolly Christmas LP contained cheerier, more pop-oriented fare, and by combining four tracks from the former and seven from the latter with a few other selections, compiler Laura Graven achieves a good blend of different kinds of material. Ives' appealing tenor is what holds it together, however, as he performs the songs with warmth and enthusiasm. ~ William Ruhlmann

"In the Wind" (07/24/1990) Folk Peter, Paul and 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.

"Solomon's Seal" (11/18/2008) Rock & Pop Pentangle, Sanctuary (USA)Innovative progressive rockers Pentangle play nine of their evocative songs on this 1972 release. Pentangle were at the top of the British folk-rock heap, easily the equal of contemporaries like Fairport Convention, but their commercial peak came in 1969 with BASKET OF LIGHT. The last album the original lineup made before running out of steam altogether was 1972's SOLOMON'S SEAL. While the album features the band's trademark mix of folk, rock, and jazz, the double guitar threat of John Renbourn and Bert Jansch and the study-in-contrasts vocal interplay of Jansch and Jacqui McShee, there's a greater clarity and focus to the sound. While this results in less raw immediacy than Pentangle enjoyed on some of their earlier albums, it also makes for a more deliberate overall feel; in other words, the last album of the band's initial incarnation is probably the one that came out most closely to what they intended.

"Pink Moon [Remaster]" (05/06/2003) Rock & Pop Drake, Nick, IslandPersonnel: Nick Drake (vocals, guitar, piano). It's widely reported that by the time Nick Drake got around to recording his third and final album, PINK MOON, his already-precarious mental/emotional state had drastically deteriorated. In a deep depression, Drake recorded a brace of solo acoustic tunes, dropped the tape off unannounced at the label's office one day, and that was the last the world at large ever heard of Drake's music. The results of those solo sessions were as harrowing and stark as anything by Robert Johnson or Charley Patton. Enclosed in an inner world of psychological distress, Drake recorded PINK MOON's dispatches from a private hell that was simultaneously terrifying and beautiful. Both the lyrics and the melodic motifs are pared to the bone here, their simplicity making them all the more immediately striking. The most nakedly emotional and disturbing moment is probably "Parasite," a visceral-but-mysterious account of a disconsolate soul roaming through the world in search of succor, with Drake taking the starring role, ultimately offering, "take a look, you may see me in the dirt." This was the end of the road for Nick Drake in more ways than one, but just the beginning for the scores of songwriters subsequently inspired by his bleak-but-beautiful visions.

"Rudolph the Red-Nosed Reindeer" (06/01/1996) Folk Ives, Burl, Universal Special ProductsPersonnel: Burl Ives (vocals, guitar). The Rankin/Bass animagic film Rudolph the Red-Nosed Reindeer first appeared on December 6, 1964. Since then, it has become the longest-running of all holiday TV specials (with, we hope, no end in sight). It's fitting that the grandfather of all Christmas specials features Burl Ives, still remembered warmly by millions as the voice behind the film's narrator, Sam the Snowman. Although this soundtrack bears his name, Ives appears only on a handful of songs: "Rudolph the Red-Nosed Reindeer," "A Holly Jolly Christmas," and "Silver and Gold." The remaining vocals are handled by various cast members: "Jingle Jingle Jingle" features Stan Francis as Santa, "We're a Couple of Misfits" is sung by Billie Mae Richards (the voice of Rudolph) and Paul Soles (the voice of Hermie), "There's Always Tomorrow" is immortalized by Janet Orenstein (as Clarice), and a chorus shares "The Most Wonderful Day of the Year." The real musical genius behind the movie is Johnny Marks, a songwriter who had earlier written the song "Rudolph the Red-Nosed Reindeer" as well as holiday favorites like "Rockin' Around the Christmas Tree" (which is featured in a medley here). His songs, in the hands of musical director Maury Laws, simply sparkle with Christmas magic. The second half of the soundtrack features instrumental versions of the songs, featuring the Decca Concert Orchestra conducted by Herbert Rehbein. The instrumentals keep the holiday spirit flowing, but it's the equivalent of a long musical intermission (in other words, you'll probably find yourself straightening out candy canes on the tree before long). Few soundtracks hold as many happy memories or contain as much Christmas spirit as Rudolph the Red-Nosed Reindeer. Hardcore fans (who number more than a few) can also purchase the film in DVD format or check out a book from Rick Goldschmit that chronicles the making of the film (with lots of fascinating facts about the film's history). ~ Dave Connolly

"The Essential Pete Seeger [Sony]" (04/19/2005) Folk Seeger, Pete, Legacy RecordingsPersonnel: Pete Seeger (vocals, 6-string guitar, 12-string guitar, banjo); Almanac Singers, The Weavers. Liner Note Author: Dave Marsh . The impact of Pete Seeger's music, performances, and political activism has been enormous. In a league with Woody Guthrie and Bob Dylan, Seeger lifted the torch of both traditional folk and the protest song in the 1940s, and kept it burning brightly for decades. THE ESSENTIAL PETE SEEGER sets itself the task of fitting the artist's most important recordings onto one disc. Naturally, a lot of significant material goes missing, but the 15 tracks here provide an excellent cursory overview of the man's accomplishments. This 2005 collection kicks off with one of Seeger's best-known compositions, "If I Had a Hammer," an inspirational tune that became an anthem of struggle in the 1960s. "Where Have All the Flowers Gone?," another Seeger-penned classic, is also here, while his versions of traditional songs ("Barbara Allen" and "John Henry") prove that he is as gifted as an archivist and interpreter as a songwriter. Whether singing the music of his comrades Woody Guthrie ("This Land Is Your Land") and Leadbelly ("Goodnight Irene" with the Weavers) or inspiring the masses with "We Shall Overcome," the size of Seeger's legend is justly outlined. Excellent liner notes and testimonials from friends and fans (including Joan Baez, Billy Bragg, and Roger McGuinn) help make this a fine introduction.

"Flaming Red" (05/07/2005) Folk Griffin, Patty, A&M Records (USA)Personnel: Patty Griffin (vocals, guitar); Jay Joyce (guitar, keyboards, programming); Doug Lancio, Angelo, Ty Tyler, Daniel Tashian (guitar); Kristin Wilkinson, John Catchings, David Davidson, Kathryn Plummer (strings); Gil Reeves (keyboards, programming); Michael Ramos (keyboards); Chris Feinstein, Mike Joyce (bass); Kenny Aronoff, Brad Pemberton, Frank Saas (drums); Emmylou Harris, Julie Miller, Buddy Miller, The Iodine Boys Choir (background vocals). Engineers: David Leonard, Jay Joyce, Rick Will. Recorded at East Iris Studios, Tragedy Tragedy, Woodland Studios, and October Studios in Nashville, Tennessee. Personnel: Patty Griffin (vocals, guitar, background vocals); Jay Joyce (guitar, keyboards, programming); Daniel Tashian, Doug Lancio, Ty Tyler (guitar); Kathryn Plummer, John Catchings, Kristin Wilkinson, David Davidson (strings); Giles Reeves (keyboards, programming); Michael Ramos (keyboards); Frank Sass, Kenny Aronoff (drums); Emmylou Harris, Julie Miller, Buddy Miller (background vocals). Audio Mixers: David Leonard; Jay Joyce; Tom Lord-Alge. Recording information: East Iris Studios, Nashville, TN; October Studios, NY; Tragedy Tragedy, Nashville, TN; Woodland Studios, Nashville, TN. Photographer: Ken Schles. Patty Griffin's Living with Ghosts was an impressive debut, but its spare acoustic arrangements occasionally made it sound more like a sketchbook than a completed album. Shortly after its release, her label commissioned a new version of "Let Him Fly," which matched her vocals to a full live band. Satisfied with the results, Griffin decided to flesh out the instrumentation on her second album Flaming Red and the results are revelatory. Griffin didn't stick with traditional rock arrangments -- she also recorded country-rock, folk, catchy pop and even trip-hop songs, as well. Instead of camouflaging her songwriting, it actually reveals the richness of her music and lyrics. Her sonic revision may be more accessible, but it's no compromise -- Flaming Red is evidence that Griffin is one the more talented and ambitious singer/songwriters to emerge in the late '90s. ~ Stephen Thomas Erlewine

"Joan Baez in Concert, Pt. 2 [Bonus Tracks] [Remaster]" (03/05/2002) Folk Baez, Joan, Vanguard Records (USA)Solo performer: Joan Baez (vocals, guitar). Producer: Maynard Solomon. Reissue producer: Mark Spector. Recorded live at between August 1962 and November 1963. Originally released on Vanguard (9113). Includes liner notes by Bob Dylan and Arthur Levy. All tracks have been digitally remastered. This is part of Vanguard's Original Masters Series. Personnel: Joan Baez (vocals, guitar). Liner Note Author: Arthur Levy . Recording information: Forest Hills, NY (1961-1963); Knoxville, TN (1961-1963); Miles College, Birmingham, AL (1961-1963). 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. Like its predecessor, Joan Baez in Concert, Pt. 1, this live album was a huge success, making the Top Ten. However, though it was recorded not long after Joan Baez in Concert, Pt. 1 and is also a live album on which the only accompaniment is her own acoustic guitar, it's not merely a second set of recordings of similar material. Her repertoire was evolving from purely traditional folk to encompass significant work by contemporary folksinger/songwriters. Most prominent among those, of course, was Bob Dylan, and In Concert, Pt. 2 features her first two Dylan covers, "With God on Our Side" and "Don't Think Twice, It's All Right." For that alone the album was notable, but there were other notable expansions into interesting new territory, like the country classic "Long Black Veil," Derroll Adams' great melancholy "Portland Town," the civil rights anthem "We Shall Overcome," and bossa nova great Luiz Bonfa's "Manha de Carnaval." Baez's growth was not so radical as to alienate any of her folk followers, and the album still featured several traditional folk songs of the sort that had launched her career, like "Once I Had a Sweetheart" and "Jackaroe." The introduction of less-hidebound excursions, though, did much to lighten her approach and keep her from falling into too much of a maiden-of-constant-sorrow rut. The 2002 CD reissue adds lengthy historical liner notes and five bonus tracks. Two of those, "Rambler Gambler" and "Railroad Bill," were featured on the original pressing of the LP before being replaced by "With God on Our Side"; this marks the first appearance of "Railroad Bill" on CD. The remaining three are previously unreleased 1963 concert recordings, including Dylan's "Tomorrow Is a Long Time," the traditional "When First Unto This Country a Stranger I Came," and "Death of Emmett Till." The last of those, intriguingly, is an entirely different song than the early Bob Dylan composition named "The Death of Emmett Till"; this song was written by A.C. Bilbrew and originally recorded by the Ramparts. ~ Richie Unterberger

"1,000 Kisses" (04/09/2002) Folk Griffin, Patty, ATO Records (USA)Personnel includes: Patty Griffin (vocals, guitar, finger cymbals); Emmylou Harris (vocals); Doug Lancio (electric & 12-string guitar, mandolin); Brian Standefer (cello); Michael Ramos (accordion); John Deaderick (piano); Giles Reaves (vibraphone, drums, djembe, bells); Dave Jaques (bass). Recorded at Doug's Basement, Nashville, Tennessee on April 21-27, 2001 and at Los Maranitas Studio, Austin, Texas on May 17 & 18, 2001. 1000 KISSES was nominated for the 2003 Grammy Awards for Best Contemporary Folk Album. Personnel: Patty Griffin (vocals, guitar, resonator guitar, finger cymbals); Doug Lancio (electric guitar, 12-string guitar, mandolin); Carrie Rodriguez (violin); Michael Ramos (accordion); Kami Lyle (trumpet); John Deaderick (piano); Giles Reaves (vibraphone, drums, hi-hat, djembe, tom tom, bells); Luis A. Guerra (acoustic bass). Audio Mixers: Doug Lancio; Giles Reaves; Patty Griffin. Recording information: Doug's Basement, Nashville, TN (04/21/2001-05/18/2001); Los Maranitas Studio, Austin, TX (04/21/2001-05/18/2001). Illustrator: Joey Reese. Unknown Contributor Roles: Michael Ramos; Patty Griffin. Patty Griffin's success is either a testament to the eclecticism of the American music-buying public or to the success of the soundtrack to the movie OH BROTHER WHERE ART THOU? 1000 KISSES isn't a great departure for the Boston singer-songwriter--she's still singing the kind of perfectly formed mini-stories that inhabited her debut album, 1996's LIVING WITH GHOSTS. The main difference here is the assurance with which she presents her material--it's spare, sparsely orchestrated, mostly just acoustic guitar and bass, with the accent on her world-weary yet optimistic vocals and lyrics, eschewing the rock accompaniment of her previous album, FLAMING RED. Griffin's songs aren't particularly country-based, but more part of a long line of American folk music that spans both the omnipresent "Man of Constant Sorrow" and the songs of Lucinda Williams. She's equally at home with the cozy domesticity of "Making Pies" and the aching loneliness of "Rain," while the Latin-tinged "Mil Besos" (the 1000 kisses of the title) is a sultry delight. 1000 KISSES finds Patty Griffin settling in to her stride as a smart teller of stories old and new, big and small.