GREAT MOMENTS IN FOLK-ROCK: LISTS OF AUTHOR FAVORITES

The Top 25 1960s Fo !-Ro"! A #$%s: A S$#&e"'()e L(s' o* +e,so-. F.)es 1. The Byrds, Mr. Tambourine Man 2. Love, Forever Changes 3. Buffalo Springfield, Buffalo Springfield gain !. The Byrds, "rea#es# $i#s %. Buffalo Springfield, Buffalo Springfield &. The Bea#les, 'ubber Soul (. The )efferson irplane, Surrealis#i* +illo, -half fol./ro*. and half psy*hedeli*, bu# ,e *an *oun# i#, *an0# ,e12 3. The Byrds, 4ounger Than 4es#erday 5. S.ip Spen*e, 6ar 17.The Blue#hings, S#ory 8ol. 2 9L+ version: 11.The Beau Brummels, Bes# of #he Beau Brummels 12.Fairpor# Conven#ion, $eyday 13.)oni Mi#*hell, )oni Mi#*hell 1!.Fred ;eil, The Many Sides of Fred ;eil 1%.<onovan, Sunshine Superman 1&.The Lovin0 Spoonful, n#hology 1(.Tim Bu*.ley, "oodbye and $ello 13.The Leaves, ... re $appening= The Bes# of #he Leaves 15.<onovan, Summer <ay0s 'efle*#ion Song 27.+en#angle, Bas.e# of Ligh# 21.<ino 8alen#i, <ino 8alen#e 22.'i*hard > Mimi Fari?a, The Bes# of 'i*hard > Mimi Fari?a 23.Fred ;eil, Blee*.er > Ma*<ougal 2!.@aleidos*ope, 'ampe 'ampe 2%.The Byrds, The +refly#e Sessions $onorable Men#ionA Fairpor# Conven#ion, Fairpor# Conven#ion The 25 Mos' I%po,'.-' 1960s Fo !-Ro"! A #$%s /&$01e0 #2 h(s'o,(". s(1-(*(".-"e .-0 (%p."' $po1960s pop$ ., %$s("3: 1. The Byrds, Mr. Tambourine Man 2. The Bea#les, 'ubber Soul 3. Bob <ylan, $igh,ay &1 'evisi#ed !. Bob <ylan, Blonde on Blonde %. The Byrds, "rea#es# $i#s &. Buffalo Springfield, Buffalo Springfield -double/L+ an#hology2 (. Bob <ylan, Bringing B# ll Ba*. $ome 3. Simon > "arfun.el, The Columbia S#udio 'e*ordings 15&!/15(7 5. <onovan, TroubadourA The <efini#ive Colle*#ion 15&!/15(& 17.The Lovin0 Spoonful, n#hology 11.The Mamas > +apas, CreeCue lley 12.Bob <ylan, )ohn Desley $arding 13.The )efferson irplane, Surrealis#i* +illo,

1!.Crosby, S#ills > ;ash, Crosby, S#ills > ;ash 1%.Fairpor# Conven#ion, Dha# De <id on 6ur $olidays 1&.Leonard Cohen, Songs of Leonard Cohen 1(.;eil 4oung, Everybody @no,s This Bs ;o,here 13."ordon Ligh#foo#, The Fni#ed r#is#s Colle*#ion 15.Bob <ylan, Live 15&&A The 'oyal lber# $all Con*er# 27.Bob <ylan, The Basemen# Tapes 8ol. 1/% -boo#leg series2 21.The Beau Brummels, The Bes# of #he Beau Brummels 22.)oni Mi#*hell, Clouds 23.+en#angle, S,ee# Child 2!.Love, Forever Changes 2%.Fred ;eil, The Many Sides of Fred ;eil T4e-'2-o-e I%po,'.-' 5+,e-Fo !-Ro"!5 A #$%s: The M$s(" Th.' He pe0 +.)e 'he 6.2 Fo, Fo !Ro"! 1. The Byrds, The +refly#e Sessions 2. Bob <ylan, The Free,heelin0 Bob <ylan 3. The Sear*hers, "rea#es# $i#s !. The Bea#les, $ard <ay0s ;igh# %. The Beau Brummels, Bn#rodu*ing #he Beau Brummels &. )a*.ie <eShannon, Dha# #he Dorld ;eeds ;o,...The <efini#ive Colle*#ion (. Fred ;eil, Blee*.er and Ma*<ougal 3. 'i*hard > Mimi Farina, Celebra#ions for a "rey <ay 5. Ban > Sylvia, ;or#hern )ourney 17.The Bea#les, Bea#les for Sale 11.+e#er > "ordon, The E+ Colle*#ion 12.Tim $ardin, This Bs Tim $ardin 13.<ion, The 'oad B0m 6nA 'e#rospe*#ive 1!.)udy $ens.e, $igh Flying Bird 1%.)udy Collins, G3 1&.The Springfields, 6ver #he $ills > Far ,ay 1(.8arious r#is#s, Before They Dere #he Mamas > #he +apas...The Magi* Cir*le 13.The Mug,umps, The Mug,umpsA n $is#ori* 'e*ording 15. <avy "raham, Fol., Blues > Beyond 27. )esse Colin 4oung, 4oung Blood 21. "ale "arne##, De0ll Sing in #he Sunshine The T4e )e Mos' I%po,'.-' Fo !-Ro"! So-1s 1. The 72,0s: 5M,8 T.%#o$,(-e M.-85 The mid/15&% G1 hi# single #ha# #ruly made fol./ro*. a phenomenon, so*ially, ar#is#i*ally, and *ommer*ially. The ideal *ombina#ion of #he Bea#les and Bob <ylan. 2. 7o# 92 .-: 5L(!e . Ro (-1 S'o-e85 The bigges# and hardes#/ro*.ing hi# by fol./ro*.0s mos# no#ed -and *overed2 song,ri#er. 3. The 72,0s: 5T$,-: T$,-: T$,-:5 no#her G1 single by #he Byrds. *over of a +e#e Seeger song #ha# ,as #he ideal marriage of ro*. ,i#h a progressive so*ial *ons*ien*e. The song #ha#, as #he *ri#i*al phrase ,en#, ro*.ed #he Bible and go# a,ay ,i#h i#.

!. S(%o- ; G.,*$-!e : 5The So$-0 o* S( e-"e85 ;o# Hus# +aul Simon0s firs# grea# song, bu# #he mos# *anny realiIa#ion of ho, a good a*ous#i* fol. song *ould be made over in#o an ele*#ri* fol./ro*. hi#, in #his *ase #hrough #he li#eral overdubbing of ele*#ri* ins#rumen#s on#o an a*ous#i* re*ording. %. 7$**. o Sp,(-1*(e 0< 5Fo, 6h.' I'=s 6o,'h85 The mos# memorable pro#es# fol./ro*. song of #he 15&7s. &. The M.%.s ; 'he +.p.s: 5C. (*o,-(. 9,e.%(-=85 The mos# pleasing over#ly *ommer*ial manifes#a#ion of fol./ro*., #he harmonies and beguiling melody resul#ing in #he group0s firs# big hi#. (. The Lo)(-= Spoo-*$ : 59o >o$ 7e (e)e (- M.1("?5 Fol./ro*. a# i#s happies#, on #he song #ha# in#rodu*ed #he Lovin0 Spoonful #o a ,ide audien*e. 3. 9o-o).-< 5S$-sh(-e S$pe,%.-85 The #ra*. #ha# no# only fully moved <onovan from a*ous#i* #o ele*#ri* musi*, bu# also helped #rigger psy*hedeli* ro*.. 5. The 7e.' es< 5No,4e1(.- 6oo085 Fndoub#edly #he Bea#les0 grea#es# lyri*al #riumph during #heir fol./ro*. phase. 17. @$02 Co (-s< 57o'h S(0es No485 The mos# gra*eful mass fol./ro*. smash of #he la#e 15&7s, an eJample par eJ*ellen*e of an original early 15&7s fol.ie gro,ing in#o #he fol./ro*. revolu#ion ,i#h ma#uri#y, and #he #ra*. #ha# firs# enabled a )oni Mi#*hell song #o rea*h mos# ears. 11. The >o$-1# oo0s< 5Ge' To1e'he,85 Many ar#is#s *overed <ino 8alen#i0s *lassi* ode #o love and bro#herhood, in*luding #he De Five, #he )efferson irplane, and -in live performan*e2 )udy Collins and )oni Mi#*hell. The 4oungbloods ,ere no# #he firs# #o do i#, bu# #hey ,ere #he ones #o have #he bigges# hi# ,i#h #he song, and deservedly so, as #heir slo, arrangemen# and )esse Colin 4oung0s vo*als brough# ou# #he mos# rousing, soulful Cuali#ies of #he #une. 12. Co$-',2 @oe ; 'he F(sh< 5I-Fee -L(!e-I=%-F(A(-=-'o-9(e R.185 The funnies#, and mos# vi*ious, an#i/8ie#nam Dar pro#es# song. ;o# al,ays #hough# of as a fol./ro*. song, bu# i# should be no#ed #ha# // in addi#ion #o boas#ing a psy*hedeli* Hugband flavor // i# ,as firs# re*orded as an a*ous#i* Hugband fol. #une on a 15&% E+, prior #o #he release of #he famous ro*. version #,o years la#er on #he group0s se*ond album. Se)e-'ee- C,$"(. 7eh(-0-'he-S"e-es A,"h('e"'s o* Fo !-Ro"! 1. @(% 9("!so-: Early manager of #he Byrds, and produ*er of #heir ele*#ri* demos in 15&! -no, available on The +refly#e Sessions2. The one ,ho gave #hem nearly unlimi#ed s#udio #ime #o learn #heir ele*#ri* ins#rumen#s and perfe*# #heir harmonies, #he one ,ho brough# bluegrass musi*ian Chris $illman in#o #he band on bass, and #he one ,ho sugges#ed #he group *over KMr. Tambourine Man.K The Byrds probably ,ould have never happened ,i#hou# him. 2. To% 6( so-: The produ*er a# #he helm ,hen Bob <ylan made his #ransi#ion from a*ous#i* fol. #o ele*#ri* ro*. musi*, helping #o fa*ili#a#e #he *hange by overdubbing ele*#ri* ins#rumen#s on <ylan0s a*ous#i* version of K$ouse of #he 'ising SunK as an illus#ra#ion of #he possibili#ies -unreleased a# #he #ime, #his la#er *ame ou# on a <ylan C</'6M2. $e la#er did #he same #hing, #his #ime resul#ing in a G1 hi#, for Simon > "arfun.el0s KThe Sound of Silen*e.K lso #he produ*er for <ion0s overloo.ed fol./ ro*.ish re*ordings of #he mid/15&7s. 3. 7o# @oh-s'o-: Columbia produ*er. Behind #he boards for Bob <ylan0s 15&7s re*ordings from #he middle of #he de*ade on,ard. lso produ*ed Simon > "arfun.el, <ino 8alen#i, and )ohnny Cash.

!. @." Ho B%.-: Founder and presiden# of Ele.#ra 'e*ords, of#en doing produ*#ion for #he dis*s as ,ell. Ele.#ra ,as home of several of #he 15&7s mos# impor#an# fol. singer/song,ri#ers and fol./ro*.ers, in*luding )udy Collins, Love, Tim Bu*.ley, and +hil 6*hs. %. @oe 7o20: l#hough meri*an, he ,as #he .ey non/musi*ian in #he evolu#ion of Bri#ish fol./ro*., as produ*er and overall men#or for Fairpor# Conven#ion, #he Bn*redible S#ring Band, and ;i*. <ra.e. &. A #e,' G,oss%.-: Manager of Bob <ylan, +e#er, +aul > Mary, Ban > Sylvia, #he Band, )anis )oplin, and o#hers. (. Lo$ A0 e,: Co/founder of <unhill 'e*ords and, as produ*er for #he Mamas > #he +apas and Barry M*"uire, #he visionary behind fol./ro*. a# i#s mos# *ommer*ial. lso #he *o/produ*er, ,i#h #he Mamas > #he +apas0 )ohn +hillips, of #he Mon#erey +op Fes#ival. 3. 7,$"e L.-1ho,-e: Session gui#aris# ,ho played on early -and of#en #he firs#2 fol./ro*. re*ords of Bob <ylan, 'i*hard > Mimi Farina, Fred ;eil, 'i*hie $avens, "ordon Ligh#foo#, and o#hers. 5. S(s C$--(-1h.% ; Go,0o- F,e(se-: The husband/and/,ife #eam #ha# *o/founded Broadside, #he magaIine #ha# helped give maHor 15&7s song,ri#ers // and fu#ure fol./ro*.ers // Bob <ylan, )anis Ban, Tom +aJ#on, Eri* ndersen, #he Fugs, +hil 6*hs, and 'i*hard Farina #heir s#ar# by prin#ing #heir songs and in some ins#an*es ma.ing some of #heir early re*ordings. 17. +.$ Ro'h"h( 0: Ele.#ra 'e*ords produ*er for Love, Fred ;eil, Tim Bu*.ley, +hil 6*hs, +aul Bu##erfield, and even#ually #he <oors. 11. Te,,2 Me "he,: +rodu*er of #he Byrds0 firs# albums. 12. She T. %2: Far more famous as #he produ*er of #he early hi#s by #he @in.s and #he Dho, bu# also a maHor *on#ribu#or #o Bri#ish fol./ro*. as produ*er for #he +en#angle, Ber# )ans*h, 'oy $arper, and 'alph M*Tell. 13. N(! Ve-e' -some#imes spelled ;i*. 8ene#2A Bn #he la#e 15&7s, produ*er of laid/ba*. fol./ro*.ers and an#e*eden#s of Sou#hern California *oun#ry/ro*. and sof# ro*., in*luding Fred ;eil, $ear#s and Flo,ers, Linda 'ons#ad# > #he S#one +oneys, and )ohn S#e,ar#. 1!. E,(! @."o#se-: Fol. banHo player #urned produ*er, he produ*ed #he earlies# and bes# re*ordings by #he Lovin0 Spoonful and Tim $ardin, as ,ell as some obs*ure fol./ro*. by #he Charla#ans, )erry 4es#er, and a pre/Mamas and #he +apas Cass Ellio#. 1%. 7( Lee: Bassis# for innumerable fol. re*ords of #he early and mid/15&7s, in*luding ones for Ban > Sylvia, )udy Collins, and 6de##a, populariIing #he *on*ep# of adding a**ompanimen# #o fol. sessions. lso filmma.er Spi.e Lee0s fa#her. 1&. He,# Cohe-: Manager for )udy $ens.e, Fred ;eil, Tim Bu*.ley, Linda 'ons#ad# > #he S#one +oneys, and #he Modern Fol. Luar#e#. 1(. N.o%( H(,shho,-: Bnves#ed M%,777 for a five per*en# in#eres# in #he #hen/un.no,n Byrds as #hey ,ere s#ar#ing, enabling #hem #o finally buy s#a#e/of/#he/ar# ins#rumen#s, in*luding a 12/s#ring 'i*.enba*.er gui#ar for 'oger M*"uinn, a Fender bass for Chris $illman -,ho ,as previously using a *heap )apanese bass2 and a full drum .i# for Mi*hael Clar. -,ho ,as previously using *ardboard boJes=2. T4e-'2-Th,ee G,e.' O)e, oo!e0 Fo !-Ro"! So-1s

+h( O"hs< 5I A(-=' M.,"h(-= A-2%o,e5 /1966 e e"',(" s(-1 e )e,s(o-3. 6*hs had previously done #his pro#es# *lassi* as a solo a*ous#i* #ra*.. For a 15&& non/L+ single, i# ,as #o#ally redone as a galvaniIing ele*#ri* number, ,i#h burs#s of bagpipes a# #he beginning and end, and roadhouse piano runs #hroughou#. BneJpli*ably only released in England, #his *ould have been a hi# if i# had been promo#ed properly. The 72,0s< 5I K-e4 I=0 6.-' >o$85 The B/side of KMr. Tambourine Man,K #his is one of many gorgeously melodi*, sensi#ively sung early Byrds songs ,ri##en by "ene Clar. #ha# *ould have Cualified for #his lis#. 7o# 92 .-< 5I* >o$ Go''. Go< Go No485 'e*orded in )anuary 15&%, bu# only released as a European single in 15&(, and #hen la#er -in an al#erna#e #a.e2 on his Boo#leg Series 8ol. 1/3boJ. grea# hard/ ro*.ing number ,i#h an infe*#ious *horus #ha# *ould have been a big hi#. - nd in fa*# a pop/orien#ed *over by Manfred Mann go# #o G2 in 15&% in Bri#ainN an even more unli.ely Fren*h/language *over by Fairpor# Conven#ion, KSi Tu <ois +ar#ir,K made G21 in #he F@ in 15&5.2 The de*ision no# only no# #o pu# i# ou# as a single, bu# no# #o release i# a# all, is one of many su*h *urious de*isions on #he par# of <ylan and Columbia #hroughou# #he singer0s *areer. Bn*iden#ally, Manfred Mann and Fairpor# Conven#ion ,ere no# #he only ,ell/.no,n performers #o give #he song an airing. Darren Oevon, as half of #he fol./ro*.ish duo Lyme > Cybelle, *overed i# on an obs*ure 15&& single #ha# seemed #o be #rying i#s hardes# #o ma.e i# in#o a *lapalong good/#ime pop song, ,hile #he Flying Burri#o Bro#hers pu# i# on #heir se*ond album. The @e**e,so- A(,p .-e< 5To0.285 +erhaps #he grea#es# fol./ro*. ballad ever, and a hi# single #ha# should have been, bu# never go# released as a !%. From #heir *lassi* Surrealis#i* +illo, album, ,i#h )erry "ar*ia *on#ribu#ing gui#ar. F,e0 Ne( < 5The 9o ph(-s85 The grea#es# song by #he singer/song,ri#er mos# .no,n for KEverybody0s Tal.in0,K miJing o*eani* dolphin imagery ,i#h allusions #o failed love. @$02 Co (-s< 5H.,0 Lo)(-= Lose,85 4e# ano#her hi# single #ha# should have been, from her Bn My Life album. grea# *over of a 'i*hard > Mimi Farina song ,i#h an as*ending harpsi*hord riff, barrelhouse hon.y/#on. piano, and *onvin*ing ro*.0n0roll vo*als #ha# #o#ally ou#dis#an*es #he original. R("h.,0 ; M(%( F.,(-.< 5Re-o Ne).0.85 The husband/and/,ife duo0s bes# song, a moody medi#a#ion on loss and *han*e, ,i#h a hypno#i* minor/.ey melody and ,inding, ,ordless ba*.up vo*als by Mimi Farina. La#er *overed mas#erfully by Fairpor# Conven#ion in #he la#e 15&7s for #he BBC. The 7 $e'h(-1s< 59o Ho$se85 Di#h i#s veiled referen*es #o #he sad life of a pros#i#u#e, #he bes# song from #he only album by @ansas0 Blue#hings, #he grea# los# fol./ro*. band. "uaran#eed #o appeal #o fans of #he mid/15&7s Byrds and Beau Brummels. T(% 7$"! e2< 5No M.- C.- F(-0 'he 6.,85 The opening #ra*. of his 15&( album "oodbye and $ello, and one of #he grea# an#i/,ar songs of all #ime, righ# from #he a#omi* eJplosion #ha# opens #he *u#. The 7e.$ 7,$%%e s< 5S.0 L('' e G(, 85 bolero/li.e ballad ,i#h ringing gui#ar riffs and en*han#ing harmonies from #ha# mos# haun#ing of fol./ro*. groups. 9(o-< 57.#2< I=% (- 'he Moo0 *o, >o$85 *over of an obs*ure early Bob <ylan song, re*orded in Sep#ember 15&%, bu# sadly unreleased un#il #he 1551 C< *ompila#ion BronJ BluesA The Columbia 'e*ordings -15&2/15&%2. #errifi* blues/ro*. performan*e by <ion, produ*ed by <ylan produ*er Tom Dilson, ,ho from #he sound of #he #ra*. may ,ell have employed some of #he same musi*ians ,ho played on <ylan0s firs# ele*#ri* sessions.

I.- ; S2 )(.< 5>o$ 6e,e o- M2 M(-085 ;o# Cui#e bu# almos# fol./ro*., #he original version of #he song *overed for a huge pop hi# in 15&% by #he De Five. Dri##en by #he duo0s Sylvia Fri*.er, #he original is a far ear#hier performan*e, ,i#h #he pair0s #rademar. moving harmonies, an au#oharp, and an almos# gospelly earnes#ness. 7 ."!#$,- ; S-o4< 5S',.-1e, (- . S',.-1e L.-085 Dri##en by <avid Crosby, #hough *redi#ed #o #he pseudonym Samuel F. 6mar, #his grea# haun#ing *lose/harmony Hangler ,as re*orded by #his male/female San Fran*is*o duo in early 15&&. Fnfor#una#ely i# ,asn0# issued un#il #he beginning of 15&(, as an obs*ure 8erve single. Bla*.burn > Sno, never issued an album during #heir life#ime, bu# a fine *ompila#ion of #heir #,o singles and many unreleased #ra*.s, Some#hing "ood for 4our $ead,is no, available as a Big Bea# C<. @(% ; @e.-< 5S',.-1e,s (- . S',.-1e L.-085 Believe i# or no#, a #o#ally differen# song #han #he nearly iden#i*ally #i#led one by Bla*.burn > Sno, des*ribed above, al#hough )im > )ean ,ere also a male/ female fol./ro*. duo. B# #oo, ho,ever, is a magnifi*en# bi##ers,ee# #une ,i#h *lose harmonies, re*orded -li.e Bla*.burn > Sno,0s #ra*.2 around 15&&. This one ,as ,ri##en by ano#her fol./ro*. <avid, <avid Blue, #hough #he *omposi#ion is *redi#ed #o his real name, <avid CohenN i# ,as a darn sigh# be##er #han any#hing on Blue0s self/#i#led, mid/15&7s <ylan pho#o*opy L+, <avid Blue, also released in 15&&.Ta.en #oge#her, bo#h songs presen# an argumen# for 'ober# . $einlein, au#hor of #he *lassi* s*ien*e fi*#ion novel S#ranger in a S#range Land , as one of #he grea# los# influen*es on fol./ro*.. )us# .idding... +8F8 S o.-< 5I C.-=' He p 7$' 6o-0e,< E (B.#e'h85 superb, rare non/L+ single by #he underra#ed au#hor of KEve of <es#ru*#ion.K deli*a#e ye# for*eful ballad of love #ha# never bloomed, unders*ored by an arrangemen# ,i#h beau#iful *ello, s#rings, vibes, and s#andup bass. F.(,po,' Co-)e-'(o-< 5S$B.--e85 'e*orded for #he BBC in ugus# 15&3, bu# never done for Fairpor#0s proper s#udio albums, and only released un#il #he $eyday *ompila#ion of la#e/15&7s BBC sessions nearly #,en#y years la#er. s#unning in#erpre#a#ion ,i#h grea# al#erna#ion be#,een harmonies and male/female solo #urns, as ,ell as drama#i* gui#ar ,or.. The album, in*iden#ally, is full of su*h rela#ively hidden goodies, in*luding *overs of songs by #he Everly Bro#hers, )oni Mi#*hell, Eri* ndersen, "ene Clar., Bob <ylan, and 'i*hard > Mimi Fari?a0s K'eno, ;evada,K #he original of ,hi*h is men#ioned else,here on #his lis#. The A)e-1e,s< 5Ope- >o$, E2es85 ;o# eJa*#ly fol./ro*. in #he *lassi* formal sense, bu# if #here0s a be##er obs*ure mid/15&7s garage ro*. single ,i#h a heavy Byrds influen*e in #he gui#ars and harmonies, B0d li.e #o hear i#. Bni#ially released on #he #iny Curren# label, and reissued more #han on*e on 0&7s garage *ompila#ions, mos# re*en#ly on 4a "o##a $ave MoJie 8ol. 1. S.-02 9e--2 ; 'he S',.4#s< 5A-0 >o$ Nee0 Me85 From #he album done during <enny0s brief s#in# ,i#h #he S#ra,bs, re*orded in 15&( bu# unissued un#il 15(3. grea# *a#*hy fol./ro*. ballad ,i#h some melodi* resemblan*e #o #he Bea#les0 KBf B Fell,K if you *an imagine #ha#, from #he pen of S#ra,bs mains#ay <ave Cousins. Dhen #his album *ame ou# on $annibal in #he early 1557s, some #ra*.s had or*hes#ral overdubs, in*luding #his oneN i#0s be##er -and harder2 #o find #he unoverdubbed original. The 7e *.s' G2ps(es< 57.#2 7 $e5 /.!. 5I'=s A O)e, No4< 7.#2 7 $e53 . +erhaps #he bes# vir#ually un.no,n Bob <ylan *over of #he 15&7s. The Belfas# "ypsies ,ere a 8an Morrison/less spinoff of Them, ,ho had done #heir o,n version of #his same song, ,i#h Morrison on lead vo*als. Bf Morrison or a *omparable lead singer had #a.en lead vo*als on #he Belfas# "ypsies0 version, i# ,ould be a *lassi*, bu# even so #his is an amaIingly #au#, #ense in#erpre#a#ion ,i#h an ul#ra/*a#*hy, in#ri*a#e gui#ar riff. The R(s(-1 S'o,%< 5F,oBe- L.$1h'e,85 From #he very obs*ure 15&( Calm Before album, a beau#iful haIy psy*hedeli* fol./ro*. ballad, some,ha# refle*#ing #he influen*e of early Love songs su*h as

KMushroom Clouds.K 'e*orded by prep s*hool .ids on #he album #hey priva#ely pressed as souvenirs of sor#s for #hem, #heir friends, and #heir gradua#ing *lass, #his serves as eviden*e of Hus# ho, far and ,ide #he #en#a*les of #he fol./ro*. movemen# rea*hed. The 1C'h F oo, E e).'o,s< 5Sp .sh 185 @no,n more for garage/psy*hedeli* demen#ia #han fol./ro*., #he 13#h Floor Eleva#ors did have #ies #o #he us#in, TeJas fol. s*ene. They ,ere never pu# #o be##er use #han on KSplash 1,K a fol./ro*.er of shimmering melodi* beau#y from #heir debu# album, ,i#h eerily psy*hedeli* ye# roman#i* lyri*s. There0s also a fine, some,ha# more for*eful live 15&& re*ording of #he song #ha# has sho,n up on several releases -su*h as Live a# #he valon, 15&& 2, and a good a*ous#i* version of #he #une by lead singer 'o.y Eri*.son and *o/*omposer Clemen#ine $all. 9o-o).-< 5Ce es'e85 The mos# beau#iful *omposi#ion from #he bard of beau#iful psy*hedeli* fol./ro*. ballads, from his bes# album, Sunshine Superman. Dha# possible reason *ould #here have been for eJ*luding #his from his TroubadourA The <efini#ive Compila#ion an#hology1 The M.%.s ; 'he +.p.s< 5Go' . Fee (-=85 ;o# #ha# obs*ure, perhaps. Bu# rela#ive #o #he Mamas > #he +apas0 numerous hi#s, #his early #ra*., from #heir debu# album Bf 4ou Can Believe 4our Eyes and Ears -and also pla*ed on #he B/side of Kmonday, Monday2, is some,ha# overloo.ed. This is fol./ro*. a# i#s mos# lovely and haun#ing, in #he res#rained ye# angeli* female vo*als, shimmering fle*.s of reverb gui#ar, *oun#erpoin# harmonies, #i*.ing/*lo*. rhy#hms, and a lyri* #ha#, be##er #han any o#her of #he group0s songs, *ap#ured #he melan*holy ambivalen*e and impermanen*e of rela#ionships a# #he da,n of #he free/ love era. >e' Mo,e O)e, oo!e0 O#s"$,e Fo !-Ro"! A #$%s Bf you0ve made i# #his far do,n #he page, you are ei#her #hin.ingA Enough= 6r, hopefullyA More= Dha# abou# some more fol./ro*. B haven0# heard, you may be saying1 So here are some in#eres#ing, ra#her -or very2 li##le/.no,n fol./ro*. albums, all from #he 15&7s, #ha# didn0# Cui#e fi# in#o any of #he above lis#s, bu# are *er#ainly ,or#h a lis#enA Bla*.burn > Sno,, Some#hing "ood for 4our $ead Fapardo.ly, Fapardo.ly -,ould have made personal fave lis#, eJ*ep# only abou# half of i#0s fol./ro*.2 +.F. Sloan, n#hology )im > )ean, Changes <an $i*.s, Early Muses E*le*#ion, E*le*#ion $ear#s and Flo,ers, The Comple#e $ear#s and Flo,ers Colle*#ion The "en#le Soul, The "en#le Soul The S#one +oneys, The S#one +oneys Fea#uring Linda 'ons#ad# ;i*o, Chelsea "irl -if i# ain0# Cui#e fol./ro*., i# *omes damn *lose2 The 'ising Sons, 'ising Sons Fea#uringTaH Mahal and 'y Cooder The "osdin Bro#hers, Sounds of "oodbye Melanie -yes, Melanie2, Melanie Sa#ya Sai Mai#reya @ali, pa*hePBn*a -;o#eA #he #,o albums *ombined on#o #his C< reissue originally *ame ou# in #he early 15(7s, bu# almos# *er#ainly ,ere largely or ,holly re*orded in #he mid/#o/la#e 15&7s2 The <aily Flash, B Flash <aily -side one2 Marianne Fai#hfull, ;or#h Coun#ry Maid The <illards, Copperfields The S#ra,bs, The S#ra,bs To,nes 8an Oand#, For #he Sa.e of #he Song

The )ohns#ons, "ive a <amnPBi##er "reen S#eve 4oung, 'o*., Sal# > ;ails I%po,'.-' U-,e e.se0 1960s Fo !-Ro"! ll righ#, no, ,e0re ge##ing #o #he hardes# of #he hard*ore fol./ro*. *olle*#iblesA Musi* #ha# has s#ill never found offi*ial release. B# migh# no# be #he bes# musi* done by #hese ar#is#s, bu# i#0s pre##y good, and Cui#e his#ori*ally impor#an#. Dill i# ever *ome ou#1 Dell, Bob <ylan0s 15&& 'oyal lber# $all *on*er# -,hi*h ,as a*#ually no# a# 'oyal lber# $all2 finally *ame ou#, didn0# i#1 nd sin*e #his lis# ,as firs# *omposed and pu# up on #his si#e, one i#em0s a*#ually been released -+.F. Sloan0s mid/15&7s demos2, ,i#h #he long/a,ai#ed Buffalo Springfield boJ se# s*heduled for release in )uly, and rumors of unreleased ;i*. <ra.e hi##ing #he shops soon. nd ;eil 4oung has been promising so many unreleased early solo goodies on his ar*hival boJ se# for so long #ha# #heir a*#ual appearan*e ,ould be an an#i/*limaJ= $ere0s #o mul#i/C< boJ se#s of unreleased )a*.ie <eShannon demos... 7o# 92 .-< The 7.se%e-' T.pes Vo 8 1-58 This ,ould probably head many lis#s of #he mos# impor#an# unreleased musi* of any .ind, period. n eJhaus#ive, five/volume C< re#rospe*#ive of #he musi* made by Bob <ylan and #he #hen/unnamed band in 15&(, mos# of ,hi*h does no# sho, up on #he offi*ial The Basemen# Tapes *olle*#ion in any form. These C<s even provided #he basis for an en#ire s*holarly boo., "reil Mar*us0 Bnvisible 'epubli*. 7$**. o Sp,(-1*(e 0< S'.%pe0e8 Some#imes referred #o as a missing Buffalo Springfield album from 15&(, #ha#0s really no# Cui#e a**ura#e, al#hough a sleeve bearing #his #i#le ,as prin#ed -and no# used2. *#ually, #he Buffalo Springfield boo#legs bearing #his name fea#ure a varie#y of s#udio ou##a.es, all good and some grea# -in*luding some al#erna#e versions and solo a*ous#i* demos2, laid do,n by #he band in 15&&/&(. These are in #urn usually augmen#ed by a fe, fair/fideli#y bu# enHoyable live 15&( #ra*.s, done during one of #he periods ,hen ;eil 4oung ,as no# in #he band. -Mos# of #he ma#erial on S#ampede ,as issued on #he Buffalo Springfield BoJ Se# in mid/2771.2 @o-( M('"he < Se"o-0 F,e' Se's: 1966-196D8 There are Cui#e a fe, unreleased la#e/15&7s solo a*ous#i* #apes of Mi#*hell floa#ing around. This double/C< boo#leg is a good pla*e #o s#ar#, ,i#h live versions of numerous early ou#s#anding *omposi#ions from her firs# pair of albums, as ,ell as a number of good original #unes #ha# never made i# on#o #hose albums, par#i*ularly KEas#ern 'ainK -*overed by Fairpor# Conven#ion2 and KFrge for "oing,K as ,ell as a *over of ;eil 4oung0s KSugar Moun#ain.K +.$ S(%o-< ()e (- E-1 .-0< "(,". @$-e 1965. fairly good Cuali#y #ape of +aul Simon, playing solo during #he year or so he lived and ,or.ed in England, prior #o Simon > "arfun.el0s firs# hi#. This ,as repor#ed #o have been re*orded a# a par#y af#er a sho, in EJe#er in )une 15&%. Simon plays a lo# of ma#erial #ha# ,ould appear on early S>" L+s, in*luding K@a#hy0s Song,K K pril Come She Dill,K KB m a 'o*.,K and KThe Sound of Silen*e,K #he las# of ,hi*h deservedly eJ*i#es a Iealous ova#ion from #he onloo.ers a# i#s *on*lusion. B#0s also in#eres#ing #o hear Simon in#errup# himself mid/song #o *as#iga#e someone #al.ing loudly in #he audien*e, and perform an o#her,ise unreleased song, K;or#hern Line.K 6f #he several Simon > "arfun.el boo#legs #ha# have *ome ou#, in*iden#ally, #he mos# in#eres#ing is 8illage 8anguard, miJing #hree 15&&/&( s#udio ou##a.es ,i#h various T8, live, and BBC #apes from 15&&/&5. lso ,or#hy is #he (1/minu#e, professionally re*orded dis* of a 15&3 $olly,ood Bo,l *on*er# -issued under various #i#les2, in ,hi*h #he #,o played a*ous#i* and una**ompanied, as #hey usually did in live performan*es. Ne( >o$-1< E e!',. 0e%os< .'e 19658 'e*orded in Ele.#ra 'e*ords0 s#udio in ;e, 4or., ,hi*h migh# ma.e #he session appear more impressive #han i# a*#ually ,as. These seven solo a*ous#i* #ra*.s, 4oung has re*alled, ,ere sung in#o an old #ape re*order on a me#al *hair. ;one#heless, #hese seven songs // ,hi*h have appeared on numerous boo#legs // are undeniable eviden*e of his blossoming #alen# as an

ou#s#anding song,ri#er, ,i#h early versions of KSugar Moun#ainK and K;o,adays Clan*y Can0# Even SingKN par#s of ano#her, KThe 'en# Bs l,ays <ue,K ,ould evolve in#o KB m a Child.K F.(,po,' Co-)e-'(o-< A Ch,o-(" e o* So,'s< 196E-19698 This boo# has no less #han 22 songs from BBC and #elevision broad*as#s #ha# no# only ,ere no# released, bu# don0# even appear on #he eJ*ellen# offi*ial s#udio *ompila#ion of 15&7s Fairpor# BBC sessions, $eyday. Fideli#y is Cui#e variable, bu# a# #he leas# lis#enable and some#imes good. Bn*ludes lo#s of *overs never re*orded by Fairpor# on #heir s#udio re*ords of #he eraA Eri* ndersen0s K8iole# of <a,n,K )oni Mi#*hell0s K;igh# in #he Ci#yK and KMar*ie,K Tim Bu*.ley0s KMorning "lory,K and even a brief send/up of #he <oors0 KLigh# My Fire.K The long version of K'eno, ;evadaK is differen# from #he one on $eyday, ,i#h some eJ*ellen# eJ#ended soloing by 'i*hard Thompson. S.-02 9e--2< 9.,! 'he N(1h'8 True, half of #his 15/song boo#leg ,as done in #he early 15(7s, and #he half #ha# ,as done in #he 15&7s is solo a*ous#i*. S#ill, an eJ*ellen# do*umen# of eJ#ra/s#udio solo ma#erial by one of #he grea# fol./ro*. singers, in*luding a *ouple of 15&& BBC #ra*.s, eigh# 15&& home demos, and more BBC i#ems from 15(2/(3 -,hi*h surfa*ed on #he briefly available legi# S#range Frui# *omp The BBC Sessions 15(1/15(32. fe, more obs*ure la#e/15&7s solo demos, in*luding *overs of Fred ;eil0s K Li##le Bi# of 'ain,K appear on #he us#ralian Friends of Fairpor# *asse##e The ##i* Tra*.s 8ol. 3, and i# ,ould be grea# #o see #hese and o#her early <enny rari#ies ma.e i# in#o ,ider *ir*ula#ion. S.-02 9e--2< 7o,,o4e0 Th2%e8 4e# more Sandy <enny= nd ,ho are ,e #o *omplain, even if #his 2771 boo#leg // ,hi*h, unbelievably, repea#s absolu#ely no#hing from #he <ar. #he ;igh# boo#leg des*ribed above // is en#irely devo#ed #o 15&&/&3 demos and BBC *u#s #ha# are #ruly a*ous#i* fol., ra#her #han fol./ro*.. The fideli#y is erra#i* bu# generally Cui#e a**ep#able, and in*ludes some obs*ure <enny originals -a**ording #o #he song,ri#ing *redi#s2 and solo versions of songs #ha# she ,ould redo in more famous s#udio versions, li.e KFo#heringayK and KShe MQves Through #he Fair.K @."!(e 9eSh.--o-< Me',(" M$s(" 9e%o L+ M.2 2E< 19658 Bn 15&!/&%, <eShannon made five L+s of demos for Me#ri* Musi*, almos# *er#ainly in#ended for *ir*ula#ion ,i#hin #he publishing and re*ording indus#ry #o soli*i# possible *over versions. ll of #hem are a*#ually lis#ed, ,i#h #ra*. lis#ings and *a#alog Gs, in #he dis*ography ,i#h <eShannon0s EMB C< *ompila#ion Dha# #he Dorld ;eeds ;o, Bs...)a*.ie <eShannonA The <efini#ive Colle*#ion. From a fol./ro*. his#orian0s vie,poin#, #he mos# in#eres#ing of #hese is #he one given #he da#e May 2(, 15&% in #ha# dis*ography. These doIen solo a*ous#i* demos fea#ure her blooming from an eJper# pop/ro*.er #o a more serious and personal, very fol./influen*ed singer/song,ri#er, ,i#h early versions of K<on0# <oub# 4ourself, BabeK -*overed by #he Byrds2 on #heir firs# L+, KDi#h 4ou in MindK -*overed by Marianne Fai#hfull2, and KSplendor in #he "rass.K N("! 9,.!e< The Co%p e'e Ho%e Re"o,0(-1s8 +erhaps #his ,ould no# be so remar.able if no# for <ra.e0s even#ual emergen*e as one of #he mos# popular *ul# ro*.ers -#here0s an oJymoron for you2 on #he plane#, and #he hunger for Hus# abou# any#hing he re*orded, sin*e he only released #hree albums -plus one pos#humous ou##a.es *ompila#ion2. 'e*orded a# #he end of 15&( a# his family0s home, #he fideli#y is lo/fi bu# bearable, and gives us a *han*e #o hear <ra.e as he sounded prior #o his re*ording *on#ra*#. The influen*e of Ber# )ans*h and <onovan ,ere mu*h more prevalen# #han #hey ,ould be on his proper albums, bo#h on #he original *omposi#ions and odd *overs of i#ems li.e KSummer#ime,K K<on0# Thin. T,i*e, B#0s lrigh#,K K"e# Toge#her,K and KCo*aine Blues.K *ouple of home re*ordings from #his #ime did sho, up on #he offi*ial Time of ;o 'eply release, and #here have been repor#s #ha# some or all of #he home re*ordings on #his boo#leg migh# find offi*ial release in 2771. +8F8 S o.-< %(0-1960s 0e%os8 Sloan re*orded several doIen -a# #he minimum2 unreleased demos in #he mid/15&7s. C< *ompila#ion of many bu# no# all of #hem ,as s*heduled by 8arese Sarabande in #he la#e 1557s, bu# failed #o appear. ;o# all of #hem are fol./ro*. // some ,ould be mu*h more *omfor#ably *a#egoriIed as pop/ro*. // bu# #here are a good number of Cuali#y fol./ro*.ish #unes in #his ba#*h,

in*luding KMiss Charlo##e,K KChild of 6ur Time,K and K u#umn.K ;o# all of #hese are #he .ind of underprodu*ed numbers you migh# eJpe*# from demosN Cui#e a fe, have full band arrangemen#s #ha# are #o#ally up #o #he s#andards asso*ia#ed ,i#h final s#udio releases. -;o#eA T,en#y of #hese demos appeared in spring 2771 on #he fine offi*ial 8arese Sarabande *ompila#ion Child of 6ur TimesA The Trousdale <emo Sessions 15&%/15&(.2 The @e**e,so- A(,p .-e< A$1$s' 5< 196E< ()e (- To,o-'o8 There are several fine unreleased live #apes and boo#legs of #he irplane from 15&& and 15&(, #he #ime in ,hi*h #hey ,ere mos# fol./ro*.y. This one is my favori#e, bu# #here are o#hers from la#e 15&& #ha# are Cui#e good as ,ell. The la#er you go in #he 15&&/&( span, #he more psy*hedeli* #he se# veers -,hi*h isn0# a# all a bad #hing2, bu# superb original fol./ro*.ers li.e KToday,K KB#0s ;o Se*re#,K and K"o #o $er,K as ,ell as *overs li.e Fred ;eil0s KThe 6#her Side of This Life,K Billy Dheeler0s K$igh Flying Bird,K and <onovan0s KFa# ngel,K ,ere also mains#ays of #heir sho,s. 9.)(0 7o4(e< The 7e"!e-h.% O00('28 <avid Bo,ie1= Fol./ro*.1 4ep, or *lose enough a# any ra#e #o deserve men#ion here. +robably re*orded in early 15&5, #his unreleased a*ous#i* #ape, sin*e boo#legged -usually under #he #i#le The Be*.enham 6ddi#y 2, do*umen#s #he brief period ,hen Bo,ie, ,i#h singer/ gui#aris# a**ompanis# )ohn $u#*hinson, sounded some#hing li.e a Bri#ish Simon > "arfun.el. Bo,ie #a.es mos# of #he vo*al leads, ,i#h freCuen# harmonies by $u#*hinson, on #his nine/song se#, re*orded #o soli*i# in#eres# from Mer*ury 'e*ords. There are KunpluggedK versions of several of #he be##er songs #ha# ,ould sho, up on his 15&5/15(7 re*ordings, in*luding K n 6**asional <ream,K KLe##er #o $ermione,K K)anine,K KConversa#ion +ie*e,K and of *ourse KSpa*e 6ddi#y,K as ,ell as some rarer i#ems .no,n primarily #o Bo,iephiles. <espi#e ,obbly lo, fideli#y, i#0s *harming, #uneful, affe*#ing, and, ,ell, sin*ere // an adHe*#ive you ,ouldn0# of#en use for Bo,ie0s ,or.. 6nly KSpa*e 6ddi#iyK has seen offi*ial release -on a boJ se#2 from #his ba#*h, and sin*e #he sound is vas#ly superior on #ha# offi*ial release, one hopes #ha# #he en#ire se# eJis#s in similar superior fideli#y, and ,onders if i# ,ill ever be issued in i#s en#ire#y. 9(-o V. e-'(< $-,e e.se0 9("! Ch., es Re"o,0(-1 Se,)("e ."e'.'e< 19618 4es, #his preda#es fol./ro*. by a fe, years, and #hese seven songs are solo a*ous#i* fol., no# fol./ro*.. S#ill, i#0s a do*umen# of ho, one of #he mos# impor#an# fol./ro*. pre*ursors sounded in #he early 15&7s, no#able for his in#ense gui#ar drumming and drama#i* balladeering vo*al delivery on #radi#ional ma#erial su*h as KDayfaring S#ranger.K Bn his au#obiography, 'i*hie $avens says #ha# #here are #,o unreleased 8alen#i solo albums from #he early 15&7sN all of #his ma#erial ,ould ma.e in#eres#ing lis#ening for afi*ionados. nd if you0ve read #his en#ire lis#, you mus# be an afi*ionado, righ#1 The2 @$s' M(sse0888Te- I%po,'.-' Fo !-Ro"! A #$%s o* 19E0 4ou0ve go# #o *u# off a mammo#h s#udy some,here, and my his#ory of 15&7s fol./ro*. his#ory does a*#ually end a# #he end of 15&5, #hough a fe, albums of spe*ial impor#an*e from 15(7 are dis*ussed. Fol./ro*., of *ourse, has *on#inued #o be an elemen# of ro*. musi* #hrough #he presen#, and ,as s#ill a s#rong #hough diminishing for*e in ro*. as #he 15(7s began. $ere are #en impor#an# 15(7 fol./releases, or a# leas# releases #ha# ,ere very s#rongly fol./ro*./flavored, #ha# *ame ou# Hus# #oo la#e #o Cualify for #he 15&7s bes#/of lis#s. They0re lis#ed in order of my personal preferen*e, ra#her #han #heir a*#ual influen*ePimpa*#A ;i*. <ra.e, Bry#er La#er ;eil 4oung, f#er #he "old 'ush Fo#heringay, Fo#heringay )oni Mi#*hell, Ladies of #he Canyon Crosby, S#ills, ;ash > 4oung, <eHa 8u The "ra#eful <ead, meri*an Beau#y The "ra#eful <ead, Dor.ingman0s <ead

S#eeleye Span, $ar. #he 8illage Dai# )ames Taylor, S,ee# Baby )ames Bob <ylan, ;e, Morning nd honorable men#ion for mos# in#eres#ing un.no,n fol./ro*. release of 15(7A Linda +erha*s, +arallelograms. nd ano#her honorable men#ion for #he mos# in#eres#ing un.no,n unreleased fol./ro*. of 15(7, even if #he ar#is# migh# no# have *on*eived of i# as fol./ro*.A "eorge $arrison0s ll Things Mus# +ass/era demos, performed solo on gui#ar, and issued on boo#legs ,i#h differen# #i#les, su*h as Be,are of b.*o. Oh >es The2 9(0888U- (!e 2 Fo !-Ro"!e,s For a day, a mon#h, or a# leas# one re*ord, Cui#e a fe, performers ,ho ,ere never iden#ified ,i#h fol./ ro*. #ried #heir hand a# #he s#yle, ,i#h resul#s ranging from ra#her impressive #o Cui#e a,ful. $ere are some of #hem, on a lis# bound #o eJpand as resear*h *on#inues... G e- C.%p#e < 5The U-()e,s. So 0(e,85 Before be*oming an M6' pop s#ar, Campbell a*#ually *hal.ed up some de*en# ro*. *reden#ials, in*luding a s#in# as a #ouring Bea*h Boy and ,or. on numerous ro*.0n0roll re*ording sessions in #he firs# half of #he 15&7s. Bn #he fall of 15&%, he had one of #he earlier fol./ro*., or a# leas# fol./ro*./pop, hi#s ,i#h a *over of Buffy Sain#e/Marie0s KFniversal Soldier.K This ,en# head #o head on #he *har#s ,i#h <onovan0s superior version of #he same song, a*#ually ma.ing G!%, sligh#ly be##er #han <onovan0s G%3 pla*ing. Soon af#er #he single ,as released, Campbell made i# *lear he didn0# #a.e #he an#i/,ar message of #he song #ha# seriously, #elling 8arie#y #ha# he #hough# people ,ho burn #heir draf# *ards Kshould be hung...Bf you don0# have enough gu#s #o figh# for your *oun#ry, you0re no# a man.K Fur#hermore, 8arie#y repor#ed, Campbell said K#he 0Fniversal Soldier0 dis. resul#ed in his re*eip# of several anonymous *moplain# le##ers from fans, bu# #ha# he really didn0# #hin. pro#es# songs do mu*h in shaping or *hanging opinions. Campbell, ho,ever, emphasiIed #ha# if he re*ords any more pro#es# songs, #hey ,ill be of #he 0red/blooded meri*an varie#y.0K The 7ee Gees< 5A-0 'he Ch( 0,e- L.$1h(-185 +rior #o moving #o England in 15&( and be*oming in#erna#ional supers#ars, #he Bee "ees did Cui#e a bi# of re*ording in us#ralia from 15&3/&&, in*luding #his mid/15&7s s#ab a# so*ial *ons*iousness, fea#uring loud Byrdsy gui#ars and harmonies, as ,ell as *as#iga#ion of a neighbor #ha# ,on0# sha.e hands K,i#h a ;egro.K N("o< 5I=% No' S.2(-15F5The L.s' M( e85 s no#ed in #he lis#ing of ;i*o0s solo debu# Chelsea "irl else,here on #his si#e -as a no#able obs*ure 15&7s fol./ro*. L+2, #here ,as more fol. influen*e in ;i*o0s sound, a# leas# prior #o #he la#e 15&7s, #han has been a*.no,ledged. Even before Hoining #he 8elve# Fnderground, she made #his 15&% single for Bmmedia#e, #he /side fea#uring ,ha# mus# have been one of #he very firs# "ordon Ligh#foo# *overs. B# ,as arranged in a pop/fol. s#yle ra#her similar #o #ha# heard on some mid/15&7s Marianne Fai#hfull re*ords. The B/side, by *on#ras#, ,as an en#irely a*ous#i*, moody ballad, *o/,ri##en by 'olling S#ones managerPprodu*er ndre, 6ldham and #hen/sessionman )immy +age. B# has been repor#ed #ha# bo#h +age and Brian )ones play gui#ars on #he #ra*.. The 6o-0e, 6ho< 59o-=' Th(-! T4("e< I'=s A ,(1h'85 Surely #he mos# absurd <ylan *over #o rea*h #he Top T,en#y ,as #his boun*y *as#ra#o pop rendi#ion a# #he end of 15&%, ,hi*h ,en# all #he ,ay #o G12. Even #he #eenyboppers Cui*.ly figured ou# #ha# i# ,as in fa*# #he Four Seasons under a pseudonym. The group did #ro# ou# #he Donder Dho alias one more #ime in May 15&&, bu# #his #ime op#ed for a #rea#men# of K6n #he "ood Ship Lollipop,K ,hi*h no# only had no rela#ionship ,ha#soever #o fol./ro*., bu# go# no fur#her #han G3(. 6#her Four Seasons oddi#iesA i#0s no# ,ell .no,n #ha# on #heir early 15&! album Born #o Dander, #he Four Seasons did a +hil 6*hs song, K;e, To,n,K #ha# 6*hs never re*orded

himself. +lus, in 15&%, #hey did a ,hole L+ side of <ylan songs, ba*.ed ,i#h...a ,hole L+ side of Ba*hara*h/<avid #unes. The S'.p e S(-1e,s< 5Fo, 6h.' I'=s 6o,'h85 The S#aple Singers are a*#ually an under/re*ogniIed, if #angen#ial, influen*e on fol./ro*.. +op S#aples0 s#yle of gui#ar reverb ,as a big influen*e on Bru*e Langhorne, ,ho played gui#ar on numerous early fol./ro*. sessions by Bob <ylan, 'i*hard > Mimi Fari?a, Fred ;eil, "ordon Ligh#foo#, and o#hers. lso, #he S#aple Singers ,ere among #he earlies# non/fol.ies #o *over Bob <ylan, doing KMas#ers of DarK early in #he 15&7s. S#ill, *overing #he Buffalo Springfield hi# seemed li.e an unli.ely *hoi*e, bu# #hey did so in 15&(, and even go# #o G&& in #he pop *har#s ,i#h i#. 7o# Se1e,< 5+e,se"$'(o- S%('h85 Bn #he mid/15&7s, Seger ,as a long ,ay off from his mains#ream arena s#ardom of #he mid/#o/la#e 15(7s. Bu# he ,as already pre##y ,ell/.no,n on #he Mi*higan s*ene, and some of his earlies# singles are no# only ,holly unli.e his big pop hi#s of la#er vin#age, bu# Cui#e in#ense and ,or#h,hile. K+erse*u#ion Smi#hK is a dead/on re,ri#e of Bob <ylan0s KTombs#one Blues,K and pre##y smo.ing hard #al.in0 blues/fol./ro*. despi#e i#s deriva#ive genesis. Ch.0 ; @e,e%2< 5Tee-.1e F.( $,e85 6ne *ould argue #ha# Bri#ish Bnvasion pops#ers Chad > )eremy had some influen*e on fol./ro*. ,i#h #heir a*ous#i*/orien#ed arrangemen#s, al#hough B ,ould *on#end #ha# +e#er > "ordon had a far more #angible and *on*re#e effe*#. There0s no doub# #ha# C>)0s 15&& single KTeenage FailureK ,as fol./ro*., #hough, ,i#h i#s parodi* -and no# in*redibly funny2 sub/<ylan vo*al and *a#alog/of/*omplain# lyri*s. Li.e #he song0s pro#agonis#, #he single ,as a failure, rea*hing Hus# G131 in #he *har#s. The Loose E-0s< 5A F,ee So$ 85 very li##le/.no,n, and Cui#e good, 15&& single by a For# Dor#h, TeJas band, ,i#h a s#rong la#e/15&% Bea#lesP@in.s influen*e and adaman# B0ve go##a/do/my/o,n/#hing lyri*s. The ,ri#er and gui#aris# of #he group1 #eenaged T/Bone Burne##. @.- ; 9e.-< 5The U-()e,s. Co4.,085 bi# despera#e, perhaps, #o remain relevan# a# a #ime ,hen surf and ho# rod musi* ,as on #he ,ay ou#, )an > <ean pu# ou# #heir Fol.0n0'oll L+, ,hi*h in*luded passes a# KB# in0# Me Babe,K KTurn, Turn, Turn,K and KEve of <es#ru*#ion,K in#erspersed ,i#h far more inno*uous pop/ro*. #ra*.s. lso on #he album ,as KThe Fniversal Co,ard,K a vi*ious sa#ire of KFniversal Soldier.K B li.e )an > <ean -,hen #hey did surf and pop/ro*., any,ay2. Bu# KThe Fniversal Co,ardK is no# Hus# as poli#i*ally unhip as *ould be a# a #ime ,hen an#i/,ar pro#es# ,as hea#ing up, bu# also musi*ally #errible, and lyri*ally unfunny. 6ne of )an Berry0s *o/,ri#ers on #his non/*har#ing single -*redi#ed solely #o )an Berry ,hen i# ,as issued as a !%2 ,as #hen/girlfriend )ill "ibson, ,ho briefly repla*ed Mi*helle +hillips in #he Mamas > +apas shor#ly af#er,ard, ,hen +hillips ,as .i*.ed ou# for various indis*re#ions. - **ording #o S#eve @olanHian0s liner no#es #o )an > <ean0s ll #he $i#s // From Surf Ci#y #o <rag Ci#y, )an0s par#ner <ean Torran*e Kfel# )an and <ean should be apoli#i*al and didn0# ,an# #o release i#,K hen*e i#s appearan*e as a )an Berry solo effor# on #he single.2 The I0es o* M.,"h< 5I= Keep Se.,"h(-185 @no,n primarily for #heir blus#ery 15(7 Blood, S,ea# > Tears/s#yle megasmash K8ehi*le,K #he Bdes of Mar*h a*#ually s#ar#ed as a ra#her #ypi*al mid,es#ern #een pop/ro*. band in #he mid/15&7s. KB0ll @eep Sear*hing,K buried on #he B/side of a 15&& single, is no# #oo fol./ro*. lyri*ally // i#0s a #ypi*al lovelorn ode // bu# has do,nrigh# rive#ing fol./ro*. gui#ar riffs and harmonies. prime eJample of ho, fol./ro*.0s influen*ed rea*hed in#o #eenPgarage ro*.. 7e- C.,,$'he,s ; 'he 9eep< 5@."! o= 9(.%o-0s85 Ben Carru#hers ,as primarily .no,n as an a*#or, par#i*ularly for his role as #he moody bro#her in )ohn Cassave#es0 groundbrea.ing independen# film Shado,s in 15%5. $e also had par#s in The <ir#y <oIen and avan#/garde filmma.er )onas Me.as0 "uns of #he Trees. $e ,as living in London in #he mid/15&7s and #ried, Hus# on*e, his hand a# be*oming a re*ording ar#is#. $e se# par# of a poem #ha# Bob <ylan had ,ri##en and pu# on #he ba*. *over of no#her Side of Bob <ylan -15&!2 #o musi*, *alling #he resul# K)a*. o0 <iamonds,K and re*ording i# ,i#h

#he <eep -,hoever #hey ,ere2. The re*ord ,as produ*ed by Shel Talmy, ano#her meri*an eJpa#ria#e, #hen riding high ,i#h produ*#ions by #he @in.s and #he Dho. 'eleased in )une 15&%, #his pre##y de*en# ro*. #une // one of #he earlier ro*. *overs of a Bob <ylan *rea#ion of any sor# // san. ,i#hou# a #ra*e. Fairpor# Conven#ion, ,ho in #heir early days had a genius for dis*overing obs*ure songs #o *over, someho, found i# and *overed i# on #heir firs# album. Shel Talmy, Ben Carru#hers, Bob <ylan, )ohn Cassave#es // all #hose influen*es *oming #oge#her for Hus# one early fol./ro*. single1 B# did happen. nd no# in meri*a, bu# England. in0# ro*. his#ory amaIing1 +e'e, Fo-0.< 5No)e%#e, N(1h's85 Fonda, li.e Ben Carru#hers -see above2, is primarily an a*#or, and a mu*h more famous one #han Carru#hers. Bu#, li.e Carru#hers, he ,as a musi*ian #oo, and re*orded an en#ire unreleased album around la#e 15&&, ,i#h inpu# from 'oger M*"uinn, <avid Crosby, and $ugh Mase.ela. $e also issued one single, K;ovember ;igh#s,K on #he small Chisa label in 15&(, ,ri##en by none o#her #han "ram +arsons, #hen a nearly #o#al un.no,n. The song is an average pop/fol.er ,i#h adeCua#e, *hara*#erless vo*als by Fonda and some #rumpe#, perhaps by Mase.ela. The single did no#hing *ommer*iallyN plans for ano#her album by Fonda *ame #o no#hingN and shor#ly af#er,ard, Easy 'ider be*ame a hi#, perhaps permanen#ly dis#ra*#ing +e#er Fonda from pursuing a singing *areer. @oh--2 6(-'e,< 57(,0s C.-=' Ro4 7o.'s85 This u##erly a#ypi*al 15&& single, years before Din#er be*ame a blues/ro*. s#ar, has very a##ra*#ive Byrds/li.e gui#ars, magnifi*en#ly moody melody and harmonies, and some,ha# surreal lyri*s abou# ,ha# a s#a#ue ,ould #hin. if i# ,as able #o *ome #o life and vie, #he presen#. 6ddly, #his #ra*. has been reissued ,i#h #,o en#irely differen# vo*als. The version in*luded on #he *ompila#ion *id 8isions -a highly re*ommended *ompila#ion of mid/15&7s TeJas garage ro*., in*iden#ally2 is pre##y s#raigh#for,ard and seriousN ano#her, on #he early Din#er *ompila#ion Birds Can0# 'o, Boa#s, has Ho.ing, novel#y/slan#ed singing. The rendi#ion on *id 8isions is #he one #o ge#. Te,,2 K-(1h' ; 'he +."!< 5A Ch.-1e o- 'he 6.285 Former Mi*higan dis* Ho*.ey Terry @nigh# had some regional hi#s in #he mid/15&7s by aping a varie#y of #rends and #op ar#is#s, in*luding K+osi#ively Four#h S#ree#K/era Bob <ylan on K<imes#ore <ebu#an#eK and #he Lovin0 Spoonful on KDha#0s 6n 4our Mind.K K Change on #he Day,K one of #hose K#he ne, genera#ion ,ill usher in a ne, da,n for man.indK an#hems, is #hus probably abou# as sin*ere as a presiden#ial *ampaign promise, bu# is a li.able melan*holy sof# fol./ro*.er despi#e i#self. Bn a fe, years, his ba*.up group, #he +a*., ,ould be*ome "rand Fun. 'ailroad. nd Terry @nigh#1 $e be*ame "rand Fun. 'ailroad0s manager. C.p'.(- 7ee*he.,' ; H(s M.1(" 7.-0< 5C. o- Me5 /1965 )e,s(o-3 . 6ne of #he mos# pop/orien#ed numbers on Cap#ain Beefhear#0s debu# album Safe s Mil. // his mos# a**essible album #o #he pop audien*e, #hough no# #ha# a**essible // ,as KCall on Me.K B# ,as ye# more normal/sounding in i#s 15&% demo a*e#a#e version, unear#hed for #he re*en# Beefhear# rari#ies boJ "ro, Fins , ,i#h a de*idedly Byrdsy gui#ar line, appealing melody, and a vo*al so s,ee#ly res#rained #ha# one is #emp#ed #o believe #ha# i# migh# no# a*#ually be <on 8an 8lie# singing -al#hough #he Cap#ain is given #he vo*al *redi#2. 6r, perhaps, #ha# he ,as parodying fol./ro*. ,i#h his delibera#e, elonga#ing phrasing, #hough i# Hus# sounds #oo sin*ere for #ha#. Bf you0re a rabid fan of Beefhear#0s unfa#homable avan#/ro*. ,eirdness, i# migh# be your leas# favori#e i#em n his *a#alogN if you generally *an0# s#and Beefhear#, i# migh# ,ell be your mos# favori#e song in his dis*ography. By #he #ime i# ,as re*orded for Safe s Mil., ho,ever, #he arrangemen# had been some,ha# Beefhear#iIed, ,i#h a yelping vo*al and fun.ier Hagged rhy#hms #ha# removed i# some dis#an*e from i#s fol./ro*. pro#o#ype. Noe H.,,(so-< 5S$B.--e85 +erhaps be##er .no,n as an a*#or on #he T8 series KThe "irl from F.;.C.L.E.K #han as any#hing else, $arrison had a*#ually been performing in Bri#ish fol. *lubs sin*e #he la#e 15%7s, and re*orded several albums for maHor labels in #he la#e 15&7s. nd he a*#ually had a mild -G%&2 hi# ,i#h #his 15&( *over of #he famous Leonard Cohen song. For many lis#eners, i# ,as no# Hus# #he firs# version of KSuIanneK #ha# #hey heard, bu# #he firs# #ime #hey had heard any Leonard Cohen song. $arrison also did a ridi*ulously Haun#y *over of a +.F. Sloan song, KThe Man Behind #he 'ed

Balloon,K on a 15&& single. -Some ,ould also #hro, Dilliam Sha#ner0s legendarily ludi*rous *over of KMr. Tambourine ManK in#o #he T8 a*#ors/#urned/fol./ro*.ers *a#egory, bu# #ha# ,as a re*ording #ha# *rossed #he border from oddi#y #o novel#y.2 The G$ess 6ho< 5F 2(-1 o- 'he G,o$-0 Is 6,o-185 Big for years in Canada before #hey be*ame huge in #he FS ,i#h KThese Eyes,K #he "uess Dho re*orded #he very firs# *over of a ;eil 4oung song in early 15&( ,hen #hey did #his #une from Buffalo Springfield0s debu# album. The arrangemen#, ,i#h M radio/ friendly fluegelhorn and glo*.enspiel on #he bridge, ,as inferior #o #he original, if undeniably more pop/ slan#ed. The "uess Dho, li.e 4oung, emerged as performers in Dinnipeg, and .ne, ;eil da#ing ba*. #o his pre/Buffalo Springfield days in his early band #he SCuires. The Co4s( s< 5A I 6.-'. 7e Is Me85 4es, #hese are #he same Co,sills ,ho s*aled #he *har#s ,i#h #he ,holesome pro#o#ype/+ar#ridge Family pop/ro*. of KThe 'ain, The +ar. and 6#her Things.K Before #ha#, ho,ever -and before Mom Co,sill *ame aboard2, #hey ,ere a s#ruggling ;e, England garage band. Their obs*ure mid/15&7s indie single, K ll B Dan#a Be Bs Me,K ,as a #ypi*ally snarling ra, rebellious adoles*en# fol./ro*.er, ,i#h a heavy Byrds influen*e #o #he gui#ars and +.F. SloanPSonny Bono flavor #o #he vo*al and defian#ly individualis#i* lyri*s. L(-! C,o%4e < 5C,.B2 L(!e . FoA85 The #eenaged Lin. Crom,ell did a pre##y *redible, ,i##y Sonny Bono homageP#a.eoff for #his obs*ure independen# mid/15&7s single. Bn #he 15(7s, as *ri#i* Lenny @aye, KLin. Crom,ellK ,ould be*ome one of #he firs# *hampions of overloo.ed vin#age ro*. musi*N as musi*ian Lenny @aye, he ,as an impor#an# firs#/genera#ion pun.Pne, ,ave pioneer, as gui#aris# in #he +a##i Smi#h "roup. Leo- R$sse < 5E)e,2#o02=s T. !(-1 =7o$' 'he >o$-185 B# ,asn0# un#il #he very end of #he 15&7s #ha# 'ussell #ruly laun*hed his *areer as a singer/song,ri#er and solo re*ording ar#is#. Bn #he mid/15&7s, ho,ever, he ,as already a su**essful L. . session .eyboardis#, arranger, and produ*er on a varie#y of pop/ro*. re*ordings. Bn #he summer of 15&%, he found #ime #o re*ord #his obs*ure solo fol./ro*. single for #he <o# label. Con#inuing #he sub/<ylanPSloanPBono #hread, here ,e have ano#her defian#ly abrasive/bu#/hummable observa#ion of #he ,idening gulf be#,een old and young genera#ions. Co/ produ*ed by Snuff "arre## and 'ussell himself, #here0s a bi# of an every#hing/bu#/#he/.i#*hen sin. feel #o #his #ra*., ,i#h lyri*s s*oo#ing over #hemes of #he asser#ion of you#hful iden#i#y, an#i/8ie#nam Dar pro#es#, and nu*lear ,eapon angs#, no# #o men#ion #he snarling <ylanesCue vo*als and angry high/pi#*hed dis#or#ed gui#ars. Li.e many #op session musi*ians of #he #ime, in*iden#ally, 'ussell played on fol./ro*. re*ordings of no#e, in*luding #he Byrds0 KMr. Tambourine ManK and "ene Clar.0s debu# solo album. L(-! 6,.2< 5G(, *,o% 'he No,'h Co$-',285 l#hough .no,n prin*ipally as a supreme purveyor of ins#rumen#al gui#ar mayhem, and mos#ly iden#ified ,i#h pre/Bea#les ro*.0n0roll and ro*.abilly s#yles, Dray has o**asionally issued vo*al numbers #hroughou# his *areer, and some#imes even *on*en#ra#ed on vo*al produ*#ions. Soon af#er fol./ro*. hi# big in 15&%, Lin. ,eighed in ,i#h a ra, *over of Bob <ylan0s K"irl from #he ;or#h Coun#ry,K *omple#e ,i#h harmoni*a, #ambourine, and organ. B#s B/side, #he Dray original K4ou $ur# Me So,K ,as *learly inspired by #he Bea#les0 K4ou0ve "o# #o $ide 4our Love ,ay,K albei# ,i#h a more *oun#rified #,ang, and a gui#ar riff #ha# sounded half,ay be#,een ,ah/,ah pedal and )e,0s harp. 6f *ourse, #ha# Bea#les song had been #o a large degree inspired by Bob <ylan/s#yled fol.. Dray0s in#eres# in fol.ish musi* ,as no# a one/off de#our, as in #he early 15(7s he re*orded several in#eres#ing lo,/.ey vo*al albums for +olydor #ha# sho,ed a heavy Band influen*e. This ma#erial ,as repa*.aged for #he double/C< reissue "ui#ar +rea*herA The +olydor 4ears. The 7 $es M.1oos< 5The +eop e H.0 No F."es5F5So I=% 6,o-1 .-0 >o$ A,e R(1h'85 'emembered primarily as a ;ugge#s/#ype garage/psy*h/pop band, par#i*ularly for #heir big hi# K-KDe in0# "o#2 ;o#hing 4e#,K #he Blues Magoos a*#ually began life as #he Bloos Magoos, a fol./ro*. band. Their rare debu# single, re*orded for 8erve Fol.,ays and issued under #he Bloos Magoos spelling, ,as a*#ually a fairly #as#y, moody fol./ro*.er ,i#h all #he hallmar.s of you#h ne,ly a,a.ened #o #he form *ir*a la#e

15&%A sullen vo*aliIing, a lumbering bu# appealing mid/#empo bea#, sligh#ly surreal lyri*s proHe*#ing so*ial aliena#ion. Bo#h sides ,ere produ*ed by 'i*. Shor#er, ,ho ,ro#e #he /side and *o/,ro#e #he flip. Shor#er, one of #he fe, fri*an/ meri*an singer/song,ri#ers #o re*ord in #he fol./ro*.0s early boom days, had a pre##y respe*#able ,ha#/does/#he/fu#ure/hold/for/me/in/#his/messed/up/,orld fol./ro*. single of his o,n, KLas# Though#s of a 4oung Man,K produ*ed by Teo Ma*ero, ,ho in #urn ,as far more famous for produ*ing Miles <avis. The odd *onne*#ions abound in fol./ro*., and ,e0ll s#op #his par#i*ular #hread, #hough ,e *ould no#e #ha# i# ,as Miles <avis ,ho helped #he Byrds ge# a *on#ra*# a# Columbia by personally re*ommending #hem...By #he ,ay, al#hough #he B/side of #he Bloos Magoos single does sho, up on #he mos# *ommon Blues Magoos *ompila#ion -Mer*ury0s @aleidos*ope CompendiumA The Bes# of #he Blues Magoos2, #he superior /side does no#, #hough i#0s re*en#ly appeared, believe i# or no#, on a reissue of #he single -of dubious legali#y2. The 9e)(.-'s< 5Ch( 0 o* 'he S!285 4es, i#0s #rue #ha# no# many ro*. lis#eners ,ould even .no, ,ho #he <evian#s are, and #hus have no basis upon ,hi*h #o be surprised #ha# #hey did a pre*ious, en*han#ing a*ous#i* song ,i#h flu#e, ra#her in #he mold of <onovan, on #heir debu# L+. The group, ho,ever, does have a *onsiderable *ul# repu#a#ion as one of #he more in#eres#ing Bri#ish underground a*#s of #he la#e 15&7s, usually .no,n for far more abrasive pre/pun. blas#s of blues/ro*. and avan#/ro*. noise *ollage. KChild of #he S.y,K ho,ever, did mu*h #o enhan*e #he diversi#y of +#ooff=, #he mani* psy*hedeli* roller*oas#er ride #ha# ,as #heir highly re*ommended 15&( debu# L+. Bn an in#ervie, ,i#h me, <evian#s singer Mi*. Farren // one of #he #hree ,ri#ers *redi#ed ,i#h #he song0s *omposi#ion // eJpressed *onsiderable disdain for #he #ra*., blaming #he in*lusion of i# and #he a*ous#i* gui#ar ins#rumen#al KBonK on gui#aris# Cord 'ees, ,hose s#in# in #he group ,as brief. Says FarrenA KB al,ays fel# #hey ,ere .ind of a sop #o #he ,ors# .ind of <onovan fey hippie Bn*redible S#ring Band men#ali#y in #he audien*e.K Geo,1e H.%( 'o- IV< 5U,1e *o, Go(-185 Bmprobably, #he *oun#ry s#ar ,as #he firs# #o release a )oni Mi#*hell song, re*orded in la#e 15&& -and produ*ed by Che# #.ins2, and a G( *oun#ry hi# in early 15&(. B#0s no# a bad version, a*#ually, ,i#h #he opening #hree/no#e burs# of s#eel gui#ar s#rongly e*hoing #he s#yle of Bru*e Langhorne, ,ho played on Tom 'ush0s *over of #he same song. Mi#*hell herself ,ould no# release #he song un#il i# appeared on #he B/side of a 15(2 single. Ch,(s'ophe, ; 'he Ch.ps< 5I'=s A ,(1h' M.< I=% O- 2 7 ee0(-185 This garagey, no#/so/grea# ro*. *over of one of Bob <ylan0s finer mid/15&7s songs by a #erribly obs*ure mid/15&7s group ,ould no# be so no#able on i#s o,n grounds. Dha#0s in#eres#ing is #ha# one of #he members ,as one Mi.e Loo.ofs.y, ,ho *o/,ro#e #he B/side, KThey )us# <on0# Care,K a vaguely fol./ro*.ish #une. Fnder #he name Mi.e Bro,n, he ,ould be #he .eyboardis# and prime *rea#ive for*e of #he Lef# Ban.e, #he grea# baroCue/ro*. group #ha# formed shor#ly af#er Chris#opher > #he Chaps vanished in#o oblivion. @oh- 9e-)e, /4('h 'he M('"he T,(o3< 5The So$-0 o* +,o'es' /H.s 7e1$- 'o +.2385 The Chad Mi#*hell Trio ,as one of many inno*uous harmoniIing groups during #he early/15&7s fol. revivalN 'oger M*"uinn ,or.ed ,i#h #hem as an a**ompanis# for a ,hile. M*"uinn ,as long gone, as ,as Chad Mi#*hell, by #he #ime of #heir 15&& L+ 8iole#s of <a,n, *redi#ed #o Hus# #he Mi#*hell Trio. Bn #his lineup ,as a young )ohn <enver. Mos# of #he album is unmemorable, passR a*ous#i* fol., ,i#h #he as#onishing eJ*ep#ion of KThe Sound of +ro#es# $as Begun #o +ay.K B#s full ele*#ri* fol./ro*. arrangemen#, ,i#h i#s #,elve/s#ring gui#ar and soaring harmonies, is an obvious a##emp# #o re*rea#e #he sound of #he Byrds. This is no# an homage, ho,ever, bu# a mean/spiri#ed s,ipe a# fol./ro*. as a ,hole, #he lyri*s Cui#e *learly inferring #ha# #he Byrds and #heir flo*. ,ere mining #he so*ial pro#es# song ,i#h dollar signs in #heir eyes. The in#en#ion migh# have been humorous, bu# a*#ually i# *omes off as #he las# despera#e gasps of dro,ning fol. revivalis#s, bi##erly bemoaning #he #idal ,ave of ele*#ri* fol./ro*. #ha# ,as Cui#e li#erally pu##ing #hem ou# of business. The song ,as *o/,ri##en by Fred $ellerman, a member of #he vas#ly impor#an# 15%7s fol. revival s#ars #he Deavers. $ellerman *ouldn0# have #a.en #he sen#imen#s of his song #oo *lose #o hear#N in Hus# a year or #,o, he ,ould be produ*ing #he firs# albums by fol./ro*. singer rlo "u#hrie.

So o%o- 7$,!e< 5M.11(e=s F.,%85 Dho .no,s ,ha# #he reasoning ,as behind ge##ing Solomon Bur.e, #he soul singer .no,n for *lassi*s li.e KCry #o MeK and KEverybody ;eeds Somebody #o Love,K #o *over #his Bob <ylan song in pril 15&%1 B# ,as a daring de*ision by #lan#i* 'e*ords, as #he Byrds0 KMr. Tambourine ManK had ye# #o rea*h #he *har#s and open #he floodga#es for ro*. *overs of <ylan songs. Bur.e0s version isn0# as ,eird as you migh# #hin., given an up#empo soul/ro*. dan*e rhy#hm and some brass in #he ba*.ing, ,i#h some ni*e slashing fun.y gui#ar. ;o *over version *an Cui#e *over up #he song0s la*. of melody, #hough. Ke('h @.,,e''< Res'o,.'(o- R$(- . #$% . )arre## is mos#ly, if no# ,holly, .no,n as a maHor HaII pianis# and *omposer. 'es#ora#ion 'uin, from 15&3, is #he fol./ro*. s.ele#on in his *lose#, re*orded ,hile he ,as s#ill a member of #he Charles Lloyd Luar#e#. )arre## does no# play HaII on #his album, bu# sings and plays all #he ins#rumen#s, al#erna#ing // Cui#e li#erally, #ra*. #o #ra*. // be#,een sub/<ylan ou#ings and more fol./baroCue ones #ha# e*ho #he la#e/15&7s ,or. of ar#is#s li.e Love and Tim Bu*.ley. There0s a *er#ain ama#eurish appeal #o #he L+, in .eeping ,i#h o#her *rossover Ka*id/fol.K ar#is#s of #he period. 4e# #he fa*# is #ha# )arre## is a maHor HaII musi*ian, bu# a Hourneyman/a#/bes# fol./ro*. singer -,i#h a hoarse, ,avering *roon/,hine2, ins#rumen#alis#, and song,ri#er, ,i#h a ben# for fla.y ,ordplay #ha# gives #his a bi# of a fried/psy*hedeli* #inge. # #imes, #o be harsh, i#0s less #han Hourneyman, par#i*ularly on #he <ylanesCue *u#s, ,hi*h have almos# embarrassing ,heeIing son/of/<ylan harmoni*a, and some do,nrigh# embarrassing ou#/of/syn* drums. Be##er are #he dain#ier, more melodi* #ra*.s ,i#h #rimmings of flu#e,s#rings, and flamen*o/li.e gui#ar, li.e #he #i#le song, KFor 4ou and Me,K and KSiouJ Ci#y Sue ;e,,K ,i#h #heir bossa nova feel. F., .-0 6(0e: Fo !-Ro"!=s I-* $e-"e o- M.&o, 1960s Ro"! A,'(s's Several of #he grea#es# and mos# influen#ial ro*. a*#s of #he 15&7s made brief or no#/so/brief de#ours in#o fol./ro*., even if #hey ,ere no# #hemselves fol./ro*.ers all or mu*h of #he #ime. For proof, *he*. ou# #he follo,ingA The 7e.' es8 The Bea#les0 huge influen*e on spurring fol.ies #o ro*. has been do*umen#ed, and a fol. influen*e ,as apparen# in some of #he Bea#les0 ma#erial from #he s#ar#. s no#ed by #he in*lusion of 'ubber Soul in #he lis# of #op fol./ro*. albums, in 15&% mu*h -#hough no# all2 of #he Bea#les0 ou#pu# ,as fol./ro*., al#hough #hey didn0# s#ay in #ha# bag or indeed any bag for #oo long. B# isn0# of#en observed #ha# #he fol. influen*e made some#hing of a *omeba*. on #he Dhi#e lbum, on songs su*h as K<ear +ruden*e,K KBla*.bird,K KB Dill,K K)ulia,K and KLong, Long, Long.K This may ,ell have been an af#erglo, of #heir #rip #o s#udy #rans*enden#al medi#a#ion in Bndia, ,here only a*ous#i* ins#rumen#s ,ere available. lso on #ha# medi#a#ion *ourse ,as <onovan, ,ho has re*alled #ea*hing )ohn Lennon #he finger/s#yle fol. gui#ar used on Dhi#e lbum songs su*h as K<ear +ruden*e.K )us# prior #o #he Dhi#e lbum sessions, #he Bea#les did a *ouple of doIen or so KunpluggedK a*ous#i* demos of Dhi#e lbum ma#erial #ha# migh# Cualify as a los# Bea#les fol./ro*. album of sor#s, *omple#e ,i#h a *ampfire singalong version of K'evolu#ionKN some of #he songs ,ere released on n#hology 3, #he o#hers are available on boo#legs su*h as Fnsurpassed <emos. To s#re#*h #hings fur#her, #here0s an en#ire album of KunpluggedK "eorge $arrison 15(7 demos from #he ll Things Mus# +ass era -see lis# of impor#an# 15(7 fol./ro*. re*ordings above2. The Ro (-1 S'o-es8 Fol./ro*. is no# a s#yle iden#ified ,i#h #he 'olling S#ones, ,ho are of#en s#ereo#yped as a raun*hy blues/soa.ed band no ma##er ,ha# #he era. 4e# in #he mid/15&7s, several of #heir songs ,ere Cui#e fol.y and a*ous#i* in feel, da#ing righ# ba*. #o #heir firs# meri*an Top !7 en#ry, KTell Me.K Bf KLady )aneK is no# fol./ro*., ,i#h i#s EliIabe#han melody and dul*imer, #hen ,ha# is1 To ,hi*h ,e *an also add K+lay Di#h FireKN KTa.e B# 6r Leave B#,K *overed by #he Sear*hersN KSi##in0 on a Fen*e,K ,i#h i#s dis#in*# ppala*hian feelN and KDho0s Been Sleeping $ere1,K a Cui#e obvious a##emp# #o mimi* Bob <ylan0s mid/15&7s sound.

The K(-!s8 *ous#i* fol. roo#s had informed o**asional @in.s songs ,ell before fol./ro*. be*ame fashionable, in*luding obs*ure #ra*.s li.e K;o#hin0 in This Dorld Can S#op Me Dorryin0 bou# Tha# "irlK -early 15&%2. Their la#e 15&% E+ @,ye# @in.s ,as mos#ly fol./ro*. in #one, in*luding #he *lassi* KDell 'espe*#ed ManK -a hi# in meri*a2 and #he far less *elebra#ed K<on0# 4ou Fre#,K ,i#h i#s almos# Cel#i* feel. @in.s produ*er Shel Talmy has re*alled #ha# KDell 'espe*#ed ManK and K<edi*a#ed Follo,er of Fashion,K ano#her song #ha# used bashing a*ous#i* gui#ars, ,ere fol./ro*. spoofs of sor#s. Fol. and so*ial *ommen#ary ,i#h a Bri#ish slan# *on#inued #o be heard in mu*h of #he subseCuen# @in.s ,or., and some of <ave <avies0 la#e/15&7s solo singles, su*h as KLin*oln Coun#y,K ,ere no#i*eably <ylan/influen*ed. <ave on*e ,en# on re*ord no#ing #he gui#ar ,or. of fol.ie Spider )ohn @oerner as a profound influen*e. The A-(%. s8 +eople su*h as Bob <ylan ,ere blo,n a,ay by #he nimals0 *lassi* blues/ro*. in#erpre#a#ion of K$ouse of #he 'ising Sun,K a ,orld,ide G1 hi# ,i#h a song #ha# ,as a s#aple of many fol.singers0 reper#oires, in*luding )oan BaeI, <ave 8an 'on., Carolyn $es#er, and <ylan himself. B#0s some#imes been spe*ula#ed #ha# #he nimals learned #his song and #heir firs# single, KBaby Le# Me Ta.e 4ou $omeK -a varia#ion of #he of#/played fol. #une KBaby Le# Me Follo, 4ou <o,nK2, from #he versions on Bob <ylan0s firs# album. s i# #urns ou#, #ha# ,as no# #he *aseA nimals bassis# Chas Chandler said he learned K$ouse of #he 'ising SunK by seeing )osh Dhi#e perform i# a# a *lub in ;e,*as#le, England in #he la#e 15%7s, and learned KBaby Le# Me Follo, 4ou <o,nK from a rendi#ion by #he obs*ure blues performer $oagy Lands. The nimals didn0# do many o#her eJpli*i#ly fol./derived songs in #heir *lassi* phase, bu# #hey did do a good, li##le/.no,n *over of <onovan0s K$ey "ypK in 15&&. The Ve )e' U-0e,1,o$-08 The 8elve# Fnderground have so of#en been pegged as #he an#i/every#hing band of #he 15&7s // an#i/pea*e/and/love, an#i/hippie, an#i/,ha#ever #rend #ha# ,as going on // #ha# i# migh# seem here#i*al #o poin# ou# #ha# mu*h of #heir ,or. ,as in fa*# informed by a melodi*, fol./ro*. sensibili#y. ;one#heless, i#0s #here for anyone #o hear, righ# from #he firs# song of #heir firs# album, KSunday Morning,K ,hi*h is some#hing li.e #he Mamas and +apas in a do,n mood. -Save your #oma#oes // #ha#0s a *omplimen#.2 4ou *ould also add #ha#A Lou 'eed0s voi*e, and mu*h of his song,ri#ing, ,as and #o some degree is Cui#e <ylanesCue a# #imesN #ha# ;i*o ,as al,ays angling for a *han*e #o sing and re*ord <ylan0s KB0ll @eep B# Di#h MineK -,hi*h he had ye# #o release a# #ha# poin#2, bo#h ,i#h #he 8elve#s and solo, su**eeding in pla*ing i# on her firs# albumN #ha# an en#ire C<0s ,or#h of unreleased drumless demos from 15&%, no, available as #he firs# dis* on #he +eel Slo,ly and See boJ se#, is Cui#e fol.y in #enor, as on #he gen#le version of K8enus in FursK and #he very <ylan/li.e K+rominen# Men,K *omple#e ,i#h harmoni*aN #ha# <ylan himself hung around #he ndy Darhol *ro,d from #ime #o #ime in #he mid/15&7sN #ha# one of 'eed0s favori#e gui#aris#s ,as 'oger M*"uinnN #ha# )ohn Cale0s firs# solo album, 8in#age 8iolen*e, has arrangemen#s #ha# sound Cui#e a bi# li.e #he Band in pla*esN and #ha# ;i*o did solo fol.y gigs ,i#h a**ompanimen# by various gui#aris#s in*luding 'eed, )ohn Cale, S#erling Morrison, Tim Bu*.ley, Tim $ardin, 'amblin0 )a*. Ellio##, and )a*.son Bro,ne. +lus #heir #hird album, The 8elve# Fnderground -15&52, i#self sounds Cui#e *lose #o a fol./ro*. re*ord, #he band lo,ering #heir ,a##age #o *rea#e a hushed and almos# #remulously Cuie# sound. The fol./ro*. sensibili#y is par#i*ularly s#rong on ballads su*h as K+ale Blue Eyes,K KB0m Se# Free,K K)esus,K and KCandy Says,K as i# had been on #he firs# album0s KB0ll Be 4our Mirror,K KSunday Morning,K and KFemme Fa#ale,K and even on #he 15&5 Live version of KS,ee# )ane.K Dere #he 8elve# Fnderground a grea# band, one of #he bes# of #he 15&7s1 bsolu#ely. Bu# #ha# doesn0# mean #hey ,ere #o#ally above or apar# from #he #rends of #he day, in*luding fol./ro*.. Dell, espe*ially fol./ro*., in my vie,. The 7e."h 7o2s8 Bn mid/15&%, #he Bea*h Boys did a live/in/#he/s#udio KunpluggedK album of sor#s, designed #o simula#e an informal re*ording a# a Bea*h Boys0 +ar#y= mong #he pseudo/hoo#enanny i#ems ,as an unli.ely *over of Bob <ylan0s KThe Times They re /Changin0,K sung by l )ardine, #he one member of #he band ,i#h some fol. musi* eJperien*e prior #o #he forma#ion of #he Bea*h Boys. 6n #ha# same album ,as <ennis Dilson0s hoarse bu# hear#fel# *over of #he Bea#les0 o,n <ylanesCue K4ou0ve "o# #o $ide 4our Love ,ay.K nd le#0s no# forge# #ha# #he group had a G3 hi# in 15&& ,i#h KSloop )ohn B,K

a 1527s song from #he Des# Bndies #ha# )ardine had learned from a version on #he @ings#on Trio0s firs# album. The%8 8an Morrison0s firs# group is mos# .no,n for rough, mena*ing '>BPro*. li.e K"loriaK and KBaby +lease <on0# "o.K n e*le*#i* even #hen, 8an also #ried his hand, ,i#h Cui#e respe*#able resul#s, a# *overing Bob <ylan0s KB#0s ll 6ver ;o,, Baby BlueK and +aul Simon0s K'i*hard Cory,K #he la##er of ,hi*h is a*#ually Cui#e an improvemen# on Simon > "arfun.el0s milder #rea#men#. +lus #here ,ere o**asional Morrison originals, li.e KFriday0s Child,K ,i#h a very fol./ro*.ish ben#. +(-! F o208 Bri#ain0s mos# famous a*id ro*. group a*#ually used dain#y, Haun#y Bri#ish fol./isms fairly of#en, bo#h in #he Syd Barre## era -KThe "nome,K KS*are*ro,K2 and la#er -KSee Sa,,K K+ain# BoJ,K K)ulia <ream,K KCymbalineK2. My vo#e for #heir bes# ,or. in #ha# idiom is #he en*han#ing K"ran#*hes#er Meado,s,K ,he#her in i#s Fmmagumma version or o#her unreleased ones #ha# add differen# harmonies and *olors #o #he arrangemen#. nd le#0s no# forge# Syd Barre##0s solo ,or., ,hi*h of#en had #he feel of a benign bus.ing luna#i*, as on KMil.y DayK or KThe Efferves*ing Elephan#.K @(%( He-0,(A8 The fol./ro*. in $endriJ0s oeuvre is largely *onfined #o his Bob <ylan *overs. Bu# ,ha# a s#rong influen*eA in addi#ion #o having his bigges# meri*an hi# ,i#h a Bob <ylan song -K ll long #he Da#*h#o,erK2, he also made KLi.e a 'olling S#oneK one of his early live sho,pie*es, and did KCan 4ou +lease Cra,l 6u# 4our Dindo,,K a ra#her off/#he/bea#en/#ra*. non/L+ <ylan !% from #he mid/15&7s. Bn )anuary 15&( he even #old Melody Ma.er, KB have one or #,o <ylan singles #ha# ,ere ,i#hdra,n from #he shops Hus# a fe, days af#er release,K perhaps referring #o a mispressing of K+osi#ively !#h S#ree#K #ha# a**iden#ally *on#ained an o#her,ise unreleased slo, version of KCan 4ou +lease Cra,l 6u# 4our Dindo,1K ins#ead. The )imi $endriJ EJperien*e0s firs# single, K$ey )oe,K ,as in #he reper#oire of numerous meri*an fol. and fol./ro*. a*#s, and $endriJ played for a #ime in #he band of )ohn $ammond, #he fol./blues gui#aris# ,ho also gave ba*.up ,or. #o #he $a,.s, la#er #o be*ome #he Band. T,.**("8 De0re s#raying a bi# ou#side #he 15&7s here, bu# #heir 15(7 version of #he #radi#ional Bri#ish song K)ohn Barley*ornK *er#ainly ra#es as one of #he fines#, and mos# famous, ro*. adap#a#ions of a Bri#ish fol. number. B# ,as learned via a re*ording of #he #une by Bri#ish #rad fol. group #he Da#ersons. The +,e''2 Th(-1s8 Bri#ain0s bes#/loved *ul# band of #he 15&7s, perhaps, are mos#ly .no,n ei#her for ei#her #heir 'olling S#ones/#ype ravers or #heir 15&3 psy*hedeli* ro*. opera, S.F. Sorro,. They played fe#*hing and fol.y a*ous#i* ro*., ho,ever, more of#en #han has been no#ed, par#i*ularly on 15&%0s KLondon To,nK -also done by <onovan on a 15&! demo #ha# *ame ou# on his Troubadour boJ se#2 and K<ea#h of a So*iali#e,K #he bes# #ra*. on 15&(0s Emo#ions. M.-*,e0 M.--8 Mos# .no,n for Cuali#y pop/ro*. hi#s of all .inds, Manfred Mann ,ere very impor#an# in populariIing Bob <ylan0s songs in #he F@, ,here #hey had hi#s ,i#h KBf 4ou "o##a "o, "o ;o,,K K)us# Li.e a Doman,K and KThe Migh#y Luinn,K #he las# of ,hi*h made i# big in #he S#a#es #oo. They also did a migh#y fine version of KDi#h "od 6n 6ur Side,K #ransforming i# from an a*ous#i* dirge #o an epi* or*hes#ral pop/ro*. produ*#ion. <ylan *i#ed #hem as favori#e in#erpre#ers during #he 15&7s, and Manfred Mann never los# in#eres# in lo*a#ing in#eres#ing fol./ro*./flavored ma#erial #o *over, as eviden*ed by his 15(7s hi# version of Bru*e Springs#een0s KBlinded By #he Ligh#.K The Ho (es8 The #op/fligh# Bri#ish Bnvasion pop/ro*.ers found #ime #o *over a number of fol. and fol./ ro*. #unes, li.e KB m a 'o*.,K +e#er, +aul > Mary0s K8ery Las# <ay,K and "eorge $arrison0s KBf B ;eeded Someone.K +aul Simon said in #he la#e 15&7s #ha# #he $ollies had spen# a good deal of #ime a# Simon > "arfun.el sessions, and believed #ha# S>" influen*ed #he group. Broni*ally, perhaps, #heir de*ision #o do a ,hole album of <ylan *overs -released as $ollies Sing <ylan in 15&52 ra#her #han original

ma#erial influen*ed "raham ;ash #o leave and Hoin Crosby, S#ills > ;ash, one of #he bigges# fol./ro*. groups of all. The 7 $es +,o&e"'8 6ne of #he mos# e*le*#i* bands of #he 15&7s, #hey may have been mos# freCuen#ly *a#egoriIed as a blues/ro*. a*#. $o,ever, #heir rea*h o**asionally eJ#ended #o fol./ro*., ,i#h *overs of <onovan0s KCa#*h #he Dind,K Eri* ndersen0s K8iole#s of <a,n,K Bob Lind0s KCheryl0s "oing $ome,K and #he l @ooper original KFly ,ay.K 7(1 7,o'he, ; 'he Ho 0(-1 Co%p.-28 Li.e several of #he #op San Fran*is*o psy*hedeli* bands, several members of )anis )oplin0s band had earlier eJperien*e as fol. musi*ians, in*luding )oplin herself. ;o,here is #his be##er heard #han on #heir firs# single, KCoo Coo,K a pulveriIing adap#a#ion of a #radi#ional fol. song #ha#0s been done #o dea#h on re*ord by innumerable a*ous#i* fol. ar#is#s, going ba*. #o #he 1527s and *on#inuing #hrough #he presen#. **ording #o #he liner no#es on #he C< reissue of #heir firs# album, #his ,as remembered by #he band0s bassis#, +e#er lbin, from his fol. daysN for #his #ra*. he played lead gui#ar. lso re*orded on #ha# day, for in*lusion on #heir debu# L+, ,as K ll Bs Loneliness,K by e**en#ri* ;e, 4or. s#ree# musi*ian Moondog. G$("!s( )e, Messe-1e, Se,)("e8 no#her San Fran*is*o band primarily .no,n for #heir psy*hedeli* eJ*ursions, bu# also *apable of some pre##y *ommanding ro*. versions of fol. songs, par#i*ularly $amil#on Camp0s K+ride of Man,K ,hi*h led off #heir debu# album. Li.e several o#her groups of #he #ime, #hey also *overed Buffy Sain#e/Marie0s KCodeine.K They also did some ni*e original #unes in a fol./ro*. mood, su*h as K<ino0s SongK -,ri##en by subseCuen# LMS member <ino 8alen#i2, an unreleased version of ,hi*h had been done by #he Byrds in #he mid/15&7s. C,ee0e-"e C e.,4.'e, Re)(). 8 The premiere roo#s ro*. band of all #ime al,ays made every#hing sound li.e ro*., ra#her #han blues/ro*., *oun#ry/ro*., fol./ro*., or ,ha# have you. S#ill, i#0s ,or#h men#ioning #ha# #heir Dilly and #he +oor Boys album -la#e 15&52 in*luded #,o songs, KCo##on FieldsK and KThe Midnigh# Spe*ial,K #ha# mus# have been in #he early reper#oire of un*oun#ed musi*ians, fol. and ro*., from bo#h sides of #he o*ean, in #he days ,hen #hey ,ere firs# mas#ering #heir ins#rumen#s. The Mo-!ees8 Dhe#her or no# #hese fello,s ,ere a KmaHorK group migh# be in some dispu#e, bu# ,he#her #hey ,ere a KbigK one is defini#ely no#. B# is no# universally .no,n #ha# half of #he Cuar#e#, Mi.e ;esmi#h and +e#er Tor., *ame from fol. ba*.grounds. s #he solo ar#is# Mi*hael Blessing, ;esmi#h had done a *over of Buffy Sain#e/Marie0s KFn#il B#0s Time For 4ou To "oK before Hoining #he group. Many of ;esmi#h0s Mon.ees *omposi#ions had a *oun#ry/fol./ro*. flavorN KThe "irl Tha# B @ne, Some,hereK ,ould ge# my vo#e as #he bes# of #hese. Tor. did no# ge# mu*h of a *han*e #o *on#ribu#e #o #he Mon.ees as a song,ri#er, one ins#an*e ,here he did being #he ou##a.e KLady0s Baby,K ,hi*h has sin*e been released on C<. s i# #urns ou# #ha# ,as one of #he Mon.ees0 s#ronges# #ra*.s, sounding ra#her li.e a Buffalo Springfield ou##a.e, ,hi*h is unsurprising as S#ephen S#ills *on#ribu#ed gui#ar. nd ,ho ,as on drums1 Buddy Miles. 7o##2 9.,(-8 The *onsumma#e all/around en#er#ainer and musi*al genre grasshopper, <arin did no# al,ays sing ro*. -or, a# #imes, of#en sing ro*.2. $o,ever, he did play a minor, li##le/.no,n role in fol./ ro*.0s ges#a#ion by pu##ing a fol. se# in#o his a*# for a ,hile in #he early 15&7s, and, in 15&2, hiring a 27/year/old 'oger M*"uinn #o be his a**ompanis# for #ha# por#ion on 12/s#ring gui#ar -along ,i#h a s#andup bassis#2. M*"uinn also briefly ,or.ed for <arin0s publishing *ompany in ;e, 4or., as a Brill Building song,ri#er, in early 15&3. Shor#ly before #he 4oungbloods formed, <arin helped )esse Colin 4oung ge# signed #o Capi#ol, for ,hom 4oung re*orded his firs# solo L+ in #he mid/15&7s. +rior #o all of #his, Fred ;eil, long before re*ording his mid/15&7s fol./ro*. solo albums, played gui#ar on <arin0s huge la#e/15%7s single K<ream Lover.K $e played drums, oddly enough, on one of #he firs# 'oger M*"uinn song,ri#ing effor#s #o be re*orded, KBea*h Ball,K a 15&3 single by #he s#udio group #he Ci#y SurfersN M*"uinn *o/,ro#e #his ,i#h Fran. "ari, and fu#ure Byrds produ*er Terry Mel*her played piano. Dha#0s

more, <arin0s very firs# single, in 15%&, ,as a *over of K'o*. Bsland Line,K a song #ha# already been populariIed by #he Deavers and, par#i*ularly, Lonnie <onnegan, ,hose re*ording of i# spar.ed #he s.iffle *raIe in England. nd, in 15&& and 15&(, #he unpredi*#able <arin Humped in#o fol./ro*. himself, re*ording numerous *overs of Tim $ardin and )ohn Sebas#ian songs, and ,ri#ing some of his o,n in a s#yle heavily indeb#ed #o $ardin. +lus, of *ourse, <arin had a big hi# ,i#h a $ardin *over, KBf B Dere a Carpen#er.K s fol./ro*. goes <arin0s ma#erial is pre##y mild and mains#ream, and really no# #ha# good, al#hough some *ri#i*s ra#e i# far more highly #han #his ,ri#er does. $e ,asn0# done ,i#h fol./ro*. af#er KBf B Dere a Carpen#er,K using #he billing KBob <arinK for one album only -Commi#men# 2 in 15&5, gro,ing a mous#a*he and donning a Hean Ha*.e# for #he *over shoo#. $e even did <ylan, Tim $ardin, Leadbelly, and Bea#les songs ,i#h a*ous#i* gui#ar, harmoni*a, and a four/pie*e band a# L. .0s Troubadour *lub around #his #ime. 4ou .no,, KBobby <arinK doesn0# sound #oo differen# #o #he ear #han #he ,ords KBobby <ylanK...is i# possible #he #eenaged Bob Oimmerman had #his in mind, even sub/*ons*iously, ,hen he *hanged his name #o Bob <ylan1 R("! Ne so-8 From 15&& on,ard, one of #he bigges# s#ars of ro*.0s firs# de*ade slid in#o *oun#ry/ro*., forming #he S#one Canyon Band, ,hi*h employed fu#ure Eagle 'andy Meisner. long #he ,ay he #hre, in #he odd fol./ro*. *over, re*ording K<aydream,K K'eason #o Believe,K K<on0# Ma.e +romises,K KFor Emily Dherever B May Find $er,K a single of Bob <ylan0s KShe Belongs To Me,K and -in 15&(2 #he Cui#e li##le/ .no,n <ylan *omposi#ion KDal.in0 <o,n #he Line,K ,hi*h <ylan had no# released himself a# #ha# poin#. E )(s +,es e28 Dhen Elvis +resley had #he firs# s#irrings of musi*al a,a.enings from his movies malaise in #he mid/15&7s, one of #he #hings #ha# *augh# his a##en#ion ,as +e#er, +aul > Mary. Through #hem he be*ame a,are of songs by "ordon Ligh#foo# and Bob <ylan, some of ,hi*h he ,ould re*ord. The mos# famous of #hese ,as his 15&& *over of KTomorro, Bs a Long Time,K ,hi*h <ylan himself had never released, al#hough i# had sho,n up via *over versions, su*h as #he one by Ban > Sylvia. Elvis a*#ually learned i# from an album of 6de##a0s, 6de##a Sings <ylan.Famously, <ylan has referred #o Elvis0 *over of #his #une as his all/#ime favori#e re*ording of one of his songs by ano#her ar#is#. Ro0 S'e4.,'8 Dhile bluesy and booIy ro*. ,as S#e,ar#0s usual for#e even a# #he very beginning of his *areer, he has been very vo*al in his admira#ion of fol.ies su*h as 'amblin0 )a*. Ellio## and DiII )ones. $is firs# solo album, 15&50s The 'od S#e,ar# lbum, had a *over of E,an Ma*Coll0s K<ir#y 6ld To,n,K and some of his bes# ,or. of #he early 15(7s ,as fol./ro*.ish, su*h as his *over of Tim $ardin0s K'eason #o BelieveK and #he megahi# KMaggie May.K 9.)(0 7o4(e8 <avid Bo,ie0s brief fol./ro*. phase is no# ,ell do*umen#ed on offi*ial releases, al#hough a very good boo#leg eJis#s of an early 15&5 session ,i#h him and )ohn $u#*hinson on a*ous#i* gui#ars and harmonies -see lis#ing under Bmpor#an# Fnreleased 15&7s Fol./'o*.2. side from #ha# do*umen#, ,e have #he fol.y elemen#s in numerous early songs li.e KSpa*e 6ddi#y,K and of *ourse, al#hough #his is ge##ing in#o #he early 15(7s, his KSong For Bob <ylan.K B# is no# as ,ell .no,n #ha# Bo,ie *overed #he Fugs0 K<ir#y 6ld ManK live in 15&(, and praised #he band in one of his firs# press in#ervie,s #ha# year. B#0s also no# ,ell .no,n #ha# Bo,ie ,as a big fan of Love0s r#hur Lee. Lee on*e re*alled #ha# a #hen/ un.no,n Bo,ie sen# Lee his debu# album, a**ompanied by a personal no#e. Lee ,as no# impressed by #he musi*, or amused by KFn*le r#hur,K ,hi*h li.e mos# of Bo,ie0s firs# album -from 15&(2 ,as a *hirpy sub/ n#hony ;e,ley *hara*#er s.e#*h. @oh- M.2. 8 Bob <ylan, and some o#her fol./ro*.ers, had a huge a##ra*#ion #o early blues/ro*. bands su*h as #he +aul Bu##erfield Blues Band in #he S#a#es. <uring <ylan0s 15&% Bri#ish #our -immor#aliIed in #he do*umen#ary <on0# Loo. Ba*.2, he apparen#ly en#er#ained #he #hough# of re*ording ,i#h )ohn Mayall0s Bluesbrea.ers -Mayall is seen, very briefly, in one of #he s*enes in <on0# Loo. Ba*., riding ,i#h <ylan in a *ar2. very small fragmen# of a re*ording session survives, in ,hi*h <ylan and #he Bluesbrea.ers, #hen in*luding Eri* Clap#on, had a go a# KBf 4ou "o##a "o, "o ;o,.K From #he slim available eviden*e on #ape, #he session ,as a shambles.

Le0 Heppe (-8 @no,n for #he mos# par# as one of #he ,orld0s mos# su**essful hard ro*. or early heavy me#al bands, Led Oeppelin did in*orpora#e a good deal of a*ous#i* fol. and fol./ro*. influen*es in#o #heir ,or.s, al#hough #hese #ended #o sho, up on #heir lesser/.no,n #ra*.s. )immy +age had already made an eJpli*i# ven#ure in#o fol./ro*. in his 4ardbirds days ,i#h #he ins#rumen#al a*ous#i* gui#ar sho,*ase on KDhi#e Summer,K on #ha# band0s Li##le "ames album. This song ,as based on #he Bri#ish Bsles #radi#ional fol. s#andard KShe Moves Through #he Fair,K and on Led Oeppelin0s debu# album, ano#her fol.y gui#ar sho,*ase, KBla*. Moun#ainside,K ,as similar #o #he arrangemen# of #he #radi#ional Brish fol. song KBla*.,a#er SideK heard on a 15&& Ber# )ans*h L+. lso on Led Oeppelin B is KBabe, B0m "onna Leave 4ou,K a fol./roo#ed song #ha# had already borne various ,ri#ing *redi#s and given Cui#e differen# *over #rea#men#s by several ro*. bands, in*luding Lui*.silver Messenger Servi*e, #he sso*ia#ion, and #he obs*ure Bri#ish band #he +lebs -,ho did a Cui#e respe*#able version on a 15&! single2. "oing ba*. again #o #he 4ardbirds days, in 15&3 as #he group rea*hed #heir dea#h #hroes, #hey re,or.ed K<aIed and Confused,K a song by #he li##le/.no,n ;e, 4or. fol./pop/ro*. singer )a.e $olmes, in#o a hard ro*. epi*. fe, live 15&3 4ardbirds versions of #his #une are available on boo#legsN by #he #ime Led Oeppelin pu# i# on #heir debu# L+, i# had a*Cuired #he bombas#i* sheen familiar #o all of us #oday from innumerable FM radio plays. The fol./ro*. *onne*#ions go on and on, a*#ually, ,i#h Led Oeppelin, in#o #he 15(7sA )immy +age played memorable gui#ar on 'oy $arper0s bes# album - S#orm*o*.2N Led Oeppelin BBB 0s K$angmanK is *lose #o a 15&% version of #he #radi#ional number K$angmanK by based/ in/#he/F@ meri*an singer <orris $endersonN +age has of#en *redi#ed )ans*h as one of his favori#e gui#aris#sN Sandy <enny *on#ribu#ed vo*als #o Led Oeppelin0s KBa##le of EvermoreKN )immy +age *i#ed meri*an fol./psy*hedeli* *ombo @aleidos*ope as one of his favori#e bandsN i# has been repor#ed #ha# +age and +lan# ,ere big fans of su*h fol./ro*. ar#is#s as #he Bn*redible S#ring Band, Fairpor# Conven#ion, )oni Mi#*hell, and LoveN and #oday +lan# shares bills ,i#h ar#is#s su*h as meri*an *ul# fol./ ro*.er Tim 'ose. nd, ba*. in his days as a session man, +age had played gui#ar on <onovan0s seminal KSunshine SupermanK hi#, as ,ell as -in 15&32 handling #he searing lead gui#ar on <onovan0s K$urdy "urdy Man.K Many of Led Oep0s fol. roo#s are de#ailed in an eJ#ensive pie*e in #he pril 2777 issue of M6)6N for a more *ri#i*al eJamina#ion of Led Oeppelin0s fol. and blues adap#a#ions -and #he song,ri#ing *redi#s a##a*hed #o #hem2, see Dill Shade0s pie*e in #he <e*ember 2777 issue of +erfe*# Sound Forever ,ebIine -a# ,,,.furious.*omPperfe*#PHimmypage.h#ml2. E 'o- @oh-8 n ar#is# ,ho really didn0# emerge as a solo performer un#il #he very #ail end of #he 15&7s, El#on )ohn0s influen*es are many, spread #hroughou# #he en#ire pop and ro*. spe*#rum. This did in*lude fol., and bo#h El#on )ohn and ;i*. <ra.e fans s#ill find i# hard #o believe #ha# El#on )ohn ,as on*e engaged -in )uly 15(72 by produ*er )oe Boyd #o re*ord publishing demos of <ra.e0s songs. <on0# believe i#1 The eviden*e is #here #o hear on boo#legs, ,hi*h have gone by su*h misleading names as 15&3 ;i*. <ra.e Session -#he session ,as in 15(7, and also in*ludes *overs of songs by )ohn Mar#yn and Mi.e $eron of #he Bn*redible S#ring Band, some#imes sung no# by El#on )ohn bu# by Linda Thompson2. K(-1 C,(%so-8 Dha#, @ing Crimson, fol./ro*.1 These purveyors of serious and *erebral ar#/ro*.1 Tha#0s ,ha# #hey0re mos# re*ogniIed as, #rue, bu# in #heir very early days, #here ,as a brief @ing Crimson/ Fairpor# Conven#ion *onne*#ion. )udy <yble, #he original female voi*e of Fairpor# Conven#ion -repla*ed in 15&3 by Sandy <enny2, ,as #he girlfriend of original @ing Crimsoni#e Ban M*<onald. The pair Hoined #he embryoni* @ing Crimson // #hen s#ruggling under #he name of "iles, "iles > Fripp -,ho released one album, also in 15&32 // in )une 15&3. <yble only ,or.ed ,i#h #he musi*ians for one mon#h, bu# #ha# ,as long enough #o re*ord several songs. T,o, KMurderK and KMa.e B# Today,K sho, up on #he limi#ed edi#ion Ten#h +lane# L+ of "iles, "iles > Fripp rari#ies, Me#amorphosis. The o#her, M*<onald0s engaging KB Tal. #o #he Dind,K ,as even#ually issued in 15(& on #he 4oung +erson0s "uide #o @ing Crimson *ompila#ion. heavier, fuller ar#/ro*. version of #ha# same song sho,s up on @ing Crimson0s debu# album Bn #he Cour# of #he Crimson @ing , ,hi*h s#ill // largely #hrough M*<onald0s presen*e // bears #ra*es of fol./ro*. in #he lil#ing, melodi*, s#ory#elling song,ri#ing of mos# of #he #unes, also in*luding KEpi#aph,K KMoon*hild,K and #he epi* #i#le #ra*.. B#0s also in#eres#ing #o no#e #ha# early @ing Crimson in*luded fol./ro*. songs li.e )oni Mi#*hell0s KMi*hael from Moun#ainsK in #heir rehearsals, and played <onovan0s K"e# Thy

BearingsK liveN a 15&5 BBC re*ording of K"e# Thy BearingsK appears on #heir Epi#aph *ompila#ion of live 15&5 ma#erial. >es8 4es1 Surely you Hes#, you say= ;o, #here ,asn0# mu*h fol./ro*. #o 4es0s approa*h, even a# i#s ou#se#. B#0s in#eres#ing, #hough, #ha# #hey *overed a number of songs by maHor fol./ro*. ar#is#s in #heir very early *areer, in*luding Buffalo Springfield0s KEverydays,K #he Byrds0 KB0ll See 4ou,K and 'i*hie $avens0s K;o 6ppor#uni#y ;e*essary, ;o EJperien*e ;eeded.K nd le#0s no# forge# #ha# 'i*. Da.eman ,as in Bri#ish fol./ro*. group #he S#ra,bs in #he early 15(7s before he Hoined 4es on .eyboards. The N("e8 To fur#her #he fol./ro*.Par#/ro*. *onne*#ion, #he ;i*e // fea#uring .eyboardis# @ei#h Emerson, prior #o his more famous ,or. as par# of Emerson, La.e, > +almer // *overed a number of songs #ha# origina#ed ,i#h fol./ro*. performers, in*luding Tim $ardin0s K$ang on #o a <ream,K Bob <ylan0s KShe Belongs #o Me,K and -on a BBC session2 #he Byrds0 K"e# #o 4ou.K Even s#ranger, #hey did a BBC version of HaII gian# Sonny 'ollins0s KS#. ThomasK ,i#h ne,ly/penned lyri*s by #heir friend -and *ul# Bri#ish fol./ro*. singer/song,ri#er2 'oy $arper. G,e11 A %.-8 llman0s image is usually one of a gruff blues/ro*.er, in .eeping ,i#h his *on#ribu#ions as singer and .eyboardis# for #he llman Bro#hers. $e did have a li.ing for fol.ier s#uff, *overing )a*.son Bro,ne0s KThese <aysK on his 15(3 debu# solo album. Ba*. before #he llman Bro#hers formed, he also ,ro#e a li##le/.no,n, Cuali#y #ender fol./ro*. ballad re*orded by #he Sunshine Company in #he la#e 15&7s, KSunday Brough# #he 'ain.K Ho4 0(0 'he2 1e' (- he,e?: U-$s$. #(' p .2e,s (- 'he s'o,2 o* =60s *o !-,o"! Some of #he mos# fas*ina#ing #hings abou# resear*hing popular musi* his#ory are #he uneJpe*#ed *onne*#ions #ha# surfa*e be#,een figures more *ommonly asso*ia#ed ,i#h ,ildly differing s#yles. ;one of #he people belo, are iden#ified ,i#h 0&7s fol./ro*., bu# all of #hem someho, popped up #o play surprise bi# roles in #he s#ory of #he musi*A M( es 9.)(s8 The HaII grea# ,as ins#rumen#al in ge##ing #he Byrds #heir deal ,i#h Columbia 'e*ords in la#e 15&!. f#er hearing abou# #he band from en#er#ainmen# en#repreneur Benny Shapiro, <avis // ,ho s#ill hadn0# heard #he Byrds // *alled Brving To,nsend, head of Columbia0s Des# Coas# offi*e, #o arrange a mee#ing be#,een Byrds *o/manager )im <i*.son and CBS Des# Coas# >' man llen S#an#on. The Byrds ,ere signed #o Columbia shor#ly af#er,ard. 9o,(s 9.28 The mo#her of #he Byrds0 firs# produ*er, Terry Mel*her, ,ho ,as a# #he helm of #he group0s firs# #,o albums. Mos# li.ely Mel*her, ,ho ,as only abou# #he same age as #he Byrds, ,ould never have risen as high and fas# as he did a# Columbia 'e*ords if his mo#her hadn0# been one of #he *ompany0s bigges# s#ars. Ro1e, M( e,8 The *oun#ry s#ar mos# .no,n for his mid/15&7s *rossover smashes K@ing of #he 'oad,K K<ang Me,K KChug/ /Lug,K and KEngine Engine G5K is *redi#ed by 'oger M*"uinn as helping #he fu#ure Byrds gui#aris# ou# ,hen M*"uinn opened for Miller a# #he Troubadour in Los ngeles in mid/15&!, shor#ly before helping #o found #he Byrds. @oh- K.28 Though even#ually .no,n as a hard ro*.Pme#al forefa#her as #he head of S#eppen,olf, in #he early 15&7s @ay ,as par# of #he Buffalo, ;e, 4or. fol. *ir*ui# ,i#h )a*.son C. Fran. and Eri* ndersen. round 15&! he ,as briefly #he manager of #he ;e, Balladeer *offeehouse in Los ngeles, ,here a**ording #o previous manager Morgan Cave##, K)ohn, on purpose, ,ould run #he espresso ma*hine during <avid 9Crosby0:s songs, ,hi*h ,ould piss him off. They0d s#ar# yelling and s*reaming ba*. and for#h.K

C (** 7e--e'' ; 'he Re#e Ro$se,s8 The Sear*hers0 hi# 15&! *over of )a*.ie <eShannon0s K;eedles and +insK is of#en and Hus#ly *redi#ed as one of #he pre/15&% songs #ha# mos# an#i*ipa#ed #he sound of fol./ro*., par#i*ularly in i#s Hangling ele*#ri* 12/s#ring gui#ar riffs. B# #urns ou#, ho,ever, #ha# #he Sear*hers learned i# no# from <eShannon0s 15&3 single, bu# from a live *over version #hey heard in $amburg by Bri#ish blue/eyed soul band Cliff Benne## > #he 'ebel 'ousers. -Benne## > #he 'ebel 'ousers never had su**ess in #he FS, bu# had a Top Ten F@ hi# in 15&& ,i#h a *over of #he Bea#les0 K"o# #o "e# 4ou in#o My Life.K2 Ke--2 R.-!(-8 l#hough .no,n primarily as a smoo#h HaII/pop *rooner, in 15&%, before he0d released his firs# album, he someho, ended up playing some of #he gui#ar on Bob <ylan0s Bringing B# ll Ba*. $ome album. Mose A (so-8 The bea#ni. HaII singer/pianis# migh# seem an unli.ely inspira#ion for early fol./ro*. song,ri#ers, bu# Mimi Farina re*alled #ha# one of 'i*hard > Mimi Farina0s bes# #ra*.s, K'eno ;evada,K ,as re*orded in hopes #ha# Mose llison ,ould *over i#. Geo** S'ephe-s8 $e0s mos# .no,n for forming #he ;e, 8audeville Band and ,ri#ing #heir G1 15&& single KDin*hes#er Ca#hedral,K as ,ell as ,ri#ing or *o/,ri#ing numerous pop hi#s, in*luding <ave Berry0s KThe Crying "ame,K $erman0s $ermi#s0 KThere0s @ind of a $ush,K S*o## Dal.er0s KLigh#s of Cin*inna#i,K and Dayne ;e,#on0s K<addy <on0# 4ou Dal. So Fas#.K Ba*. in 15&!, ho,ever, he helped s#ar# <onovan0s *areer as -,i#h +e#er Eden2 *o/manager, also *o/produ*ing -,i#h Eden and Terry @ennedy2 <onovan0s pre/15&& re*ordings. N.-"2 +,(0028 The inspira#ion behind one of #he Buffalo Springfield0s pre##ies# songs, S#ephen S#ills0s K+re##y "irl DhyK -K+re##y "irlK S K+riddy "irl,K ge# i#12. She also sang ba*.up vo*als on Leonard Cohen0s firs# album, and made a li##le/heard la#e/0&7s solo L+. $er bigges# *laim #o fame, ho,ever, is as #he mo#her of Chris#ina pplega#e, s#ar of #he hi# T8 series Married...,i#h Children. @(% S'.**o,08 The *oun#ry/pop singer ,ho had a brief vogue in #he mid/15(7s ,i#h #he dumb novel#y hi#s KSpiders and Sna.esK and KMy "irl BillK ,as, ,ay ba*. in #he early 15&7s, in #he Legends, a Florida ro*.0n0roll band #ha# also in*luded #he #eenaged "ram +arsons. Lo#o8 nd also in #he Legends ,as Lobo -real name @en# La8oie2, ,ho0d ma.e i# big in #he early 15(7s ,i#h #he M6' singer/song,ri#er hi#s KB0d Love 4ou #o Dan# MeK and KMe and 4ou and a <og ;amed Boo.K To%%2 Cho-18 *omedy supers#ar in #he 15(7s as half of Chee*h > Chong, in #he 15&7s he ,as par# of soul/ro*.ers Bobby Taylor > #he 8an*ouvers. S#eve Lalor, la#er of Sea##le0s #op 0&7s fol./ro*. band #he <aily Flash, ,as in #he early 0&7s par# of #he fol. group #he <rif#,ood Singers, ,ho also in*luded Lynn Shepard and K$ey )oeK au#hor Billy 'ober#s. **ording #o Lalor, he and Shepard used #o si# in ,i#h Bobby Taylor > #he 8an*ouvers doing )immy 'eed, Bobby Blue Bland, and obs*ure Chu*. Berry #unes in af#erhours Hams, ,i#h Chong on gui#ar, before #he fol./ro*. sound had #a.en off in #he hands of #he Byrds and Bob <ylan. No,%.- +e''28 @no,n prin*ipally for produ*ing mu*h of Buddy $olly0s ,or. in #he la#e 15%7s, he also produ*ed some fol./ro*./rela#ed re*ordings in #he mid/15&7s by )immy "ilmer and Carolyn $es#er, as ,ell as #he Fireballs0 15&3 Top Ten *over of Tom +aJ#on0s KBo##le of Dine.K Bn #he la#e 15%7s he produ*ed $es#er0s rare debu# album S*arle# 'ibbons, on ,hi*h )erry llison, drummer in $olly0s band #he Cri*.e#s, *on#ribu#ed brushes on a *ardboard boJ #o one song. Sh.0o4 Mo,'o-8 Shado, Mor#on rose #o fame as #he produ*er of #he grea# girl group #he Shangri/Las, ,ri#ing some of #heir songs -su*h as #he hi#s K'emember -Dal.ing in #he Sand2K and K"ive $im a "rea#

Big @issK2 as ,ell. $e0d go on #o produ*e early heavy ro*.ers 8anilla Fudge in #he la#e 15&7s, and pre/ pun.ers #he ;e, 4or. <olls in #he 15(7s. Bn be#,een, ho,ever, he produ*ed #een prodigy fol./ro*.er )anis Ban, in*luding her debu# hi# single KSo*ie#y0s Child.K Leo-.,0 7e,-s'e(-8 The famed *lassi*al musi* *ondu*#or and *omposer ,as ins#rumen#al in ma.ing )anis Ban0s KSo*ie#y0s ChildK a hi#. Though i# had been on release for some #ime, #he single failed #o ma.e #he *har#s un#il she performed i# on #he Berns#ein/hos#ed CBS #elevision spe*ial Bnside +opA The 'o*. 'evolu#ion , af#er ,hi*h i# soared in#o #he Top T,en#y. Tha# same spe*ial, in*iden#ally, in*luded in#ervie, foo#age ,i#h 'oger M*"uinn of #he Byrds, and a snippe# of Tim Bu*.ley performing K;o Man Can Find #he Dar.K V. 9oo-(".-8 This Brish easy lis#ening singer seriously a#e in#o #he sales of Bob Lind0s KElusive Bu##erflyK ,i#h his *over of #he #une in 15&&, ,here #he *ompe#ing versions ea*h pea.ed a# G% in #he Bri#ish *har#s. +.' 7oo-e8 Boone signed one of #he bes# early Los ngeles fol./ro*. bands, #he Leaves, #o his produ*#ion *ompany in #he mid/15&7s. Bn a mu*h ,eirder move, he *overed songs by Fred ;eil and )ohn S#e,ar# on his 15&5 album <epar#ure, ,hi*h also presen#ed #he firs# released version of Tim Bu*.ley0s KSong #o #he SirenK -,hi*h #he singer/song,ri#er ,ould do on his 15(7 album S#arsailor2. For good measure, #he album ,as produ*ed by #,o guys ,ho0d played a role in early fol./ro*., eJ/Lovin0 Spoonfulers )erry 4es#er and Oal 4anovs.y, #he suppor#ing *as# in*luding 'y Cooder and <avid Lindley as session musi*ians. R("! @.%es8 Bn early 15&&, long before he be*ame a la#e/15(7s fun. supers#ar, 'i*. )ames sang in #he Toron#o ro*. band #he Mynah Birds, ,ho also in*luded gui#aris# ;eil 4oung and bassis# Bru*e +almer. l#hough #hey go# as far as a *on#ra*# ,i#h Mo#o,n, for ,hom #hey re*orded some unreleased ma#erial, #he group spli# up af#er )ames ,as arres#ed for being D6L from #he FS navy. lmos# immedia#ely, 4oung and +almer headed #o Los ngeles, ,here #hey Hoined S#ephen S#ills and 'i*hie Furay #o form Buffalo Springfield. fe, years la#er, )ames surfa*ed on Bru*e +almer0s rare, far/ou# early/0(7s solo album The Cy*le Bs Comple#e , on ,hi*h he *on#ribu#ed some vo*als and per*ussion. H$1h M.se!e .8 The HaIIman played #rumpe# on #he Byrds0 KSo 4ou Dan# #o Be a 'o*.0n0'oll S#ar,K and i# ,as his Chisa label #ha# issued +e#er Fonda0s 15&( single K;ovember ;igh#s,K ,ri##en by "ram +arsons. M("!( C. e-8 Bn ano#her biIarre Buffalo Springfield *onne*#ion, in ugus# 15&(, L. . radio s#a#ion @$) ran a *on#es# in ,hi*h a lis#ener ,ould ,ri#e #he ,ords for Buffalo Springfield #o pu# #o musi*, for a priIe of M1,777 *ash and publishing royal#ies. So i# ,as #ha# 'i*hie Furay of Buffalo Springfield ,as saddled ,i#h #he #as. of ,ri#ing a melody for #eenager Mi*.i Callen0s poem KThe $our of ;o# Lui#e 'ain,K ,hi*h ended up on #he group0s #hird album. To his *redi# he pulled i# off, even if i# mean# devising par#i*ularly #or#uous phrasing #o ma.e #he ,ords fi#, s,amped ,i#h or*hes#ra#ion in #he absen*e of any#hing resembling a s#andard ro*. rhy#hm. $as anybody ever found or in#ervie,ed Callen1 To-( 7.s( 8 l#hough she0s mos# .no,n for her G1 1532 bubblegum ne, ,ave hi# KMi*.ey,K Basil0s *areer goes all #he ,ay ba*. #o #he mid/15&7s, ,hen she ,as a pop/ro*. singer and film *horeographerN she ,as also an a*#ress, appearing as one of #he ;e, 6rleans pros#i#u#es in Easy 'ider. nd also in #he 15&7s, i# ,as repor#ed #ha# she ,as *horeographing a Kmodern love psy*hedeli* love balle#,K ,i#h musi* by <onovan. 6.2-e C.,so-8 $e0s mos# famous as #he au#hor of #he BoJ Tops0 G1 15&( single KThe Le##er.K Bu# sligh#ly before #ha#, he ,ro#e one of #he bes# and mos# so*ially *ons*ious songs, KThe Man on #he S#ree#,K by one of #he bes# li##le/.no,n mid/15&7s fol./ro*. groups, #he Blue Things.

R.2 S'e)e-s8 lso for #he Blue Things, 'ay S#evens // .no,n for his novel#y hi#s K hab, The rab,K K"i#arIan,K and KThe S#rea.K // ,or.ed as a session musi*ian, playing organ on #he band0s single K6range 'oof#op of 4our Mind,K and also playing #he #oy piano a# #he end of #heir single K<oll $ouse.K S8 C .2 6( so-8 +rimarily .no,n as an underground *omi*s ar#is#, in his younger days S. Clay Dilson *o/ ,ro#e a song #ha# appeared on a non/L+ 15&( Blue Things single, K4ou Can Live in 6ur Tree.K The @o,0.-.(,es8 To ,rap up #he unli.ely bi# players in #he Blue Things s#ory, one of #he )ordanaires // mos# famous for singing ba*.up vo*als for Elvis +resley, #hough #hey sang ba*.up for numerous ro*. and *oun#ry ar#is#s // sang a high harmony par# on #he group0s KB Mus# Be <oing Some#hing Drong.K G,e1 L.!e8 This is a real #angen#ial *onne*#ion, bu# before Hoining @ing Crimson, La.e played in #he Shame, ,ho *overed )anis Ban0s KToo 6ld #o "o 0Day Li##le "irl,K re,ri#ing a lyri*al referen*e #o rape so as no# #o dis*ourage BBC airplay. Covering a**usa#ions of selling ou#, sligh#ly, #he group inser#ed slips ,i#h bo#h #he original and *hanged lyri*s in 1,777 of #he !%0s re*ord sleeves. Bri#ain0s D.$. Smi#h *hain ,i#hdre, #he slip from #hose sleeves, ,i#h BBC produ*er <enys )ones emphasiIing #o <is*, KB *an0# imagine any produ*er playing a song men#ioning rape.K s #he Shame probably never *ame *lose #o selling 1,777 *opies of #his release -,hi*h ,as #heir sole single2 any,ay, i# seems possible #ha# #he ,hole #hing ,as a s#un# *oo.ed up #o ge# ,ha# #urned ou# #o be #he band0s only media publi*i#y. >o!o O-o8 B#0s seldom repor#ed #ha# l S#e,ar# ,as an early inves#or in 6no0s ,or., before ei#her of #hem ,ere famous, sin.ing 177 pounds in#o 6no0s 15&( film ;umber ! , a mon#age of 3&% bo##oms framed in eJa*#ly #he same manner for 27 se*onds ea*h. @e* @.(s$-8 'egular lis#eners #o <r. <emen#o0s sho, may ,ell be familiar ,i#h )aisun0s fol. sa#ire KFriendly ;eighborhood ;ar*o gen#,K a s#aple on #he program in #he mid/15(7s. Ba*. in #he mid/15&7s, he ,as #he #eenage Hani#or a# #he )abber,o*.y, #he Ber.eley fol. *lub a# ,hi*h Coun#ry )oe > #he Fish formed and buil# #heir lo*al follo,ing. 9,8 9e%e-'o8 Spea.ing of <r. <emen#o, under his real name Barry $ansen, he ,as for a #ime edi#orPpublisher of The Li##le Sandy 'evie,, #he early/0&7s fol. magaIine ,hi*h by #he mid/15&7s ,as *overing Cui#e a bi# of fol./ro*.. $e ,as a friend of #he 'ising Sons, #he negle*#ed mid/15&7s L. . fol./ ro*. band ,ho fea#ured bo#h TaH Mahal and 'y Cooder, and even go# an arrangemen# *redi# for one of #heir bes# unreleased re*ordings -sin*e issued on C<2, a *over of #he "erry "offin/Carole @ing song KTa.e a "ian# S#epK -more famous as done by #he Mon.ees2. $ansen ,as also a good friend of )ohn Fahey -,ho, #hough no# fol./ro*., influen*ed some fol./ro*. musi*ians2 in #he mid/15&7s, as a fello, s#uden# in FCL 0s Fol. Musi* S#udies program, his neJ#/door neighbor in 8eni*e, California, and -briefly2 his road manager. -$e also ,or.ed as a roadie for Canned $ea# and Spiri# in #he 0&7s.2 Leo-.,0 Rose-%.-8 Film *omposer 'osenman0s mos# remembered for his mid/15(7s *ademy ,ard/ ,inning s*ores for Barry Lyndon and Bound for "lory, as ,ell as for his ,or. on #he s*ore for 'ebel Di#hou# a Cause. Bn 15(7, he also produ*ed Linda +erha*s0s +arallelograms, one of #he finer un.no,n fol./ro*. albums, and one ,hi*h has developed a gro,ing, avid *ul# repu#a#ion. The deal *ame abou# almos# by a**iden# ,hen +erha*s me# 'osenman and his ,ife, ,ho ,ere pa#ien#s a# a *lini* ,here she ,or.ed. They as.ed her ,ha# she did ,i#h her personal #imeN she #old #hem she #raveled and ,ro#e songsN #hey as.ed #o hear #hemN she gave #hem a homemade #ape. They *alled her a# 3am #he follo,ing morning -a Sa#urday2 and as.ed her #o s#ar# ,or.ing ,i#h #hem immedia#ely. A-02 6( (.%s8 The M6' *rooner ran #he Barnaby label, ,hi*h pu# ou# #he debu# album "oodnigh# Everybody by Mary M*Caslin in #he la#e 15&7s, produ*ed by Larry Murray of #he underra#ed *oun#ry/ fol./ro*. group $ear#s > Flo,ers. Dilliams also *overed #he song K$ollyK by Craig Smi#h, one of #he song,ri#ers in one of #he mos# overloo.ed L. . fol./ro*. groups, #he Mi.e ;esmi#h/produ*ed +enny

r.ade -,ho didn0# release any#hing ,hile #hey ,ere a*#ive2. Smi#h used #he royal#ies from *over versions of his songs by Dilliams, #he Mon.ees, and "len Campbell #o #ravel around #he ,orld, *hanging in#o #he ,eirder *hara*#er Sa#ya Sai Mai#reya @ali, ,ho ,ould re*ord spoo.y solo fol./ro*. #ha# ,as even#ually issued -along ,i#h numerous +enny r.ade re*ordings2 on priva#ely pressed L+s in #he early 15(7s. S.% Shep.,08 6ne of #he mos# respe*#ed play,righ#s of modern #imes -and also an a**laimed a*#or2 ,as also, for a spell in #he la#e 15&7s, drummer for #he $oly Modal 'ounders, ,ho ,ere no# Hus# one of #he ,a*.ies# fol./ro*. groups, bu# one of #he ,a*.ies# bands ever. @oseph 72,08 EJperimen#al *omposer Byrd is mos# .no,n ,i#hin #he ro*. ,orld for leading #he Fni#ed S#a#es of meri*a, one of #he mos# in#eres#ing and avan#/garde psy*hedeli* ro*. groups of #he la#e 15&7s. $e ,as also responsible for #he unse##ling musiCue *on*re#e/li.e arrangemen# of +hil 6*hs0s s#udio version of KThe Cru*ifiJionK -on #he album +leasures of #he $arbor2, ,hose meri#s and demeri#s are #he *ause of *onsiderable *on#roversy among 6*hs fans. @oh- A-0,e4 T.,'.1 (.8 @no,n prin*ipally for Hingles, sound#ra*.s, and his ,or. ,i#h #he easy lis#ening Mys#i* Moods 6r*hes#ra, he arranged and *ondu*#ed #he or*hes#ra#ions on )ohn S#e,ar#0s unusual and underra#ed debu# album, 15&30s Signals Through #he "lass -*o/*redi#ed #o S#e,ar#0s ,ife Buffy Ford2. A .- 9o$1 .s8 <ouglas is mos# no#orious for his *on#roversial overdubs as produ*er for mu*h of )imi $endriJ0s pos#humous *a#alog, and also re*ogniIed for his produ*#ion of #he Las# +oe#s and HaIImen Eri* <olphy, Bill Evans, and Charles Mingus. Before mee#ing $endriJ, <ouglas had overdubbed some solo demos of #radi#ional ma#erial fol. ma#erial by 'i*hie $avens ,i#h a full ele*#ri* band. $e released #,o unau#horiIed $avens albums of su*h #ra*.s, 'i*hie $avens 'e*ord and Ele*#ri* $avens, on his o,n <ouglas label in #he 15&7s. 4ears before #ha#, he had produ*ed #he Big Three, a fol. a*# ,hose members // Tim 'ose, Cass Ellio#, and )ames $endri*.s // ,en# on #o have varying degrees of impa*# in #he fol./ ro*. ,orld. The 7. oo- F.,%8 The Balloon Farm are .no,n solely for #heir bubblegum/garage single K Lues#ion of Tempera#ure,K ,hi*h in*hed in#o #he Top For#y in early 15&3. Far from fol./ro*., bu# i#s produ*er, +e#er S*he.ery., ,ould shor#ly go on #o produ*e and marry Melanie. nd in order #o produ*e Melanie, he had #o pry her from #he *on#ra*#ual *lu#*hes of #he produ*#ion #eam -and 'oule##e 'e*ords eJe*u#ives2 $ugo +ere##i and Luigi Crea#ore. $e bough# her freedom by #rading his finan*ial in#eres# in K Lues#ion of Tempera#ureK #o $ugo > Luigi. M.h.,(sh( M.hesh >o1(8 S#ri*#ly spea.ing, #he Maharishi Mahesh 4ogi ,as no# a musi*ian or a musi* professional, al#hough he did release an album of spo.en ,ord ma#erial, some of i# ,i#h si#ar ba*.ing. Bn 15&3, #hough, #he Bea#les and <onovan ,en# #o 'ishi.esh, Bndia #o s#udy on a medi#a#ion *ourse ,i#h #he Maharishi for a fe, ,ee.s. nd ,hile #here, #hey played #oge#her on a*ous#i* gui#ars, <onovan #ea*hing )ohn Lennon finger/s#yle gui#ar pi*.ing, influen*ing some of #he Cuie#er and fol.ier songs #o appear on The Dhi#e lbum. Oss(e 72,-e8 The us#ralian is bes# .no,n as #he produ*er of #he Bee "ees0 firs# in#erna#ionally su**essful album, 15&(0s The Bee "ees Firs#. $e also produ*ed #he sole album by E*le*#ion, one of #he finer obs*ure fol./ro*. groups of #he la#e 15&7s. F .'' ; S",$11s8 Bluegrass s#ars Les#er Fla## > Earl S*ruggs usually did bluegrass musi*, and are bes# .no,n #o #he masses for #he #heme #o The Beverly $illbillies , as ,ell as *on#ribu#ing KFoggy Moun#ain Brea.do,nK #o #he Bonnie and Clyde sound#ra*.. 6n 6*#ober 37, 15&(, #hough, #hey re*orded #he firs# released version of #he Bob <ylan Basemen# Tapes song K<o,n in #he FloodKN <ylan0s o,n version ,ouldn0# *ome ou# un#il 15(%.

E00(e R.##(''8 The fu#ure mains#ream *oun#ry s#ar, ,ho go# #o G1 on #he pop *har#s in 1537 ,i#h KB Love a 'ainy ;igh#,K *o/,ro#e #he #i#le #ra*. of #he "osdin Bro#hers0 overloo.ed 15&3 early *oun#ry/ ro*. album, Sounds of "oodbye. The "osdin Bro#hers had in#ermi##en#ly ,or.ed ,i#h some of #he Byrds on various proHe*#s before #hen. Tha# L+ and some 15&&/&3 singles ,ere in#eres#ing *ombina#ions of *oun#ry, fol., and ro*. ,i#h some resemblan*e #o some of #he Byrds0 mid/15&7s re*ords and "ene Clar.0s early solo ,or., #hough #he song KSounds of "oodbyeK ,as one of #he more *oun#ry/orien#ed i#ems on #he L+. 9.)(0 C .2'o--Tho%.s8 **ording #o Simon > "arfun.el *o/produ*er 'oy $alee, +aul Simon #hough# KBridge 6ver Troubled Da#erK migh# be a good song for Blood, S,ea# > Tears #o *over, before Simon > "arfun.el had de*ided #o release #heir o,n version as a single. Bu# blus#ery BST lead singer <avid Clay#on/Thomas didn0# *are for i# ,hen i# ,as played #o him, leaving #he ,ay *lear for KBridge 6ver Troubled Da#erK #o be*ome a huge hi# for Simon > "arfun.el. Ro#(- L.-e8 Singer/song,ri#er Lane had some su**ess in #he early 1537s as #he figurehead of #he Bos#on ne, ,ave band 'obin Lane > #he Char#bus#ers. Ba*. in 15&5, she sang ba*.up vo*als on ;eil 4oung0s K'ound > 'ound,K from 4oung0s Everybody @no,s This Bs ;o,here album. Leo S.2e,8 bun*h of Bri#ish singer/song,ri#ers ,ho be*ame pop s#ars had loose early #ies ,i#h #he fol. or fol./ro*. s*ene, in*luding El#on )ohn, Ca# S#evens, and "erry 'affer#y. no#her ,as Leo Sayer, ,ho did some #ime in fol. *lubs and as a s#ree# bus.er in #he early 0(7s before rising #o mains#ream pop s#ardom. S'e)e 7.,o-8 S#eve Baron had been in #he $ardly Dor#hi# +layers, a sa#iri*al group ,ho had a Top T,en#y hi# -*redi#ed #o KSena#or BobbyK2 in 15&( ,i#h a #a.eoff on KDild Thing,K fea#uring a lead vo*al #ha# ,as an obvious fa*simile of #hen/Sena#or 'ober# @ennedy. Bn a mu*h more serious mood, Baron also ,ro#e KLoneliness,K ,hi*h ,as re*orded by )im > )ean on #heir 15&& fol./ro*. album Changes. S'o-e Mo-!e28 The un*lassifiable performan*e ar# ensemble S#one Mon.ey lin.ed up ,i#h #he Bn*redible S#ring Band #o help #hem develop #he miJed/media pie*e F, ,hi*h *ombined musi*, drama, dan*e, and pan#omime. The sho, only las#ed for a fe, ,ee.s in pril 15(7, bu# did help genera#e #he Bn*redible S#ring Band0s s#udio double album F. 5A 1oo0 4('"h85 Dhen )erry )eff Dal.er0s song KMr. BoHanglesK ,as *overed by #he ;i##y "ri##y <ir# Band, i# be*ame #he bigges# *ommer*ial su**ess for bo#h *omposer and group, rea*hing #he Top Ten. Bn his au#obiography "ypsy Songman, Dal.er ,ro#e #ha# #he <ir# Band0s )immy Bbbo#son #old him he had firs# *ome a*ross #he song ,hen Ka good ,i#*hK gave Bbbo#son Dal.er0s KMr. BoHanglesK single ,hile he ,as pa*.ing his *ar for his move from Bndiana #o California, u##ering KB .no, #his ,ill mean a lo# #o youK before ,al.ing a,ay. B# ,asn0# un#il a fe, mon#hs la#er, mulling over ,ha# songs #o re*ord for #he Fn*le Charlie album af#er having Hoined #he ;i##y "ri##y <ir# Band, #ha# Bbbo#son remembered #he gif# and dug i# ou# of his #run.. The <ir# Band0s )ohn M*Euen *onfirmed #ha# #he Dal.er single ,as given #o Bbbo#son Kby a defini#ely s#range ,i#*hly #ype, bu# no# so un*ommon in #hose days.K

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