Influences on The Band
by Peter VineyCopyright © 2001 Peter Viney.
[Aunt Pat] [Hoyt Axton] [Bridget Ball] [Joan Baez] [Thumbs Carlile] [The Carter Family] [The Chieftains] [Frank Christian] [Leonard Cohen] [Judy Collins] ["Cripple Creek"] [John Denver] [Jerry Donahue] [Marc Ellington] [Fairport Convention] [Julie Felix] [Four Men and a Dog/ Kevin Doherty] [Albert Grossman (manager)] [Woody Guthrie] [Arlo Guthrie] [Emmylou Harris] [(with) Ronnie Hawkins] [Ian & Sylvia] [The Jubilee Singers] [Trini Lopez] [John & Beverly Martyn] [Phil Ochs] [Tom Pachecho] [Peter, Paul & Mary/Peter Yarrow] [Dave Pegg & Friends] [Sacred Harp Singing] [Buffy Sainte-Marie] [Pete Seeger] [Christopher Shaw] [Michelle Shocked] [Carly Simon] [Simon &Garfunkel] [Harry Smith's Anthology of American Folk Music] [Chip Taylor] [Livingston Taylor] [Happy Traum] [Happy & Artie Traum] [Artie Traum] [Richard Thompson] [Various Artists: Celtic Women] [Eric von Schmidt] [Traditional songs]
The Band (as The Hawks) made their name on the 65/66 Dylan tour, the one that was the ultimate affront to the folkies. Then came the basement tapes. This is one overwhelming connection. Both Greil Marcus in Invisible Republic and Michael Gray in the copious footnotes to the third edition of "Song and Dance Man" explore the folk roots of basement songs in great detail. I've drawn on their information for this article.
As for strummers, folk was something I was heavily into at the time, and it was Bob Dylan that led me to it. A personal perspective: Like thousands of other British fans I first investigated Dylan because of an interview I read with The Animal's Eric Burdon in 1964. This pointed me to the Bob Dylan album, which seemed much tougher and more 'real' than the smoother Freewheelin' which I bought the weekend after Bob Dylan. Three weeks later I had The Times They Are A-Changin' as well. Dylan formed a significant percentage of my album collection (all right, if you're enough of a record collector to be reading this, you can't resist other people's record collections either, the other albums were Rock 'n' Roll #2 by Elvis, All The Hits By All The Stars a budget label Cameo-Parkway compilation that I treasure to this day, The Blues Volume 1 on Pye-International, The Eddie Cochran Memorial Album, The Rolling Stones, and of course Please, Please Me and With the Beatles ). I wore the Dylan albums out, then two were taken away and never returned by a girlfriend. I hope they ruined her stylus. Thank God she didn't borrow the Cameo-Parkway collection. At least Dylan albums have always been replaceable (and were replaced). I rapidly got into folk, with The Clancy Brothers following. Once I'd bought Another Side of Bob Dylan. I liked Restless Farewell so much I had to hear The Parting Glass. And With God On Our Side was a rewrite of The Patriot Game, which had equally good lyrics. I still have The Clancy Brothers with Tommy Makem In Person At Carnegie Hall and I still play those two songs, as well as O'Driscoll (The Host of the Air). My love of Dylan's music first caused me to grab Music From Big Pink from the rack. If Bob liked them, they had to be good. They soon supplanted Bob for me.
I paid my dues wearing an itchy polo neck (=roll-neck) sweater listening to countless renditions of Deportees (Plane Wreck at Los Gatos), Chastity Belt (Hey Nonny Nonny) and Silver Dagger (With Nothing in Parentheses) in a sweaty basement club on Mondays evenings where electric instruments were banned, and you got brownie points for no instruments at all. I even went to clubs in London where any kind of instrument was considered non-authentic. You got the human voice and nothing more. I know a committed folkie when I meet one riding his bike to Habitat or see one arguing the merits of real ale and rough cider. For about a year I only ever saw women with long straight hair. We Shall Overcome. Some Day. I know it deep in my heart. But we never did. The women (or girls as we used to say in those days) wore black polo necks with short skirts and black tights if they were anorexically thin. They wore black polo necks with long skirts if they were Earth-Mother plump. I never met any between these two extremes. Sexist? Well, it must be the lasting effect of all those nudge-nudge, wink-wink traditional English folk lyrics. And the club was inappropriately called the Disques A GoGo, one of so many with that title, and only had folk on Mondays. I saw Rod Stewart with The Soul Agents, The Who, Manfred Mann, Zoot Money on that very same stage on better days. And was converted. In spite of Dave Dee, Dozy, Beaky, Mick and Titch who also appeared there.
DylanSo, what happened at that famous turning point at Newport in July 1965? I don't think for a moment it was the turning point, by the way. It was just the point where the old guard realised that Dylan was already on his own track. Anyone who listened to rock radio had been aware of that for months at least. Anthony Scaduto devotes a lot of space to the performance in Bob Dylan (1972).
Scaduto has retold the legend beautifully, conjuring up the scene. He neatly bounces it back in the next paragraph:
The bootleg CD faithfully records what happens next. Peter Yarrow (Yes, the one from Peter, Paul and Hairy) gets on stage and tries to get Dylan back for another set on acoustic guitar. The way he keeps stressing acoustic guitar while mumbling apologetically like a demented social worker, faced with the Riot in Cell Block #9, is one of those moments of unintentional rock music hilarity which deserves its place in the Hall of Fame with the Troggs tapes (But to be fair to Yarrow, the sound engineer at the show, Joe Boyd, places him among the group of folkies who had really enjoyed the electric set and were rooting for Dylan). Dylan comes back, does two solo numbers, gets lots of applause.
The Basement TapesI'm leaving out Dylan's own compositions, but the basement recordings are the cornerstone of the folk connection ?
CategoriesThere are some fine lines being drawn. OK, Joan Baez is folk, and Johnny Cash is country, but there are some questionable ones in between. And there are a lot of country / folk oriented artists in the rock section of your local record store. I've based it roughly on how Tower or Virgin would split the two fields. Arguable, of course.
Folk gets mixed in with "roots" in magazine reviews, a category that embraces blues as well as areas of World Music, so that the two Native American albums by Robbie Robertson could drift into the same category.
You could also argue
that both Danko, Fjeld, Andersen albums,
Danko, Fjeld, Andersen and
Ridin' The Blinds come into this section, as would
Eric Anderson's solo work. Rick also sings the traditional Blue
Tail Fly on the
Bring It On Home Volume 1
Patoo (Orchard) (1999)
Produced and engineered by Aaron Hurwitz.
Levon Helm plays mandolin on one track: Hard Inside
A Rusty Old Halo, 1979, has Garth adding accordion to Vivo Pancho Villa.
Hoyt Axton has covered The Weight.
Bricks and Windows (1996)
This is on folk artist Bridget Ball's own label, and guests include Garth Hudson, John Sebastian, Artie Traum , Cyndi Cashdollar and her husband, Christopher Shaw. Garth appears on:
Once in A While
(Christopher Shaw / Bridget Ball)
Notoriously covered The Night They Drove Old Dixie Down and got the words wrong - so much cavalry. And had a major hit. See the article on this site.
Original: (US # 3,
UK # 6, 1971) albums Blessed Are; Hits / Greatest Hits And
Also recorded The
Long Black Veil, (One Day At A Time, 1969- recorded at
Bradley's Barn), I Shall Be Released and Tears of Rage.
Thumbs Carlile With Himself
Produced by Garth Hudson and Stuart Goldman
This is an extraordinary mix of easy listening and folk standards by a guy who played with his thumbs while holding a guitar flat on his lap. They leave him to it.
The Carter Family
Wildwood Flower (A.P. Carter)
The tune dates back to 1859.
The Carter Family version: 1928
Bob Dylan & the Hawks version: The Genuine Basement Tapes Vol 4
Academically inclined Celtic folk specialists from Ireland, who made a memorable album with Van Morrison.
Long Black Veil
From My Hands, 1995.
Garth Hudson contributes accordion to two tracks Night Time and Turning of The Screw. Nanci Griffith also appears on the album.
Canadian poet and singer Leonard Cohen, once music for depressive and lonely girls in their first year at college only, but he actually got good in later years, then becomes very good indeed.
Recent Songs, 1979, features Garth on two tracks, Our Lady of Solitude and The Gypsy's Wife.
Richard Bell appears on Living (1972), which also features Ry Cooder.
Bonnie Ship the Diamond (traditional)
See my article Up On Cripple Creek on this site. There is a thematic link with a traditional song Cripple Creek, portraying it as a demi-paradise.
There are versions of this song by many artists, including Bill Monroe, Buffy Sainte-Marie, The Stanley Brothers, Leo Kottke and even Scottish comedian Billy Connolly with the Humblebums. The Dillards recorded Caney Creek which has similar lyrics. Lue and Byron Berline recorded Crazy Creek.
Covered The Night They Drove Old Dixie Down. Come back Joan Baez, all is forgiven.
Neck of The Wood, 1992. Garth Hudson contributes. Donahue is an ex-member of Fotheringay.
Has covered I Shall be Released.
Marc Ellington arrived at a sit-in demo when I was a student in the summer of 68 and played for free for us sitters-in. This would be early June 68. My faulty memory cells have him singing this, and that it was the first time I ever heard it, but I may have been dazed and confused (or tired and emotional). It seems highly unlikely in retrospect, although several people had had access to basement demos by then - Manfred Mann, Julie Driscoll etc. False memory syndrome? I definitely remember We Shall Overcome when the whole thing ended.
Often cited as the English equivalent to The Band. They covered Million Dollar Bash on Unhalfbricking.
Bob Dylan & The Band original version: The Basement Tapes.
Covered This Wheel's On Fire
Four Men and a Dog/ Kevin Doherty
Doctor A's Secret Remedies CD (Transatlantic TRA CD 106) (1995)
Produced by Aaron L. Hurwitz (Doctor A) Recorded at Levon Helm Studios, Woodstock
The Woodstock set contribute to this album by the Irish folk-rock band. Levon & Rick are acknowledged for assistance, though don't play. Randy Ciarlante and Garth Hudson feature, as do occasional Band live sideman Larry Packer and producer Aaron Hurwitz. Rick Danko chose it as his 'Album of 1995' in Mojo's Review of the Year feature. Four Men and A Dog gradually appeared on stage to back Rick Danko during three December 1995 British concerts.
Long Roads CD (TransAtlantic
TRA CD 223) (1996)
Released during their short UK/ Ireland tour supporting The Band (who they appeared with for the encore Willie & The Hand Jive). On this album the cover of Sam & Dave's Hold On I'm Coming as a kind of reel is very reminiscent of send-up band Run C&W. Joefy Spokes is the best track, with strong Danko vocal support (but has more than a passing resemblance in places to Dylan's Golden Loom). Levon Helm is listed among 'thanks' but doesn't play. Band members Hudson, Ciarlante, Bell & Danko appear.
Strange Weather Irish CD (Key recordings Quay 01CD) (1999)
Need For You, Levon Helm- drums
Don't Wait, the best song on Jubilation was written by Kevin Doherty of Four Men & a Dog
Albert Grossman (manager)
Albert Grossman, the man who almost single-handedly made folk music into a commercial phenomenon in the early sixties, had been Dylan's manager since the time of Freewheelin'. He also managed The Kingston Trio, Odetta and Peter, Paul and Mary and organized The Newport Folk Festival. Grossman had spent two years putting Peter, Paul and Mary together - he knew exactly what he wanted and kept looking around until he found the singers to do it. Then in 1963 and 1964 Dylan had written the songs, while Grossman's other folk artists put them in the charts.
(Peter, Paul & Mary)
He became the manager of The Band:
Rock musicians, just as the artists of medieval Florence needed the Medici, often need patrons to buy them the time to sit back, take a look at what they've been doing, and sythesize something new and real from their experiences. 'Gettin' it together in a cottage in the country, man' has been a cliché for many years - Traffic are the band who epitomised it. The transformation of The Hawks into The Band must be the most successful result of the process. Whether Dylan or Grossman was the true patron is between the Band's members and their bank accounts. But Grossman had made his name managing folk artists.
Grossman seems to have been the one who decided that they wouldn't feature in the Woodstock movie, nor on the Easy Rider soundtrack album, where The Weight was performed by Smith. This huge-selling album brought money to Robbie as songwriter but not to The Band.
Eventually they shifted to David Geffen, paying Grossman $625,000 to get out of their contract. Goodman says that the loss of The Band, his last great act, finished Grossman as a major player.
Robbie Robertson and Peter Yarrow delivered the eulogies at Grossman's funeral.
Sally Grossman, his widow, was involved in the 2000 series of Band reissues.
On January 20th 1968 Dylan was invited to perform at a New York concert in tribute to his early hero Woody Guthrie. This was his (and almost certainly their) first live performance since the Royal Albert Hall eighteen months earlier, and it was to be sharing a bill with the cream of the folkies - Pete Seeger, Tom Paxton, Judy Collins, Ramblin' Jack Elliot, Richie Havens, Arlo Guthrie and Odetta. For the first time with Dylan, the Band lost their anonymity. There were two shows (afternoon and evening). They did three Guthrie numbers, which can be found on A Tribute To Woody Guthrie released in 1972.
I Ain't Got No
Home (W. Guthrie)
Dylan's voice is way up in the mix, reducing The Band's impact considerably. Of course he was performing in front of all his Newport 'enemies' from 1965 and would have been foolish to allow the backing to drown him again. I don't think they sound anywhere near as good as reviews of the live concert suggest, but this could be the unsympathetic mix.
Everybody appears on the encore This Land is Your Land (W. Guthrie) - Odetta, Arlo Guthrie And Company.
They had opened with Grand Coulee Dam sounding more country / rockabilly than anything they'd done before. It was followed by Mrs Roosevelt and finally I Ain't Got No Home.
Artists: Folkways: A Vision Shared
Slipping out of strict alphabetical order. According to notes, The Band also backed some of his numbers at the 1968 Woody Guthrie Tribute concert.
The Band allegedly feature on these Arlo Guthrie tracks:
She is also included in the Band & Country article accompanying this. this section is simply pasted in and appears in both!
This track appears on various Emmylou Harris compilations as well, e.g. Duets (Reprise, 1990)
She appears on The Legend of Jesse James as Zerelda James, singing lead on Heaven Ain't Ready For You Yet and Wish We Were Back In Missouri. Levon plays drums and harmonica throughout the album.
Will the Circle be Unbroken (A.P. Carter)
Quarter Moon In A Ten Cent Town:
In The Honours benefit concert at the Universal Amphitheatre, Los Angeles Levon Helm leads an all star line up on The Weight featuring Levon Helm, Steve Winwood, Jacob Dylan, Sheryl Crowe, James Taylor, Emmylou Harris. This was broadcast.
Woodie Guthrie's Deportees (Plane Wreck at Los Gates) performed by Arlo Guthrie and Emmylou Harris appears on Folkways- A Vision Shared which is narrated by Robbie Robertson.
(with) Ronnie Hawkins
The Folk Ballads of Ronnie Hawkins, May 1960
Ronnie Hawkins still dabbled in a little management, as well as recording without the Hawks. He completed the Folk Ballads of Ronnie Hawkins album in May 1960, and soon afterwards released the stupendously unsuccessful The Ballad of Caryl Chessman single, which he had recorded with The Cumberland Three. It was considered to be a rarity for years, but finally surfaced on the Swedish compilation album The Rockin' Rebel. (Star Club 1990). The song was a plea to 'let him live' (him being convicted murderer Caryl Chessman) addressed to the State Governor of California. Chessman had been on death row for twelve years, and moves were being made to execute him. Hawkins thought he was going to spearhead the protest song movement with the single, and that he was set for massive sales. Then they gassed Chessman. The record was as dead as its subject overnight. The Folk Ballads album, which included The Ballad of Caryl Chessman contradicts the image of Hawkins as an unrepentant last rockabilly survivor, keeping the faith in the wilds of Canada. As tracks like Hayride and Someone Like You had shown, he was quite ready to try different styles. He was a year or two ahead of the trend with his move to folk ballads.
Jimmy Luke Paulman wrote two tracks - he'd left by the time of Mr Dynamo, but the Paulman tracks date from May 1959 and pre-date the Mr Dynamo sessions. The tracks were recorded in two sessions, seperated by a year and the bulk of Mr. Dynamo. Hawkins picked up again early in 1960. As soon as you put on Summertime you know that this is basically the same line-up as Baby Jean (though the former was recorded in October 1959, the latter in early 1960). It's the same guitar sound, the same rhythm. The familiarity of Summertime highlights the strength of the Hawks stamp (it was the only track here that featured regularly in the stage act). It is also Robbie Robertson's recording debut.
The worse tracks are those with just folky guitars. Throughout a sickly sweet chorus, The Anita Kerr Singers, get on your teeth. They were probably fresh from a 'Mall Muzak Xmas Favorites' recording session. When Hawkins meant folk, he meant The Limeliters.
According to Levon Helm's autobiography, 'Henry Glover brought in jazz bassist George Duvivier' for this album, though his name does not appear on the sessionographies. According to Ian Wallis, Duvivier was wiped off the released tapes because Hawkins did not approve. Levon Helm plays on tracks with (1) below. Levon Helm and Robbie Robertson play on (2)
(Gershwin / Gershwin / Heyward) (2)
Ian & Sylvia
Canadian folk duo who shared management with Dylan. Robertson once said he disliked their sound, but several songs were cut on the basement sessions with Dylan. They have remained close friends with Hawkins.
One Single River
(Ian Tyson- Sylvia Fricker)
The French Girl
Spanish Is The
Loving Tongue (C.B. Clark- J. Williams)
The Jubilee Singers
Didn't it Rain
Original version: 1929
Band version: 2000 reissues series, first on Highlights & Bonus Tracks promo, then on Northern Lights... reissue.
1966 Hawks drummer Mickey Jones had previously played with Trini Lopez's band. Lopez played standards like If I Had A Hammer with a Latin shuffle and had a massive hit album with Trini Lopez Live At PJs.
John & Beverly Martyn
Stormbringer Island LP IMCD 131 (1970)
Levon appears on two tracks playing drums. There are rumours of earlier work with John Martyn as well which aren't substantiated. The tracks are Sweet Honesty (Beverly Martin) and John the Baptist (John Martyn)
No Little Boy CD (Mesa R2 79057) (1993)
Just Now (Martyn)
What's That I Hear? - The Songs of Phil Ochs
This 28 song tribute album features a track When I'm Gone (Phil Ochs) from Eric Andersen, featuring Garth. It then appeared on Andersen's Memory of The Future album.
Tom Pachecho has written for The Band (If I Should Fail - Tom Pachecho/ Rick Danko, High Cotton - Pachecho/ Helm/ Danko, both songs on Jubilation), been accompanied by the band (Woodstock Winter) and written about The Band.
He also wrote several tracks on Steinar Albrigtsen's Bound To Wander on which Danko contributes backing vocals.
Richard Bell plays on Pachecho's 1971 Pachecho and Alexanderalbum.
Two Pachecho songs appear on Rick Danko's Times Like These (2000), You Can Go Home (Pachecho- Danko) and People of Conscience (Pachecho)
Peter, Paul & Mary / Peter Yarrow
Peter Yarrow was one third of Grossman's first success, Peter, Paul & Mary. And it was Peter, Paul & Mary's loan equipment that the basement tapes were recorded on by Garth Hudson
That's Enough For
Peter, Paul &
Mary: Album 1700
Dave Pegg & Friends
Has covered The Weight and The Shape I'm In on Birthday Party 1998.
Sacred Harp singing
A folk / gospel tradition. See the article on Daniel & The Sacred harp on this site. An extract follows:
Robbie has said the song is based on Sacred Harp shape-note singing. Shape-notes are do-re-mi-fa-sol-la-ti notated by different shapes of the note head. 13 It is a simplified system of musical notation, and one that could be used by people who could not understand traditional notation. The shape-note singing website placse it deep in a Southern tradition.
The name "Sacred Harp" tradition is based on the most popular compilation, B.F. White's The Sacred Harp published in 1844.
Harry Smith's famous liner notes to Anthology of American Folk Music include:
Appeared with Robbie Robertson and the Red Road Ensemble in 1995 and performed: Bury My Heart At Wounded Knee (Buffy St Marie) at Agrigento, May 1. Italian broadcast TV.
She is among the
many artists who have recorded Coming Round the Mountain but
did so six years after the basement recording.
The man who wanted to pull the plug at Newport 65. Like Robbie, I loathed Pete Seeger from the moment I saw him on the TV show Sunday Night At The London Palladium, singing Little Boxes tunelessly. A patronizing, holier-than-thou bore of the worst order. A complete arsehole who thinks Never Wed An Old Man is salaciously funny (NOT!) and that Demonstration of Banjo Styles is a good title for an album track.
The Bells of
Rhymney (Idries Davies- Pete Seeger)
/ On The Trail of the Buffalo(traditional)
Sticking to the Union (Woody Guthrie) in a version by Pete Seeger and Arlo Guthrie appears on Folkways- A Vision Shared which is narrated by Robbie Robertson.
Born and Raised (1990). Garth Hudson plays accordion
Now usually found in the rock section, she is described by the Guinness Encylopaedia as a roots artist and later as a folk artist. The most relevant album Arkansas Traveller is in the area of American folk that veers close to country, as do the sentiments of some of her earlier songs, such as Anchorage which isn't far off Suzy Boguss territory.
On 1992's Arkansas Traveller Levon & Garth appear on Secret To A Long Life, which reworks a song originally on her The Texas Campfire Tapes. Albert Lee, who had worked with Levon on Legend of Jesse James, plays guitar and Tony Levin is on bass - fresh from working with Robbie Robertson.
Secret to a Long
Life (M. Shocked)
Following the release, Levon and Garth performed the song with Shocked on The Letterman Show, backed by Paul Shaeffer and the Letterman house band.
Michelle Shocked had appeared with The Band in San Francisco in September 1992.
In September 1967 (according to some sources this was 1966, but this has to be inaccurate) Grossman organized a recording session in New York City for his new protegee, Carly Simon. Carly had already had some success as part of The Simon Sisters. Carly Simon says that Grossman had planned to present her as a 'female Dylan'.
The 'female Dylan'plan is borne out by the sessions that Grossman set up that September. Veteran Dylan producer Bob Johnson was there, and the line-up of session musicians was Robbie Robertson, Rick Danko, Richard Manuel, Mike Bloomfield and Al Kooper. Four tracks were completed, including the would-be single, Baby Let Me Follow You Down with new lyrics by Bob Dylan and Carly Simon. The rest of the album was scrapped after Grossman and Simon argued about artistic direction, and the four completed tracks have never emerged. Carly Simon says that Columbia declined to release them.
Robertson was later to play guitar on Carly Simon's million-selling duet of Mockingbird with husband James Taylor in 1974.
Bobby Gregg replaced Levon Helm on drums late in 1965. Gregg had recorded with Dylan on Bringing It All Back Home and Highway 61 Revisited and had also played on the electric version of Sounds of Silence by Simon and Garfunkel. The one that was recorded in their absence without their knowledge.
Peter Yarrow's Groundhog was written and produced by Paul Simon with a credit of 'special help from Robbie Robertson, Levon Helm, and Garth Hudson.'
Harry Smith's Anthology of American Folk Music
See Greil Marcus's 'Invisible Republic' to draw the many and complex connections with Dylan (and by indirect links, the basement tapes). Importantly blues counts as folk for Smith.
Dylan must have made them aware of Smith's Anthology, if they weren't already. As mentioned there are two examples of Sacred Harp music on the anthology.
In the article on The Night they Drove Old Dixie Down on this site, there was a question about why such an obscure character as General Stoneman had been selected for the song. There are tracks on the Anthology by "Mr & Mrs Stoneman" and "The Stoneman Family". It might be awareness of these that caused the same name to leap out of the history books and catch Robbie's attention.
Seven Days in May - A Love Story CD (Train Wreck TW007) (1998)
Produced by Chip Taylor & Tommy Spurlock
Chip Taylor composed Wild Thing, Angel of The Morning, Any Way that You want Me, Try (Just A Little Bit Harder). He is Jon Voigt's brother. On this album Lucinda Williams, Guy Clark, Rick Danko & Garth Hudson guest.
Our Turn To Dance US CD (Vanguard VCD 79469) (1991)
Produced by Artie Traum and Scott Petito
Garth Hudson appears on one track only:
My Father's Eyes
Bright Morning Stars (1980)
Richard Manuel appears on two tracks:
I Shall Be
Released (Bob Dylan)
Happy & Artie Traum
The Test of Time US CD (Roaring Stream Records, PO Box 413 Bearsville NY 12409 no catalog #)(1993)
Recorded Nov 1992 to March 1993. Rick Danko, Richard Bell and Jim Weider help out Woodstock chums. Sleeve quote from Levon Helm (April 1993).
Band members and associates appear on the following tracks:
Trials of Jonathan
(Happy & Artie Traum)
It Takes A Lot To
Laugh, It Takes A Train To Cry (Bob Dylan)
Test of Time
(Artie Traum - Pat Alger)
Secret in the
14 track compilation
which is a collaboration between seven Celtic female singers. Garth
Hudson is credited as "conductor" leading Jan on The Band
website to say "I'm not sure if this really is the Garth?"
Annachie Gordon -
Barbados (von Schmidt)
Garth Hudson is
credited with "special assistance" and appears along with
Amos Garrett and Maria Muldauer on Von Schmitt's 1972 album,
2nd Right, 3rd Row
Bonnie Ship the Diamond
Come All Ye Fair & Tender Ladies
Comin Round the Mountain
Go Go Liza Jane
Ol' Roisin the Beau
Bob Dylan & the Hawks version:
The Genuine Basement Tapes Vol 5
Robbie Robertson interview by Robert Palmer, Rolling Stone 14
Anthony Scaduto, 'Bob Dylan' (1972) p213
Musician, July 1987
Quoted in Fred Goodman, 'Mansion on The Hill'
Fred Goodman, 'Mansion on The Hill'
Fred Goodman, 'Mansion on The Hill'
Australian radio interview 1978, quoted in Clinton Heylin 'Dylan
Behind The Shades'
Robert Shelton 'No Direction Home'
Webster's Third International Dictionary, which illustrates the
notes on a stave. I am indebted to Scott Tribble, who refered me to
the web site
for further information on shape
note singing and the Sacred Harp tradition.
"Anthology of American Folk Music", edited by Harry
Smith, 1952. Now a 6 CD set issued by Smithsonian Folkways
Recordings, 1997. Jeff Place's supplemental notes in 1997 say Smith
was wrong in attribution of the songs to the Alabama Sacred Harp
Singers, and the group recorded is actually an "Anglo-American
Rolling Stone 'Carly: Life Without James' 10 December 1981
14 track compilation which is a collaboration between seven Celtic female singers. Garth Hudson is credited as "conductor" leading Jan on The Band website to say "I'm not sure if this really is the Garth?"
Annachie Gordon -
Barbados (von Schmidt)
Garth Hudson is credited with "special assistance" and appears along with Amos Garrett and Maria Muldauer on Von Schmitt's 1972 album, 2nd Right, 3rd Row
Bonnie Ship the Diamond
Come All Ye Fair & Tender Ladies
Comin Round the Mountain
Go Go Liza Jane
Ol' Roisin the Beau
Po Lazarus Bob Dylan & the Hawks version: The Genuine Basement Tapes Vol 5
1 Robbie Robertson interview by Robert Palmer, Rolling Stone 14 November 1991.
2 Anthony Scaduto, 'Bob Dylan' (1972) p213
5 Musician, July 1987
6 Quoted in Fred Goodman, 'Mansion on The Hill'
7 Fred Goodman, 'Mansion on The Hill'
8 Fred Goodman, 'Mansion on The Hill'
9 Australian radio interview 1978, quoted in Clinton Heylin 'Dylan Behind The Shades'
10 Robert Shelton 'No Direction Home'
13 Webster's Third International Dictionary, which illustrates the notes on a stave. I am indebted to Scott Tribble, who refered me to the web site fasola.org for further information on shape note singing and the Sacred Harp tradition.
15 "Anthology of American Folk Music", edited by Harry Smith, 1952. Now a 6 CD set issued by Smithsonian Folkways Recordings, 1997. Jeff Place's supplemental notes in 1997 say Smith was wrong in attribution of the songs to the Alabama Sacred Harp Singers, and the group recorded is actually an "Anglo-American congregation".
16 Rolling Stone 'Carly: Life Without James' 10 December 1981