Calum Graham – Thread Of Creation (2019)

FrontCover1An extraordinary guitar player:

Born in Fort St. John, British Columbia and currently residing in Victoria, Calum Graham has been building a name for himself across the globe for the last 12 years with his passionate solo acoustic guitar prowess and was named one of the World’s Top 30 Guitarists under 30 by Acoustic Guitar Magazine.

Calum plays the Acoustic, Baritone, and Harp Guitar in his live set and his original melodies embraces elements of folk, world, soul, blues and jazz – all built upon the foundation of the fingerstyle technique.

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Graham’s musical journey first took flight when he began playing the guitar at the age of 13. In the summer of 2010, Graham attended the Canadian Guitar Festival and entered the prestigious Canadian Fingerstyle Guitar Competition. Impressed with his original compositions, the judges awarded Graham with a first place finish; a feat no other teenager has accomplished in the history of the festival. The clip of his winning performance has now generated over 1 million views on YouTube. Shortly afterwards, he was invited to play at the 2010 Olympic Games in Vancouver, and again 2 years later at the 2012 Summer Olympics in London.

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As Calum Graham’s name continued to grow in Alberta and across Canada for his guitar work and musicianship, Graham proved that his talent was not limited to his extraordinary ability to play the guitar. In 2011, Graham won the Canada’s Walk of Fame nationwide “A Song For Canada” contest based on his poetic acuteness. His winning poem was used in the song “I’m Here, (A Song For Canada)”. The song was performed by Chantal Kreviazuk and co-written by Graham, Raine Maida (Our Lady Peace) and Stephen Moccio (“I Believe”, 2010 Vancouver Olympics theme song/”Wrecking Ball” – Miley Cyrus)”.

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In the late winter of 2012, and with two albums already under his belt, Graham teamed up with iconic Fingerstyle Guitarist Don Ross. The result was an instrumental acoustic duet album titled, “12:34”. Recorded at famed ‘Metalworks Studios’ (Toronto, ON), and released through CandyRat Records, the album featured six originals by Graham, three by Ross, and a cover of the OutKast hit song, “Hey Ya!”.

Not long after the release of “12:34”, Graham saw a loyal following begin to grow and it wasn’t long before his unique sound started to find a wide and appreciative audience.

In November of 2013, Graham released a solo instrumental album titled “Phoenix Rising” (CandyRat Records). The title track has already generated over 4 million views on YouTube, with other songs also notching impressive numbers. The success of the album enabled Graham to expand his global fanbase and he soon began touring internationally, both on his own and with the likes of Don Ross and Andy McKee.

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With Graham bringing an innovative sound to the industry, it wasn’t long before Canada’s top booking agency, The Feldman Agency, also counted themselves a fan of Graham’s music. So much in fact, that in July 2014, they decided to partner Graham with renowned Canadian producer Gavin Brown (Billy Talent, Metric, The Tragically Hip) on his “Sessions X” series. The series was recorded at Toronto’s Five-Star “Noble Street Studios” and features Graham alongside a number of acclaimed musicians including; Tears For Fears, Feist, Three Days Grace, Metric, and Ron Sexsmith.

In September 2014, Graham teamed up with IMAX composer Steve Wood to write the musical score for ‘Humpbacks’, an underwater 3D adventure documentary for IMAX and other giant screen theatres. Narrated by acclaimed actor Ewan McGregor, the film is directed by Greg MacGillivray (“The Living Sea”, “Everest”), presented in association with Pacific Life and was released February 13, 2015 to IMAX theatres worldwide.

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In 2016, Graham released his fifth studio album ‘Tabula Rasa’ which was crowd funded by fans across the globe and produced by world renowned Acoustic Guitarist, Antoine Dufour. Adding an extra dimension to his compositions, the album introduces Graham’s soulful vocals to his audience for the first time. The album was released in March 2016 and features a combination of his exemplary instrumental guitar work punctuated throughout with elements of folk, blues, and pop in his vocal songs with guest performances by Antoine Dufour and Bass Guitar Extraordinaire, Michael Manring.

In 2019, Graham released his sixth studio album ‘Thread of Creation’ featuring instrumental compositions written for the Acoustic, Baritone and Harp Guitar also featuring guest performances by Antoine Dufour and Michael Manring. Each song on this album is very diverse yet very personal and shows a real maturity, depth, and development in Calum’s songwriting.

Calum continues to tour throughout Canada, the US, and Europe, and is currently in the studio recording his seventh studio album and planning to release the new works in the coming months. (taken from his website)

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And here´s his 6th solo-album:

Like all of us – including some great guitarists – Calum Graham boasts eight fingers and two thumbs on two hands. But it is his singular musical brain that governs it all. And when everything aligns cosmically the result is extraordinary. In fact it is quite magical, because when you put a guitar in his hands (he plays several kinds – acoustic, baritone and harp) the instrument sometimes becomes a chamber ensemble.

On Thread of Creation, his sixth album, Graham takes us right into the heart of his magical world that included the iconic Tabula Rasa. With Graham’s hands, the guitar reveals its huge vocabulary of sounds, which with minimalist electronic effects combine to make it sound as big as an ensemble. Graham brings his unique musical insight and musicianship to deploy all of the instrument’s capabilities effectively.

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From using harmonics and pizzicato to exotica such as “nut-side,” “nail-sizzle” and “bi-tone tapping,” to combining each with a battery of percussion. (Does his guitar have a drum-set attached, you would wonder.) Graham turns a simple one-to-five-minute song into a poetic miniature. His music is inspired, original and daring, and there are several examples of this on Thread of Creation – such as The Nomad and Ma Lumière – to name but two. Bassist Michael Manring makes In Lak’Ech truly atmospheric; Antoine Dufour does likewise on Absolution. Meanwhile Graham emerges as the pre-eminent artist-technician. (Raul da Gama)

In other words: A new guitar wizard !

Enjoy the magic of Calum Graham !


Calum Graham (guitar)
Antoine Dufour (guitar on 04.)
Michael Manring (bass on 01.


01. In Lak’Ech (Graham) 4.47
02. The Nomad (Harp Guitar Version) (Graham) 4.28
03. Grace (Graham) 5.04
04.Absolution (Graham) 1.43
05. Maelstrom (Graham) 3.46
06. Ma Lumière (Graham) 4.09
07. Song For Jordan (instrumental version) (Graham) 4.34
08. The Scientist (Buckland/Champion/Martin) 4.48
09. Yellow (Martin/Buckland/Berryman/Champion) 4.44
10. Farewell (Baritone version) (Graham) 4.32
11. +124 (Graham) 3.42



“The most promising young guitarist I’ve seen. His command of the guitar is already really impressive!” (Andy McKee)

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“Calum’s entry resonated strongly among the judges. His poem celebrates the cultural mosaic that is Canada. He has captured the diversity of this country – something that we as a nation are renowned for and proud of.” (Stephan Moccio)

Live in 2022:
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The official website:

K.D. Lang – Ingénue (1992)

FrontCover1Kathryn Dawn Lang OC AOE (born November 2, 1961), known by her stylized stage name k.d. lang, is a Canadian pop and country singer-songwriter and occasional actress. Lang has won Juno Awards and Grammy Awards for her musical performances. Hits include the songs “Constant Craving” and “Miss Chatelaine”.

A mezzo-soprano, lang has contributed songs to movie soundtracks and has collaborated with musicians such as Roy Orbison, Tony Bennett, Elton John, The Killers, Anne Murray, Ann Wilson, and Jane Siberry. She performed at the closing ceremony of the 1988 Winter Olympics in Calgary, Alberta, and at the opening ceremony of the 2010 Winter Olympics in Vancouver, British Columbia, where she performed Leonard Cohen’s “Hallelujah”.

Lang has also been active as an animal rights, gay rights, and Tibetan human rights activist. She is a tantric practitioner of the old school of Tibetan Buddhism.


Ingénue is the second solo album by Canadian singer k.d. lang, released in 1992. It is Lang’s most successful album on the pop charts, both in her native Canada and internationally, and has more of a cabaret flavor than her earlier more country-influenced work.

“Constant Craving” was the first single released from the album. It peaked at number 8 in Lang’s native Canada, number 38 on the US Billboard Hot 100 and number 15 in the UK Singles Chart when re-released, becoming her biggest solo hit single there. “Constant Craving” inspired (albeit subconsciously) The Rolling Stones’ 1997 single “Anybody Seen My Baby?”, from their Bridges to Babylon album, with the result that the Stones gave writing credits on that song to Lang and her collaborator Ben Mink.


“Miss Chatelaine” was released as the second single from the album. The song’s video depicted Lang—who was usually best known for a fairly androgynous appearance—in an exaggeratedly feminine manner, surrounded by bright pastel colours and a profusion of bubbles reminiscent of a performance on The Lawrence Welk Show,[citation needed] complete with an accordion in the instrumentation.

A third single, “The Mind of Love”, was also released.

Both “Save Me” and “Still Thrives This Love” were used in the 2003 Showtime film Soldier’s Girl.

The album was included in the book 1001 Albums You Must Hear Before You Die.(wikipedia)


On her early albums, k.d. lang was a country traditionalist with a difference — while she had a glorious voice and could evoke the risen ghost of Patsy Cline when she was of a mind, there was an intelligence and sly humor in her work that occasionally betrayed her history as a performance artist who entered the musical mainstream through the side door. And while the three years between Absolute Torch and Twang and Ingénue were full of controversy for lang that may have encouraged her to seek out new creative directions (among other things, she came out as a lesbian and her outspoken animal rights activism alienated many fans in the C&W mainstream), the former album suggested lang had already taken her interest in country music as far as it was likely to go. Ingénue presented lang as an adult contemporary artist for the first time, and if she felt any trepidation at all about her stylistic shift, you’d never guess after listening to the record; lang’s vocal style is noticeably more subtle on Ingénue than her previous albums, but her command of her instrument is still complete, and the cooler surroundings allowed her to emotionally accomplish more with less. lang’s songwriting moved into a more impressionistic direction with Ingénue, and while the literal meanings of many of her tunes became less clear, she also brought a more personal stamp to her music, and the emotional core of “Save Me,” “Constant Craving,” and “So It Shall Be” was obvious even when their surfaces were evasive.


And the production and arrangements by lang and her longtime collaborators Ben Mink and Greg Penny were at once simple and ambitious, creating a musical space that was different in form and effect than her previous albums but one where she sounded right at home. Ingénue disappoints slightly because while lang was a masterful and thoroughly enjoyable country singer, she was a far more introspective adult contemporary singer/songwriter who seemingly demanded the audience accept her “as is” or not at all. However, the craft of the album is impressive indeed, and few artists have reinvented themselves with as much poise and panache as lang did on Ingénue. (by Mark Deming)


Teddy Borowiecki (keyboards, accordion, santur)
Graham Boyle (percussion, tympani, tambourine)
Gary Burton (marimba, vibraphone)
Ingrid Friesen (violin)
John Friesen (cello)
Martin Laba (violin)
K.D. Lang (vocals, guitar, mandolin, tamboura, tambourine, percussion)
Greg Leisz (pedal steel-guitar,  and lap steel-guitar)
Ben Mink (guitar, bass, viola, violin, percussion, beatboxing)
Greg Penny (percussion, beatboxing)
David Piltch (bass)
Mryon Schultz (clarinet)
Randall Stoll (drums)


01. Save Me (Lang/Mink) 4.33
02. The Mind Of Love (Lang/Mink) 3.49
03. Miss Chatelaine (Lang/Mink) 3.49
04. Wash Me Clean (Lang) 3.17
05. So It Shall Be (Lang/Penny) 4.31
06- Still Thrives This Love (Lang/Mink) 3.35
07. Season Of Hollow Soul (Lang/Mink) 4.58
08. Outside Myself (Lang/Mink) 4.57
09. Tears Of Love’s Recall (Lang/Mink) 3.49
10. Constant Craving (Lang/Mink) 4.37




The official website:

Road Me – Strings Out Of Control (2019)

FrontCover1A real fine street musician from the next generation:

I am a singer, guitarist and songwriter. I have been involved in music since I was about 14 years old, in 12 years of active work in the music industry I have been in 4 bands. Nowadays I am most devoted to solo performing only with acoustic guitar and looper, busking and composing and producing music. Since the year I completed my university studies (2019, CTU, FEE, field of Biomedical Engineering, Prague, Czech Republic), I have been devoting myself to music full-time.

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You will meet me in clubs, at parties, at weddings and on the streets all over the world. When I’m not traveling, I live in Prague, Czech Republic. My repertoire consists of imaginative acoustic cover versions of world-famous hits interspersed with my own songs. In the summer of 2019, I released my debut album Strings Out Of Control. (press release)

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And here´s their debut album …

The debut CD Strings Out Of Control brings a mix of specially crafted well-known pieces of world popular music as well as original songs. The album emphasizes colorful, unusual mostly acoustic arrangements, various percussion and beat-box. (press release)

Indeed, a great mixture between own songs (with some great flute sounds !) and cover versions of bands and musicians like Red Hot Chilli Peppers, Mark Ronson, Daft Punk, The Rembrandts … and …

… Paul Simon !

Enjoy this rarity !


Petr Kocis (vocals, guitar)
Jakub Mejstřík (drums, percussion)
Stepanka Moudra (vocals, flute)
Tomáš Tóth (violin, bass)

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01. I´ll Be There For You (Skloff/Crane/Kauffman/Willis/Wilde/Sōlem) 2.55
02. Lada fährt so schnell (Kocis/Moudra) 2.15
03. Under The Bridge (Kiedis/Flea/Frusciante/Smith) 3.52
04. Uptown Funk (Ronson/Mars/Lawrence/Bhasker) 3.46
05. Zazpívej jak Bůh (Kocis/Moudra) 4.36
06. Bienvenidos (Kocis/Moudra) 2.51
07. Mrs. Robinson (Simon) 3.29
08. Slečna ze Smečna (Kocis/Moudra) 3.24
09. Get Lucky (de Homem-Christo/Williams) 3.42
10. Write The Answer Back (Kocis/Moudra) 3.35
11. God Damn (Kocis/Moudra) 3.08
12. Kvido (Kocis/Moudra) 4.38
13. Good Night My Baby (Kocis/Moudra) 4.26



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The official website:

Arlo Guthrie – Running Down The Road (1969)

LPFrontCover1Arlo Davy Guthrie (born July 10, 1947) is an American retired folk singer-songwriter. He is known for singing songs of protest against social injustice, and storytelling while performing songs, following the tradition of his father Woody Guthrie. Guthrie’s best-known work is his debut piece, “Alice’s Restaurant Massacree”, a satirical talking blues song about 18 minutes in length that has since become a Thanksgiving anthem. His only top-40 hit was a cover of Steve Goodman’s “City of New Orleans”. His song “Massachusetts” was named the official folk song of the state, in which he has lived most of his adult life. Guthrie has also made several acting appearances. He is the father of four children, who have also had careers as musicians.

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Running Down the Road is the second studio album by American folk singer Arlo Guthrie. Guthrie’s version of the traditional folk tune “Stealin'” was featured in the film Two-Lane Blacktop. The cover shows the artist upon a Triumph TR6 Trophy motorcycle which is also pictured in the album’s ‘gate’. (wikipedia)

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Although this album’s “Coming in to Los Angeles” crossed Guthrie over and into the rock LPBookletunderground, especially via its performance at Woodstock, most of his third record is actually far more laid-back country-rock. Very much a production of its time, in a slightly negative sense, Running Down the Road features Guthrie employing the cream of L.A.’s top country-rock players as session men: Ry Cooder, James Burton, Clarence White, Jim Gordon, Gene Parsons, Jerry Scheff, and Chris Etheridge. The tone is good-natured and easygoing — too good-natured and easygoing sometimes, in fact, as on the unexciting cover of “Stealin’.” Guthrie acknowledges his folk roots with covers of tunes by his father Woody Guthrie (“Oklahoma Hills”), Pete Seeger (“Living in the Country”), and Mississippi John Hurt. These are surrounded by originals that follow the Dylan “back to basics” mold of the late ’60s, both in musical and lyrical concerns (“My Front Pages” might even be taken as a gentle Dylan satire). As such, much of the record is inoffensive but inconsequential, although the drug smuggling ode “Coming into Los Angeles” adds a touch of much-needed urgency. The title track is entirely uncharacteristic of the album, with its harsh blasts of distorted psychedelic guitar and tough, walking-blues stance — for these reasons, it’s a standout. (by Richie Unterberger)


James Burton (guitar)
Ry Cooder (guitar, mandolin, bass)
Chris Ethridge (bass)
Jim Gordon (drums)
Arlo Guthrie (vocals, guitar, piano)
Milt Holland (percussion)
Gene Parsons (drums, guitar, harmonica)
John Pilla (guitar)
Jerry Scheff (bass)
Clarence White (guitar)


01. Oklahoma Hills (W.Guthrie/J.Guthrie) 3.27
02. Every Hand In The Land (A.Guthrie) 2.20
03. Creole Belle (Hurt) 3.46
04. Wheel Of Fortune (A.Guthrie)  2.31
05. Oh, In The Morning (A.Guthrie) 4.54
06. Coming Into Los Angeles (A.Guthrie) 3.07
07. Stealin’ (Cannon) 2.49
08. My Front Pages (A.Guthrie) 3.47
09. Living In The Country (Seeger) 3.18
10. Running Down The Road (A.Guthrie) 4.30



More from Arlo Guthrie:

The official website:

Hamilton Camp – Here’s To You (1968)

FrontCover1I guess he was more an actor than a musician_

Hamilton Camp (30 October 1934 – 2 October 2005) was a British actor and singer.

This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2019) (Learn how and when to remove this template message)

Camp was born in London and was evacuated during World War II to the United States as a child with his mother and sister. He became a child actor in films and onstage. He originally performed under the names Robin Camp and Bob Camp, later changing his name to Hamilton after joining the Subud spiritual movement. For a few years, he billed himself as Hamid Hamilton Camp; in this period, he was leader of a group called Skymonters that released an album in 1973 on Elektra. The band consisted of himself (vocals, guitar), Lewis Arquette (vocals, comedy monologues), Lewis Ross (lead guitar), Jakub Ander (bass) and Rusdi Lane (percussionist & mime).

Herb Brown, Dick Rosmini, Bob Camp, Bob Gibson (live at Newport, 1960):
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Camp’s debut as a folk singer was at the Newport Folk Festival in 1960; and his first recording, with Bob Gibson, was Bob Gibson & Bob Camp at the Gate of Horn, from 1961.[1] Over the next four decades he maintained a dual career as a musician/songwriter and as an actor. Camp is probably best known, however, as the author of the song “Pride of Man”, which was recorded by a number of artists, notably Quicksilver Messenger Service, Gram Parsons, and Gordon Lightfoot, who included it as one of three songs by other songwriters on his first record.

An early Gibson & Camp gospel song, “You Can Tell the World” was the opening track on Simon & Garfunkel’s first album, Wednesday Morning, 3 A.M. As a singer, Camp had a minor hit with the song “Here’s to You,” which peaked at number 76 on the Billboard Hot 100 in 1968. In 1969 Camp formed a group called The True Brethren with Waqidi Falicoff (guitar, vocals), Raphael Grinage (cello) and Loren Pickford (flute and saxophone). The four later composed the incidental music for the Broadway show Paul Sills’ Story Theatre, which won two Tony awards and was nominated for best show in the 1971 awards.

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His voice work as “Elle” the robot policeman in the 1978 film Starcrash and a role in the 1976 Peter Bogdanovich film Nickelodeon. He also performed with the Chicago comedy troupe The Second City and the San Francisco satirical comedy troupe the Committee and appeared in a number of stage productions, including a 2004 production of A Midsummer Night’s Dream at the Hollywood Bowl.

His television work includes a supporting role on He & She, a sitcom starring Richard Benjamin and Paula Prentiss, which ran for one season in 1967–68. He guest-starred on television shows such as The Rat Patrol, The Monkees, M*A*S*H, Soap, The Mary Tyler Moore Show, The Twilight Zone, Starsky and Hutch, Cheers, The Andy Griffith Show, Bewitched, Gomer Pyle, U.S.M.C., Three’s Company and Lois & Clark: The New Adventures of Superman, as the older H. G. Wells. He appeared on two episodes of Star Trek: Deep Space Nine as Leck, a Ferengi and on one episode of Star Trek: Voyager as a Malon freighter pilot

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In 1977, Camp appeared in three episodes of The Feather and Father Gang. In the 1978 opening season of WKRP in Cincinnati, Camp guest-starred in the fifth episode as Del Murdock, owner of Del’s Stereo and Sound. He returned to WKRP as Johnny Fever’s ex-wife’s new fiancé. Also in 1978, he played Warren Beatty’s valet, Bentley, in Heaven Can Wait. In 1980, he appeared as a semi-regular on Too Close for Comfort as Arthur Wainwright, the adventurous, youth-oriented boss of Henry Rush, and on the FOX sitcom Titus (TV series) as Erin Fitzpatrick’s alcoholic father, Merritt. He played Bart Furley, brother of Don Knotts’ character Ralph Furley, on an episode of Three’s Company, “Furley vs. Furley”. He also voiced Professor Moriarty in the English dub of the anime series Sherlock Hound.

He was the voice of Fenton Crackshell, aka GizmoDuck, on the Disney animated series DuckTales and its spinoff Darkwing Duck. He played the role of old Malcolm Corley in LucasArts’ graphic adventure Full Throttle. He voiced the Prophet of Mercy in the 2004 video game Halo 2.

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He became Disney Studio’s new voice of Merlin, following the death of Karl Swenson. Camp also voiced for Hanna–Barbera; as Greedy Smurf and Harmony Smurf on The Smurfs series and all of HB’s Smurf television specials, Count Dracula in Scooby-Doo and the Reluctant Werewolf, Turk Tarpit in The Jetsons Meet the Flintstones, Mr. Gruber in Paddington Bear, The Grand Dozer on Potsworth & Co., several villains of the week from A Pup Named Scooby-Doo and Barney Rubble as a kid in The Flintstones Kids. Camp’s final work was on the film Hard Four in early 2005, as well as a musical album produced by James Lee Stanley called Sweet Joy, completed shortly before his death.

He married Rasjadah Lisa Jovita Cisz in 1961, and they had six children. His wife died in 2002.

Camp died of a heart attack on October 2, 2005, four weeks before his 71st birthday.[1] He was survived by his six children and thirteen grandchildren.[1] The causes of death were given by the coroner as cardiac tamponade, dissecting aortic haemorrhage, and atherosclerotic cardiovascular disease. (wikipedia)

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Like a lot of early-’60s folkies, Hamilton Camp got more rockin’ as the decade wore on, and on this 1967 album — with the aid of such all stars as Jerry Scheff, Van Dyke Parks, Hal Blaine, Earl Palmer, Bud Shank and producer Felix Pappalardi — he turns in what amounts to a lost sunshine pop classic! The hit title track is probably the best-known song, and reached #76 on the pop singles chart in 1968.


Indeed one of these lost and forgotten jewels of the Ameroican singer/wonwriter scene in the Sixties !

I add the Mountain version of the Pappalardi/Collins composition “Travelin’ In The Dark” … what a difference !


Hal Blaine (drums)
Hamilton Camp (vocals. guitar, harmoica)
Glen Hardin (piano)
Larry Knechtel (piano)
Earl C. Palmer (drums)
Van Dyke Parks (keyboards)
Dick Rosmini (guitar)
Jerry Scheff (bass, tuba)
Toxey Sewell (drums, percussion)
Bud Shank (flute)

Hamilton Camp in a scene from M*A*S*H (1972):
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01. Here’s To You (Camp) 2.19
02. Travelin’ In The Dark (Pappalardi/Collins) 2.38
03. Seven Circles (Camp) 2.26
04. A Lot Can Happen In A Day (Camp) 2.42
05. Lonely Place (Camp) 2.44
06. Love Is (Camp) 2.56
07. For My Loved Ones (Camp) 2.42
08. Flower And Flame (Camp) 3.01
09. Leavin’ Anyhow (Camp) 2.37
10. Garden Of Love (Camp) 3.25
11. Lisa (Camp) 2.14
12. Handwriting On The Wall (Pappalardi, Collins) 2.08
13. Travelin’ In The Dark (Mountain version) (Pappalardi/Collins)


On a night in the early summer of 1960, I wandered into the Cafe Wha? on Macdougal Street in Greenwich Village and heard a singer with an enormous voice in a small body. Hamilton Camp (Bob Camp then) had a voice that was high, resonant and clear. He used it to take “Kentucky Moonshiner” and blow the place down, myself included. Later, in conversation, he proved to be friendly, and hilarious, with a manic wit and a gift for mimicry that turned this Oklahoma boy around. He said he was leaving New York the next day to go to Chicago to sing with Bob Gibson. Later that summer he and Bob did a guest set at The Commons, down the block from the Care Wha? They were on their way to the Newport Folk Festival, where they were received like heroes. Ham and Bob sang a bunch of new stuff like, “You Can Tell the World,” “Well, Well, Well” and “The First Battalion’s Home.” My private thoughts were that I had an awful, awful lot of work to do.

Although more recently known as an actor, it’s memories like this from Tom Paxton that make it clear just how important a figure Hamilton Camp was in the then-burgeoning folk music scene. Hamilton passed away suddenly on October 2, 2005, less than a month before his 71st birthday.

A talented performer and passionate artist, Hamilton Camp juggled his twin loves of music and acting throughout his entire life and professional careers. His acting debut came at age 12 in 1946 with a role in the film Bedlam, with Boris Karloff, while his musical career didn’t really take off until 1960 when Albert Grossman brought him together with Bob Gibson. The two performed at the Newport Folk Festival that year and in April of 1961 they recorded the legendary Gibson and Camp at the Gate of Horn album.

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Byrds’ co-founder Roger McGuinn was at the Chicago club during the sessions for that recording:

“I loved the way Bob Camp sang with Bob Gibson. Their energy was truly amazing. Songs about the Civil War and the Wild West came to life before my eyes at the Gate of Horn in Chicago when I watched them perform … Camp’s harmonies were chilling. Gibson was a seasoned solo artist but with Camp by his side the combination was incredible!”

Extremely influential–their songs were covered by the likes of Ian and Sylvia, Peter Paul and Mary and Simon and Garfunkel–the duo was short lived as both went on to separate endeavors, with Hamilton concentrating on acting. They did reunite many times over the ensuing decades and released several recordings.

While he “concentrated on acting,” Hamilton still managed to find the time to pursue his musical career. In 1964 his solo debut, Paths of Victory was released and the next year he returned to Newport as a part of the New Folks concert. More solo albums followed in 1967, 1969, 1973 and 1999. His acting career might not hold as much relevance in these pages as his musical life, but it is surely no less impressive. His credits include film, Broadway, television and video game voice overs.

At 70, Hamilton Camp’s musical and acting careers were still going very strong. Steve Gillette shared a stage with him in January, 2005: “Hamilton was in great form, sang beautifully in that silvery elfin voice that had thrilled me on the old Gibson and Camp at the Gate of Horn album.” In the spring of this year, he finished work on the movie Hard Four and just before his passing, he completed a new CD with his son Ray.

Hamilton Camp’s joy of performance spanned two artistic worlds. Like thousands of fans and countless artistic peers, Roger McGuinn was inspired by Hamilton’s artistry in both of his chosen careers: “He was facile and full of life. There was always an impish glee under the surface of everything he did. I will miss him.” (by Tom Paxton; from Sing Out! v.49 #4 (Winter 2006)

The official website:

James Taylor – Greatest Hits (1976)

LPFrontCover1James Vernon Taylor (born March 12, 1948) is an American singer, songwriter, and musician. A six-time Grammy Award winner, he was inducted into the Rock and Roll Hall of Fame in 2000. He is one of the best-selling music artists of all time, having sold more than 100 million records worldwide.

Taylor achieved his breakthrough in 1970 with the No. 3 single “Fire and Rain” and had his first No. 1 hit in 1971 with his recording of “You’ve Got a Friend”, written by Carole King in the same year. His 1976 Greatest Hits album was certified Diamond and has sold 12 million copies in the US alone. Following his 1977 album JT, he has retained a large audience over the decades. Every album that he released from 1977 to 2007 sold over 1 million copies. He enjoyed a resurgence in chart performance during the late 1990s and 2000s, when he recorded some of his most-awarded work (including Hourglass, October Road, and Covers). He achieved his first number-one album in the US in 2015 with his recording Before This World.

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Taylor is also known for his covers, such as “How Sweet It Is (To Be Loved by You)” and “Handy Man”, as well as originals such as “Sweet Baby James”. He played the leading role in Monte Hellman’s 1971 film Two-Lane Blacktop. (wikipedia)

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Greatest Hits is the first compilation album by American singer-songwriter James Taylor. Released in November 1976. To this day, it is the best-selling album of his career.

The album took place in the context of Taylor’s end of his recording contract with Warner Records. It features redone versions of “Carolina in My Mind” and “Something in the Way She Moves”, both of which had been previously included on Taylor’s self-titled debut album in 1968. It also includes a previously unavailable live version of “Steamroller”.[1]

The album did not rise higher than #23 on the Billboard albums chart on its original release. However it became a steady seller for many years, and Greatest Hits has sold over 11,000,000 copies certifying it as a Platinum album eleven times over, and a diamond album once (for 10 million copies).

In August 2012, the album re-entered the Billboard albums chart at #15, which gave the album a new peak.(wikipedia)

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James Taylor had scored eight Top 40 hits by the fall of 1976 when Warner Brothers marked the end of his contract with this compilation. One of those hits, the Top Ten gold single “Mockingbird,” a duet with his wife Carly Simon, was on Elektra Records, part of the Warner family of labels and presumably available, but it was left off. “Long Ago and Far Away,” a lesser hit (though it made the Top Ten on the easy listening charts), wasn’t used either. In addition to the six hits — “Fire and Rain,” “Country Road,” “You’ve Got a Friend,” “Don’t Let Me Be Lonely Tonight,” “How Sweet It Is (To Be Loved by You),” and “Shower the People” — that were included, the album featured a couple of less successful singles, “Mexico” and “Walking Man,” the album track “Sweet Baby James,” and three previously unreleased recordings — a live version of “Steamroller” and newly recorded versions of “Something in the Way She Moves” and “Carolina in My Mind,” songs featured on Taylor’s 1968 debut album, recorded for Apple/Capitol.

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The result was a reasonable collection for an artist who wasn’t particularly well-defined by his singles. One got little sense of Taylor’s evolution from the dour, confessional songs of his first two albums to the more conventional pop songs of his sixth and seventh ones. But one did hear isolated examples of Taylor’s undeniable warmth and facility for folk/country-tinged pop. By the next summer, Taylor was back in the Top Ten on Columbia, and Greatest Hits was out of date. But it remains a good sampler of Taylor’s more popular early work. (by William Ruhlmann)


Kenny Ascher (piano on 08.)
Byron Berline (fiddle on 02.)
Michael Brecker (saxophone on 07.)
David Crosby (background vocals on 10.)
Nick DeCaro (organ, vocals on 11.)
Craig Doerge (piano on 07.)
Dan Dugmore (pedal steel-guitar on 01. + 02.)
Victor Feldman (orchestra bells, vibraphone on 11.)
Andrew Gold (harmonium, background vocals on 02.)
Milt Holland (percussion on 10.)
Jim Keltner (drums on 09.)
Carole King (piano, background vocals on 03. – 05.)
Danny Kortchmar (guitar on 06, 07., 09.–10. + 12, percussion on 06.)
Russ Kunkel (drums on 02. – 07, 10. – 12., percussion on 06. – 10.)
Gayle Levant (harp on 10.)
John London (bass on 04.)
Rick Marotta (drums on 08.
Ralph MacDonald (percussion on 08.
Clarence McDonald (piano on 02., 09., 11. + 12. , organ, vocals on 12.)
Randy Meisner (bass on 05.)
Joni Mitchell (background vocals on 06.)
Andy Muson (bass on 08.)
Graham Nash (background vocals on 10.)
Herb Pedersen (background vocals on 01.)
Red Rhodes (pedal steel-guitar on 04.)
David Sanborn (saxophone on 09.)
Carly Simon (background vocals on 09. + 11.)
Leland Sklar (bass on 01., 02., 06., 07. 09. – 12.)
David Spinozza (guitar on 08.)
James Taylor (vocals, guitar)
Bobby West (bass on 03.


01. Something In The Way She Moves (1976 version) (Taylor) 3.14
02. Carolina In My Mind (1976 version) (Taylor) 4.00
03. Fire And Rain (Taylor) 3.26
04. Sweet Baby James (Taylor) 2.54
05. Country Road (Taylor) 3.26
06. You’ve Got A Friend (King) 4.32
07. Don’t Let Me Be Lonely Tonight (Taylor) 2.38
08. Walking Man (Taylor) 3.35
09. How Sweet It Is (To Be Loved by You) (Holland/Dozier/Holland) 3.39
10. Mexico (Taylor) 3.01
11. Shower The People (Taylor) 4.01
12. Steamroller (live) (Taylor) 5.18



Just yesterday mornin’, they let me know you were gone
Suzanne, the plans they made put an end to you
I walked out this morning and I wrote down this song
I just can’t remember who to send it to

I’ve seen fire and I’ve seen rain
I’ve seen sunny days that I thought would never end
I’ve seen lonely times when I could not find a friend
But I always thought that I’d see you again

Won’t you look down upon me, Jesus?
You’ve got to help me make a stand
You’ve just got to see me through another day
My body’s aching and my time is at hand
And I won’t make it any other way

Oh, I’ve seen fire and I’ve seen rain
I’ve seen sunny days that I thought would never end
I’ve seen lonely times when I could not find a friend
But I always thought that I’d see you again

Been walking my mind to an easy time
My back turned towards the sun
Lord knows, when the cold wind blows
It’ll turn your head around
Well, there’s hours of time on the telephone line
To talk about things to come
Sweet dreams and flying machines in pieces on the ground
Oh, I’ve seen fire and I’ve seen rain
I’ve seen sunny days that I thought would never end
I’ve seen lonely times when I could not find a friend
But I always thought that I’d see you, baby
One more time again, now
Thought I’d see you one more time again
There’s just a few things coming my way this time around, now
Thought I’d see you, thought I’d see you, fire and rain, now

The official website:

Bonnie Dobson – Same (1969)

FrontCover1Bonnie Dobson (born November 13, 1940, Toronto, Ontario, Canada) is a Canadian folk music songwriter, singer, and guitarist, most known in the 1960s for composing the songs “I’m Your Woman” and “Morning Dew”. The latter, augmented (with a controversial co-writing credit) by Tim Rose, became a melancholy folk rock standard, covered by Fred Neil, Ralph McTell, Lulu, Nazareth, the Grateful Dead, the Jeff Beck Group, Robert Plant, the Pozo-Seco Singers, The 31st of February (including Gregg Allman, Duane Allman, and Butch Trucks of The Allman Brothers Band), Long John Baldry, DEVO and Einstürzende Neubauten, among many others.

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Dobson was born in Toronto. Her father was a union organizer and opera lover. Her early music influences included Paul Robeson and The Weavers.

Dobson became part of the active folk-revival scene in Toronto, performing in local coffee houses and at the Mariposa Folk Festival. She later moved to the United States where she performed in coffee houses across the country and recorded several albums, including 1962’s Bonnie Dobson at Folk City, which contained her well-known song “Morning Dew”.

Dobson has consistently questioned Tim Rose’s right to a co-writing credit for “Morning Dew” (stating that Rose first heard it as sung by Fred Neil) (1964 album Tear Down The Walls, crediting Dobson).

Bonnie Dobson01

After returning to Toronto in 1967 she continued to perform locally in coffee houses as well programs on the CBC. She married, and in 1969 moved to London, England, where she took up university studies and later became an administrator of the Philosophy Department at Birkbeck College, part of the University of London.

Bonnie Dobson02

After retiring in the 1980s, Dobson returned to perform in 2007 in London with Jarvis Cocker;[6] she released a new album in 2013 with the Hornbeam label and that year launched a number of concert dates.

She performed with Combined Services Entertainment, and was one of the last performers at RAF Salalah Oman. (wikipedia)

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Bonnie Dobson did not make the transition from folk to rock well, as this 1969 album attests. With its pop trimmings and orchestration, the impression is that RCA was trying to put Dobson into the pop market, rather than the rock or even folk-rock one. The arrangements aren’t awful, but they aren’t inspired either, and don’t suit the songs well. It’s as if someone was trying to make her over into a folk Bobbie Gentry. And the material isn’t the greatest either. Getting an opportunity to do an electric version of her own “Morning Dew” would seem to have been the greatest opportunity that the author of the song could have, yet it’s no more than adequate, and in any case had been beaten to the punch through prior versions by Tim Rose, the Grateful Dead, the Jeff Beck Group, Lulu, and others. Same thing with her covers of Fred Neil’s “Everybody’s Talking” and Dino Valenti’s “Let’s Get Together”: would have been a great idea in early 1967, but was running behind the pack a couple of years later. (At least her cover of Jackson Frank’s “You Never Me” was a more obscure, daring choice.)


Five of the 12 songs are her own compositions, but with the exception of “Morning Dew” they’re inoffensively forgettable, easygoing pop-folk-rock. A sitar (or possibly an electric sitar) pops up a couple of times, but it sounds more trendy than far-out. As an early-1960s folk singer, Dobson made notable if little-known contributions to the folk scene, but this album indicates that she wasn’t able to either maximize her potential or capitalize on her assets in a timely fashion. (by Richie Unterberger)


Bonnie Dobson (vocals, guitar)
a bunch of unknown studio musicians


01. I Got Stung (Dobson) 2.57
02. Morning Dew (Dobson/Rose) 3.20
03. Let’s Get Together (Valenti) 3.08
04. I’m Your Woman (Dobson) 3.00
05. Time (Shaper/Bourtayre) 3.09
06. Rainy Windows (Dobson) 2.40
07. Everybody’s Talking (Neil) 3.26
08. Bird Of Space (McPeek) 2.50
09. You Never Wanted Me (Frank) 3.11
10. Pendant Que (Vigneault) 3.01
11. Elevator Man (Allan) 2.53
12. Winter’s Going (Dobson) 2.41




Take me for a walk in the mornin’ dew, my honey
Take me for a walk in the mornin’ sun, my love
You can’t go walkin’ in the mornin’ dew today
You can’t go walkin’ in the mornin’ sun today

But listen, I hear a man moanin’, “Lord”
Oh yes, I hear a man moanin’, “Lord”
You didn’t hear a man moan at all
You didn’t hear a man moan at all

But I thought I heard my baby cryin’, “Mama”
Oh yes, I hear my baby cryin’, “Mama”
You’ll never hear your baby cry again
You’ll never hear your baby cry again

Now, where have all the people gone?
Won’t you tell me where have all the people gone?
Don’t you worry about the people anymore
Don’t you worry about the people anymore

“Morning Dew”, also known as “(Walk Me Out in the) Morning Dew”, is a contemporary folk song by Canadian singer-songwriter Bonnie Dobson. The lyrics relate a fictional conversation in a post-nuclear holocaust world. Originally recorded live as a solo performance, Dobson’s vocal is accompanied by her finger-picked acoustic guitar playing.

In 1962, “Morning Dew” was included on the live Bonnie Dobson at Folk City album. Subsequently, the song was recorded by other contemporary folk and rock musicians, including the Grateful Dead, who adapted it using an electric rock-ensemble arrangement for their debut album.

The song is a dialogue between the last man and woman left alive following an apocalyptic catastrophe. Dobson stated that the inspiration for “Morning Dew” was the film On the Beach, which is about the survivors of virtual global annihilation by nuclear holocaust. Dobson wrote the song while staying with a friend in Los Angeles; she recalled how the guests at her friend’s apartment were speculating about a nuclear war’s aftermath and “after everyone went to bed, I sat up and suddenly I just started writing this song [although] I had never written [a song] in my life”. In 1961, Dobson premiered “Morning Dew” at the inaugural Mariposa Folk Festival and a live recording appeared on Dobson’s At Folk City album in 1962. In 1969, she recorded a studio version for her self-titled album.

The earliest release of a studio version of “Morning Dew” was on the 1964 self-titled album by the Goldebriars, using the title “Come Walk Me Out” and without giving songwriter credit to Dobson. It was followed about a month later by a recording by singer and guitarist Fred Neil with Vince Martin, for their album Tear Down The Walls.[5] Tim Rose followed with a version for his self-titled debut album; according to Dobson, “all Tim Rose did was take Freddie Neil’s changes”. Dobson claimed she never met Rose, but she received 75% songwriting royalty as she retains sole writing credit for the song’s music.

“Morning Dew” became part of the Grateful Dead’s repertoire after frontman Jerry Garcia was introduced to the Fred Neil recording by roadie Laird Grant in 1966. The group first played the song as their opening number at the Human Be-In in January 1967; the same month the group recorded it for their self-titled debut album, which was released that March.

American psychodelic rock band The West Coast Pop Art Experimental Band released their cover of “Morning Dew” under the title “Will You Walk With Me” in February 1967 on their album Part One.

The British pop singer Lulu made a version of “Morning Dew” in her album Love Loves To Love Lulu produced by John Paul Jones, in 1967. With Rod Stewart on vocals, the Jeff Beck Group recorded a version on their 1968 album Truth that carried over some aspects of the Tim Rose version, including the bass part. Swiss rock band Krokodil included a version on their self-titled debut in 1969. Scottish rockers Nazareth covered the song on their 1971 debut in a version with an extended arrangement similar to the Jeff Beck Group’s, and released a single version the following year. Long John Baldry did “Morning Dew” on his self-titled 1980 release and released it as a single the same year. The German band Einstürzende Neubauten included too a version of “Morning Dew” in their album Fünf auf der nach oben offenen Richterskala of 1987. Devo covered the song on Smooth Noodle Maps released in 1990. US band Blackfoot also covered it to open their 1984 album Vertical Smiles.

Cleveland, Ohio rock band Damnation of Adam Blessing covered “Morning Dew” on their 1969 self-titled debut. “Morning Dew” was also performed by Duane and Greg Allman on their album released by Bold records. Robert Plant covered the song on his 2002 album Dreamland. (wikipedia)

Bruce Cockburn – Same (1969)

LPFrontCover1Bruce Douglas Cockburn OC (born May 27, 1945) is a Canadian singer-songwriter and guitarist. His song styles range from folk to jazz-influenced rock and his lyrics cover a broad range of topics including human rights, environmental issues, politics, and Christianity.

Cockburn has written more than 350 songs on 34 albums over a career spanning 40 years, of which 22 have received a Canadian gold or platinum certification as of 2018, and he has sold over one million albums in Canada alone. In 2014, Cockburn released his memoirs, Rumours of Glory. In 2016, his album Christmas was certified 6 times platinum in Canada for sales of over 600,000.

Bruce Cockburn01

Cockburn was born in 1945 in Ottawa, Ontario, and spent some time at his grandfather’s farm outside of Chelsea, Quebec, but he grew up in Westboro, which was a suburb of Ottawa when he was a teenager. His father, Doug Cockburn, was a radiologist, eventually becoming head of diagnostic x-ray at the Ottawa Civic Hospital. He has stated in interviews that his first guitar was one he found around 1959 in his grandmother’s attic, which he adorned with golden stars and used to play along to radio hits. This was replaced when his parents bought him a Kay archtop that had flat wound strings and a DeArmond pickup after his first guitar teacher, Hank Sims, declared it unplayable.

Later he was taught piano and music theory by Peter Hall, the organist at Westboro United Church which Cockburn and his family attended. Cockburn had been listening to jazz and wanted to learn musical composition. Hall encouraged him and, along with his friend Bob Lamble, a lot of time was spent at Hall’s house listening to and discussing jazz.

Cockburn attended Nepean High School, where his 1964 yearbook photo states his desire “to become a musician”. Nepean’s music teacher at the time, Ronald E.J. Milne, said in 1988 that although Cockburn didn’t take music, he could often be seen playing guitar.[citation needed] After graduating, he took a boat to Europe and busked in Paris.

Bruce Cockburn02

Cockburn attended Berklee School of Music in Boston, where his studies included jazz composition, for three semesters between 1964 and 1966. That year he dropped out and joined an Ottawa band called The Children, which lasted for about a year.

In early 1967 he joined the final lineup of the Esquires. He moved to Toronto that summer to form The Flying Circus with Marty Fisher and Gordon MacBain, former Bobby Kris & The Imperials members, and Neil Lillie, ex-Tripp member. The group recorded some material in late 1967 (which remains unreleased) before changing its name to Olivus in the spring of 1968, by which time Lillie (who changed his name to Neil Merryweather) had been replaced by Dennis Pendrith from Livingstone’s Journey. Olivus opened for The Jimi Hendrix Experience and Cream in April 1968.[10] That summer Cockburn broke up the band with the intention of going solo, but ended up in the band 3’s a Crowd with David Wiffen, Colleen Peterson, and Richard Patterson, who had been a co-member of The Children. Cockburn left 3’s a Crowd in the spring of 1969 to pursue a solo career.

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Cockburn’s first solo appearance was at the Mariposa Folk Festival in 1967, and in 1969 he was a headliner. In 1970 he released his self-titled, solo album. A single, “Going to the Country”, appeared on the RPM Top 50 Canadian Chart.

Cockburn’s guitar work and songwriting won him an enthusiastic following. His early work featured rural and nautical imagery and Biblical metaphors. Raised as an agnostic, early in his career he became a Christian. Many of his albums from the 1970s refer to Christian themes, which in turn inform his concerns for human rights and environmentalism. His references to Christianity include the Grail imagery of 20th-century Christian poet Charles Williams and the ideas of theologian Harvey Cox.

In 1970 Cockburn became partners with Bernie Finkelstein in the music publishing firm Golden Mountain Music. (wikipedia)

Bruce Cockburn03 (Review)

Bruce Cockburn’s self-titled debut’s blend of diversity, enthusiasm, and innocence never quite resurfaced again in his work, especially in his more clinical, politically inclined tracts of later decades. The opening number, “Going to the Country,” still evokes that hippie-esque, back-to-the-earth movement as well as any song ever recorded, complete with a sly wink that keeps it fresh to this day.


And since this was 1970, the album also comes equipped with some of those quaint excesses of the period; try the nasal tone poem gracing “The Bicycle Trip.” “Musical Friends” remains a lively, happy-go-lucky classic with piano signature lifted from Paul McCartney’s playbook; it’s difficult to picture the dour Cockburn of more recent years ever having this much fun. In contrast, “Thoughts on a Rainy Afternoon” offers a trance-like, introspective atmosphere reminiscent of British folkie legend Nick Drake. (by Roch Parisien)


Bruce Cockburn (guitar, vocals, piano, drums)
Dennis Pendrith (bass)


01. Going To The Country 3.16
02. Thoughts On A Rainy Afternoon 3.49
03. Together Alone 2.15
04. The Bicycle Trip 4.44
05. The Thirteenth Mountain 4.50
06. Musical Friends 2.59
07. Change Your Mind 2.58
08. Man Of A Thousand Faces 5.44
09. Spring Song 5.05
10. Keep It Open 1.54

All songs written by Buce Cockburn



More from Bruce Cockburn:

The official website:


Arlo Guthrie – Alice’s Restaurant (Original Motion Picture Score) (1969)

FrontCover1Arlo Davy Guthrie (born July 10, 1947)[1] is a retired American folk singer-songwriter.[2] He is known for singing songs of protest against social injustice, and storytelling while performing songs, following the tradition of his father Woody Guthrie. Guthrie’s best-known work is his debut piece, “Alice’s Restaurant Massacree”, a satirical talking blues song about 18 minutes in length that has since become a Thanksgiving anthem. His only top-40 hit was a cover of Steve Goodman’s “City of New Orleans”. His song “Massachusetts” was named the official folk song of the state, in which he has lived most of his adult life. Guthrie has also made several acting appearances. He is the father of four children, who have also had careers as musicians. (wikipedia)

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And here´s the soundtrack of the movie “Alice’s Restaurant”:

Alice’s Restaurant is a 1969 American comedy film directed by Arthur Penn. It is an adaptation of the 1967 folk song “Alice’s Restaurant Massacree”, originally written and sung by Arlo Guthrie. The film stars Guthrie as himself, with Pat Quinn as Alice Brock and James Broderick as Ray Brock. Penn, who resided in the story’s setting of Stockbridge, Massachusetts, co-wrote the screenplay in 1967 with Venable Herndon after hearing the song, shortly after directing Bonnie & Clyde.

Alice’s Restaurant was released on August 19, 1969, a few days after Guthrie appeared at the Woodstock Festival. A soundtrack album for the film was also released by United Artists Records. The soundtrack includes a studio version of the title song, which was originally divided into two parts (one for each album side); a 1998 CD reissue on the Rykodisc label presents this version of the song in full, and adds several bonus tracks to the original LP.

Movie Poster

In 1965, Arlo Guthrie (as himself) has attempted to avoid the draft by attending college in Montana. His long hair and unorthodox approach to study gets him in trouble with local police as well as residents. He quits school, and subsequently hitchhikes back East. He first visits his father Woody Guthrie (Joseph Boley) in the hospital.

Arlo ultimately returns to his friends Ray (James Broderick) and Alice Brock (Pat Quinn) at their home, a deconsecrated church in Great Barrington, Massachusetts where they welcome friends and like-minded bohemian types to “crash”. Among these are Arlo’s school friend Roger (Geoff Outlaw) and artist Shelly (Michael McClanathan), an ex-heroin addict who is in a motorcycle racing club. Alice is starting up a restaurant in nearby Stockbridge. Frustrated with Ray’s lackadaisical attitude, she has an affair with Shelly, and ultimately leaves for New York to visit Arlo and Roger. Ray comes to take her home, saying he has invited a “few” friends for Thanksgiving.


The central point of the film is the story told in the song: After Thanksgiving dinner, Arlo and his friends decide to do Alice and Ray a favor by taking several months worth of garbage from their house to the town dump. After loading up a red VW microbus with the garbage, and “shovels, and rakes and other implements of destruction”, they head for the dump. Finding the dump closed for the holiday, they drive around and discover a pile of garbage that someone else had placed at the bottom of a short cliff. At that point, as mentioned in the song, “… we decided that one big pile is better than two little piles, and rather than bring that one up we decided to throw ours down.”


The next morning they receive a phone call from “Officer Obie” (Police Chief William Obanhein as himself), who asks them about the garbage. After admitting to littering, they agree to pick up the garbage and to meet him at the police officers’ station. Loading up the red VW microbus, they head to the police station where they are immediately arrested.

As the song puts it, they are then driven to the quote scene of the crime unquote where the police are engaged in a hugely elaborate investigation. At the trial, Officer Obie is anxiously awaiting the chance to show the judge the 27 8×10 color glossy photos of the crime but the judge (James Hannon as himself) happens to be blind, using a seeing eye dog, and simply levies a $25 fine, orders them to pick up the garbage and then sets them free. The garbage is eventually taken to New York and placed on a barge. Meanwhile, Arlo has fallen in love with a beautiful Asian girl, Mari-chan (Tina Chen).


Later in the movie, Arlo is called up for the draft, in a surreal depiction of the bureaucracy at the New York City military induction center on Whitehall Street. He attempts to make himself unfit for induction by acting like a homicidal maniac in front of the psychiatrist, but fails (the incident actually gets him praise). Because of Guthrie’s criminal record for littering, he is first sent to wait along with the convicts on the Group W bench, then outright rejected as unfit for military service, not because of the littering incident, but because he makes a remark about the dubiousness of considering littering to be a problem when selecting candidates for armed conflict, making the officials suspicious of “his kind” and them to send his personal records to Washington, DC.


Upon returning to the church, Arlo finds Ray and members of the motorcycle club showing home movies of a recent race. Shelly enters, obviously high, and Ray beats him until he reveals his stash of heroin, concealed in some art he has been working on. Shelly roars off into the night on his motorcycle to his death; the next day, Woody dies. Ray and Alice have a hippie-style wedding in the church, and a drunken Ray proposes to sell the church and start a country commune instead, revealing that he blames himself for Shelly’s death. The film ends with Alice standing alone in her bedraggled wedding gown on the church steps.(wikipedia)


Not to be confused with Guthrie’s 1967 debut album Alice’s Restaurant, the soundtrack to Arthur Penn’s 1969 film (as well as the movie itself) is built around Guthrie’s 16-minute folk-rock talking-blues narrative “Alice Restaurant’s Massacree,” which is included here — though this is a different recording from the classic one on Reprise Records, with slightly altered nuances and production, and every bit as funny (the original album had the title track in two parts, which have been reassembled here). The original soundtrack album was one of the finest non-orchestral soundtrack records of its era — no surprise, since Guthrie also helped play and write much of the instrumental background music in the film (Garry Sherman did some composing and arranging as well), much of which is pleasant, unassuming instrumental folk and folk-rock with some blues and country accents, broken up by a group a cappella version of “Amazing Grace” and a Joni Mitchell soundalike (Tigger Outlaw) singing Mitchell’s “Songs to Aging Children.” (Bruce Eder)


Arlo Guthrie (guitar, vocals)
Tigger Outlaw (vocals on 04.)
a bunch of unknown studio musicians

Alternate frontcovers:

01. Traveling Music (Guthrie) 1.59
02. Alice’s Restaurant Massacree, Part 1 (Guthrie) 6.34
03. The Let Down (Sherman) 0.56
04. Songs To Aging Children (Mitchell) 2.46
05. Amazing Grace (Traditional) 3.20
06. Trip To The City (Guthrie) 2.16
07. Alice’s Restaurant Massacree, Part 2 (Guthrie) 8.29
08. Crash Pad Improvs (Guthrie) 2.14
09. You’re A Fink (Guthrie/Sherman) 2.09
10. Harps And Marriage (Sherman) 1.43



More from Arlo Guthrie:

Richie Havens – Richard P. Havens 1983 (1969)

LPFrontCover1Born in the Bedford-Stuyvesant section of Brooklyn, Richie Havens moved to Greenwich Village in 1961 in time to get in on the folk boom then taking place. Havens had a distinctive style as a folksinger, appearing in such clubs as the Cafe Wha? His guitar set to an opening tuning, he would strum it while barring chords with his thumb, using it essentially as percussion while singing rhythmically in a gruff voice for a mesmerizing effect. Havens was signed to Douglas Records in 1965 and recorded two albums that gained him a local following. In 1967, the Verve division of MGM Records formed a folk section (Verve Forecast) and signed Havens and other folk-based performers. The result was Havens’ third album, Mixed Bag. It wasn’t until 1968 and the Something Else Again album, however, that Havens began to hit the charts — actually, Havens’ fourth, third, and second albums charted that year, in that order. In 1969 came the double album Richard P. Havens 1983.


Havens’ career benefited enormously from his appearance at the Woodstock festival in 1969 and his subsequent featured role in the movie and album made from the concert in 1970. His first album after that exposure, Alarm Clock, made the Top 30 and produced a Top 20 single in “Here Comes the Sun.” These recordings were Havens’ commercial high-water mark, but by this time he had become an international touring success. By the end of the ’70s, he had abandoned recording and turned entirely to live work. Havens came back to records with a flurry of releases in 1987: a new album, Simple Things; an album of Bob Dylan and Beatles covers; and a compilation. In 1991, Havens signed his first major-label deal in 15 years when he moved to Sony Music and released Now. Nobody Left to Crown was issued by Verve Forecast in 2008. Havens died of a heart attack at his home in Jersey City, New Jersey in April 2013; he was 72 years old. (by William Ruhlmann)


Richard P. Havens, 1983 is a 1968 double album set by folk rock musician Richie Havens featuring a combination of studio recordings and live material recorded in concert during July 1968. The album combined original material with several of the covers for which Havens is known. Notable songs include the singles “Stop Pushing and Pulling Me” and “Indian Rope Man”, the latter of which has been multiply covered under its own name and in retooled identity as “African Herbsman.” The genre-bending album was critically and commercially well-received, reaching #80 on the Billboard “Pop Albums” chart. Initially released on the Verve label, it has been reissued multiple times in various formats, including by Verve subsidiary Verver Forecast/PolyGram and Australian label Raven Records. It has also been compiled with albums Mixed Bag and Something Else Again in multi-cd set Flyin’ Bird: The Verve Forecast Years on the Hip-O Select/Universal label.


Richard P. Havens, 1983 compiles a number of studio tracks with live material recorded for a concert in July 1968. Musically, it displays Havens’ multi-instrumental approach and demonstrates the influence of several genres, including folk rock, world music and folk blues. As critic Richie Unterberger described it in 2003’s Eight Miles High, the album “worked towards a folk-rock-world-music fusion of sorts, though one grounded in the sort of bluesy folk [Havens]…and others had pioneered in the Village back in the early 60s.”[3] Producer Elliott Mazer said that Havens’ method of playing presented some difficulties to the many musicians who joined him, as “Richie was not very interested in learning the chords for the songs” but “made up his own”.

Described as a concept album, this was Havens’ first experience co-producing one of his albums. Additional production on the album was provided by Mazer and Mark Roth, while John Court lent production to the song “Indian Rope Man.” For the cover, Roth photographed Havens in infrared.


The album was commercially successful, reaching #80 on the Billboard “Pop Albums” chart,[7] and critically well received. 2004’s Rip It Up: The Black Experience in Rock’n’Roll indicates that this album, along with Havens’ Mixed Bag and Alarm Clock, “should be considered staples of the rock canon.” The Rough Guide to Rock praises it as “an excellent mix of originals and covers, with a darker, brooding feel.” In a more modest assessment, Unterberger’s review in Allmusic summarizes, “As with many double albums, it perhaps could have used some pruning, although in general it was a worthy expansion of his sound as captured on record.”

The album includes several of the covers for which Havens is known, particularly the “imaginative covers” of Beatles and Bob Dylan which Unterberger indicated “he was able to recast as his own”. However, while Rough Guide suggested that the album bears “witness to Havens’ compelling ability as a live performer”, Unterberger discerned on this particular recording “an over reliance on Beatles covers” and felt “the live stuff on side four…seems like an afterthought to push the set to double-LP length.”


Singles released from the album include “Stop Pulling and Pushing Me”, the B side of a cover of “Rocky Raccoon”, in July 1969, and “Indian Rope Man”, which was released twice in May 1969: as an “A” side with “Just Above My Hobby Horses Head” and a “B” side with Beatles’ cover “Lady Madonna.” “Indian Rope Man” has proved enduring, with multiple covers by Brian Auger, Julie Driscoll and Phaze, among others. It was also retooled and retitled as “African Herbsman”, under which title it was performed by Bob Marley. (wikipedia)


Havens’ third Verve album was an ambitious double LP, using about a couple dozen backing musicians in various combinations on instruments ranging from conga and sitar to steel guitar and organ. Though recorded for the most part in the studio, it also included several live recordings from a July 1968 concert. As with many double albums, it perhaps could have used some pruning, although in general it was a worthy expansion of his sound as captured on record. Divided almost equally between originals and covers, the music has the moving and melancholy vibe, yet also somewhat rambling feel, typical of Havens’ prime. Certainly his “What More Can I Say John?” is a subtle and admirable anti-Vietnam war song, while his interpretations of Leonard Cohen’s “Priests” and Maurey Hayden’s (aka Lotus Weinstock’s) “Cautiously” are unusual cover choices that are imaginatively done. An Indian influence makes itself heard occasionally, as on “Just Above My Hobby Horse’s Head” and “Putting Out the Vibration, and Hoping It Comes Home”; “Indian Rope Man,” with Jeremy Steig on flute, is one of his better compositions. However, there’s an over reliance on Beatles covers (there are four here). And the live stuff on side four, with its cutesy five-minute version of “With a Little Help From My Friends” (in which Havens wordlessly scats the lyrics), seems like an afterthought to push the set to double-LP length. (by Richie Unterberger)


Warren Bernhardt (keyboards, clavinet)
Brad Campbell (bass)
Bob Chase (percussion)
Diane Comins (harmonica)
Jim Fairs (bass)
Richie Havens (vocals, guitar, sitar, percussion, ondioline)
Charles Howall (background vocals)
Carol Hunter (bass)
Teddy Irwin (guitar)
Bruce Langhorne (guitar)
Ken Lauber (keyboards)
Donald McDonald (drums)
Arnie Moore (bass)
Weldon Myrick (pedal- steel guitar)
John Ord (keyboards. celeste)
Skip Prokop (drums)
Charlie Smalls (keyboards)
Jeremy Steig (flute)
Stephen Stills (bass)
Collin Walcott (sitar, tabla)
Paul “Dino” Williams (guitar)
Daniel Ben Zebulon (drums)


01. Stop Pulling and Pushing Me (Havens) 1.51
02. For Haven’s Sake (Havens) 7.05
03. Strawberry Fields Forever (Lennon/McCartney) 3.40
04. What More Can I Say John? (Havens) 4.40
05. I Pity The Poor Immigrant (Bob Dylan) 3.11
06. Lady Madonna (Lennon/McCartney) 2.00
07 Priests (Cohen) 5.16
08. Indian Rope Man (Havens/Price/Roth) 3.05
09. Cautiously (Haydn) 4.02
10. Just Above My Hobby Horse’s Head (Havens/Roth) 3.00
11. She’s Leaving Home (Lennon/McCartney) 4.07
12. Putting Out The Vibration, And Hoping It Comes Home (Havens/Roth) 2,54
13. The Parable Of Ramon (live) (Havens/Roth) 7.49
14. With A Little Help From My Friends (live) (Lennon/McCartney) 5.20
15. Wear Your Love Like Heaven (live) (Leitch) 4.56
16. Run, Shaker Life (Traditional) 2.11
17. Do You Feel Good? (live) (Traditional) 6.42
18. Handsome Johnny (taken from “Mixed Back”) (Gossett/Havens) 3.57
19. No Opportunity Necessary, No Experience Needed (taken from “Something Else Again”) (Havens) 2.33




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