Joan Baez – Live in New York (75th Birthday Concert) (TV rip) (2016)

FrontCover1On January 27th, 2016, folk icon Joan Baez celebrated her 75th birthday with a historic performance at the Beacon Theatre in New York City. The special event honored her legendary 50-plus years in music in an intimate, career-spanning live performance. Baez performed alongside fellow artists and friends, including: David Bromberg, Jackson Browne, Mary Chapin Carpenter, Judy Collins, David Crosby, Indigo Girls, Emmylou Harris, Damien Rice, Paul Simon, Mavis Staples, Nano Stern and Richard Thompson.

The legendary Joan Baez hosts her own birthday celebration and what a celebration it is, filled with a who’s who of guests who stop by to harmonize. Opening on guitar with the one, two punch of Steve Earle’s “God is God” from her last solo album “Day After Tomorrow” and the splendid Phil Och’s composition which she has been singing since the ’60’s, “There But For Fortune”, Baez sets the mood for an entrancing evening of acoustic folk music.

David Crosby trades vocals with the birthday girl on the Lennon and McCartney gem “Blackbird”. Irishman Damien Rice joins Joan for the traditional Irish ballad “She Moved Through the Fair”, with its sublime imagery of the swan in the evening moving over the lake.


A real highlight is Mary Chapin Carpenter duets with Baez on Donovan’s “Catch The Wind”, a song that Joan and her late sister Mimi Farina performed for years in concert. Emmylou Harris then takes the stage to perform Stephen Foster’s “Hard Times Come Again No More”. a staple of Emmylou’s which benefits from the addition of harmonies from Baez. The amazing Jackson Browne joins Joan and Emmylou for Woody Guthrie’s “Deportee”, a haunting and true song about immigrant workers killed in a plane crash. This is a staple of Baez’s repertoire and one that she did solo on her last live CD “Bowery Songs”.

Mavis Staples then joins her for a medley of “Oh Freedom” (before I’ll be a slave, I’ll be buried in my grave, and go home to my Lord and be free) and the strident, defiant “Ain’t Gonna Let Nobody Turn Me Around.” The latter was the opener of Joan’s acclaimed A&M records live release “From Every Stage”.


Disc 2 opens with Mary Chapin Carpenter and the Indigo Girls harmonizing on the beautiful “The Water is Wide”, a classic folk tune if ever there was one. Richard Thompson’s “She Never Could Resist A Winding Road” would most likely be on the new studio record. The song, a paen to wanderlust, fits perfectly into Baez’s life as a traveling troubadour, having toured the world many times over.

Then Jackson Browne takes the stage again for a duet with Baez on Browne’s “Before the Deluge”, a song that Baez first covered on her “Honest Lullaby” album. The lovely soprano of Judy Collins blends with Joan’s dusky mezzo soprano on Joan’s iconic song about Bob Dylan, the always lovely “Diamonds and Rust”. Baez sings the line, “50 years ago I bought you some cuff links”, joking about “back then they actually sold them”.

Chilean singer Nano Stern joins Joan on another Baez concert staple “Gracias a la Vida” (“Thanks to Life”), after first acknowledging Baez for her performances and activism on behalf of his country. One of the most moving moments of the show for me was Paul Simon and Joan Baez harmonizing on Simon’s masterpiece “The Boxer”. The lyrics “after changes upon changes, we are more or less the same”, seemed apt on the occasion of Baez’s 75th birthday party. She may be older and grayer, but she is as lively, gracious and vibrant as ever. Her voice has changed from the high soprano of her early years but to me it sounds regal, authoritative, and sure.

The show ends with Dylan’s “Forever Young” …


The audience at New York City’s Beacon Theater sang happy birthday to the birthday girl. It seemed appropriate that Baez get a gift from the audience after so generously sharing the gift of song with her musical friends. It was definitely an evening to remember. Highly recommended. (by Bruce A. Potts)

Video ripped from a HDTV – Arte (Germany) – broadcast


Joan Baez (vocals, guitar)
Gabriel Harris (percussion)
Dirk Powell (guitar)
David Crosby – Mary Chapin Carpenter – Emmylou Harris – Mavis Staples – The Indigo Girls – Damien Rice – Richard Thompson – Jackson Browne – Judy Collins – Nano Stern – Paul Simon

01. God Is God (Earle) 3.35
02. There But For Fortune (Ochs) 4.34
03. Blackbird (with David Crosby) (/Lennon/McCartney)3.20
04. Catch The Wind (with Mary Chapin Carpenter) (Leitch) 4.01
05. Hard Times Come Again No More (with Emmylou Harris) (Foster) 5.30
06. Swing Low, Sweet Chariot (Traditional) 3.50
07. Oh, Freedom (with Mavis Staples) (Traditional) 2,46
08. Ain’t Gonna Let Nobody Turn Me Around (with Mavis Staples) (Traditional) 3.39
09. The Water Is Wide (with The Indigo Girls and Mary Chapin Carpenter) (Traditional) 4.54
10. She Moved Through The Fair (with Damien Rice) (Traditional) 5.41
11. She Never Could Resist A Winding Road (with Richard Thompson) (Thompson) 3.39
12. Before The Deluge (with Jackson Browne) (Browne) 6.38
13. Diamonds And Rust (with Judy Collins) (Baez) 5.44
14. Gracias a la vida (with Nano Stern) (Parra) 6.21
15. The Boxer (with Paul Simon and Richard Thompson) (Simon) 7.26
16. Forever Young (Dylan) 4.31



And here´s the audio version of this concert
(click on the pic)


Gib eine Beschriftung ein


Joni Mitchell – Philadelphia (1974 – recorded in the Sixties)

FrontCover1.jpgHere are WMMR’s Ed Sciaky and Gene Shay hosting a special program featuring performances and interviews from Joni’s early Philadelphia appearances on the “Folklore” program and live music recorded at The 2nd Fret, between 1966 and 1968. It seems the bootleg “The Posall and the Mosalm” drew a lot of its tracks from this special, but this is as it was broadcast the day before her appearance at the Academy of Music in Philadelphia in 1974. “Just Like Me” has a mid-cut, and there are speed fluctuations throughout the March 17, 1967 tracks and elsewhere, but mainly in “London Bridge.”WMMR-FM Retrospective. Philadelphia, Pennsylvania; January 29, 1974.

As above, the songs were sourced from interviews with Joni in the late 1960s, and they reflect her “set list” of that era. The “1974″ designation refers only to the date of the radio re-broadcast of this archival material. (by Art)

There wouldn’t have been any songs from her Jan 1974 album ‘Court and Spark’ as these recordings are much earlier from ‘66-’68
[For clarity in case anyone was confused about the dates and the text.]

Thanks to elegymart for sharing the show at Dime.

Fairly to very good FM broadcast.


Joni Mitchell (guitar, vocals)
some unknown musicians


01. WMMR intro 1.43
02. interview 3.19
03. Circle Game (Mitchell) 5.32
04. Sugar Mountain (Young) 4.14
05. Backstage interview 5.09
06. Both Sides Now (Mitchell) 4.12
07. interview 6.39
08. Mr Blue (Mitchell) 4.31
09. Carnival In Kenora (Mitchell) 4.59
10. WMMR intro 0.47
11. Just Like Me (Mitchell) 4.56
12, Eastern Rain (Mitchell) 5.51
13. Blue On Blue (Mitchell) 3.05
14. Born To Take The Highway (Mitchell) 4.10
15. Winter Lady (Mitchell) 2.48
16. London Bridge (Mitchell) 8.17
17. interview 7.17
18. Sisotowbell Lane (Mitchell) 4.00
19. nterview 12.18
20. The Gallery (Mitchell) 4.21
21. Go Tell The Drummer Man (Mitchell) 3.51
22. Conversation 5.43




Harry Chapin – On The Road To Kingdom Come (1976)

LPFrontCover1On the Road to Kingdom Come is the sixth studio album by the American singer-songwriter Harry Chapin, released in 1976. Longer versions of the songs “Corey’s Coming” and “If My Mary Were Here” appeared on Chapin’s 1979 live album Legends of the Lost and Found. “The Mayor Of Candor Lied” was later covered by Welsh singer-songwriter Martyn Joseph.(by wikipedia)

On the Road to Kingdom Come sounded more like a rock album than anything Harry Chapin had done to date. In the hands of sympathetic producer/arranger Stephen Chapin, Harry’s songs are infused with clever and often humorous bits of musical commentary — horns, electric guitars, keyboards, backing vocals, and various sound effects pop up at opportune times throughout — that makes much of the material instantly ingratiating.

While the record failed to capture commercial interest (singer/songwriters were out, disco was in), song for song this is one of his strongest efforts. As a musical storyteller, Chapin has few peers; HarryChapin1976_1both the potent tale of a duplicitous potentate on “The Mayor of Candor Lied” and the heartwarming “Corey’s Coming” are masterfully conceived. Harry’s humorous side, which somehow got stifled in the studio, here comes out of the closet for the title track and “Laugh Man,” though both have their barbs. The album also included two of his prettiest songs, “Caroline” (co-written with wife Sandy Chapin) and “If My Mary Were Here.”

A track dedicated to the recently fallen Phil Ochs, “The Parade’s Still Passing By,” is also featured. Compared to some of his earlier work, which was often dry and dour, these songs are vigorous and saturated in sound.

Some might charge that the record’s resemblance to Elton John’s contemporary work renders it lightweight, but Chapin’s wit was sharpening with age and his romantic visions remained keen. For the faithful, getting On the Road to Kingdom Come is a good idea. (by Dave Connolly)


Harry Chapin (guitar, vocals)
Stephen Chapin (keyboards, vocals)
Ron Evanuik (cello)
Howie Fields (drums, percussion)
Doug Walker (guitar, vocals)
John Wallace (bass, vocals)
Buzz Brauner (recorder)
Bobbye Hall (percussion)
background vocals:
Carolyn Dennis – Donna Fein – Muffy Hendrix – Sharon Hendrix


01. On The Road To Kingdom Come 5.26
02. The Parade’s Still Passing By 3.26
03. The Mayor Of Candor Lied 8.27
04. Laugh Man (Chapin) 3.36
05. Corey’s Coming 5.41
06. If My Mary Were Here 3.32
07. Fall In Love With Him 3.54
08. Caroline 3.41
09. Roll Down The River 4.28

All songs was written by Hary Chapin, except “Caroline” wich was written by Harry Chapin + Sandra Chapin



More Harry Chapin:


Bruce Cockburn – Christmas (1993)

FrontCover1Christmas is the eighteenth full-length album by Canadian singer-songwriter Bruce Cockburn, released in 1993 by True North Records.

A generous 15 tracks breathing new life into well-worn standards like “O Little Town of Bethlehem” and “God Rest Ye Merry Gentlemen” by focusing on their potential as good songs rather than distancing them on some solemn pedestal. When Cockburn sandwiches these between such non-conventional contributions as the gospel-bluegrass of “Early On One Christmas Morn,” the Spanish “Riu Riu Riu,” the French/world beat of “Les anges dans nos campagnes,” the Huron Indian “Jesus Ahatonnia,” and the ancient, spooky “Down In Yon Forest,” the disc takes on a complex flavor that can be savored any time of the year. (by Roch Parisien)

Bruce Cockburn is a guitarist, singer/songwriter from Canada who has released twenty-nine albums in a career spanning forty years. In 1993, he recorded “Christmas,” his collection of carols and obscure songs. He arranged all the songs to fit into his acoustic range and the results are remarkable for what they are not: the usual sounding songs at least one radio station per city plays 24/7 for a month.

In interviews in 1993 and in the liner notes, Cockburn expressed the desire only to sing carols and not the secular material so often heard at this time of year. It hearkens back to his childhood (born in 1945) where there was still an element of the spiritual associated with December 25. In some of the more obscure carols he selected and arranged, there’s also an element of mystery present. Not a bad thing, really, considering the event celebrated at Christmas was full of supernatural power.


All throughout this disc, Cockburn and his fellow musicians rarely plays any electrical instruments. He allows the acoustic qualities of his guitar, dulcimer, and the other instruments to lend their unique tonalities to the overall feel and spirit of these carols. Cockburn often uses different tunings on his guitar to bring about different base sounds.

In all, Bruce Cockburn’s “Christmas” proves a nice antithesis to the stuff you’ll be hearing all season. Don’t get me wrong: I love that stuff with a passion that my family constantly finds surprising. But in between, there is room for something different, something that will make you pause and think what the season is really all about. (by

One of the finest christmas album by an american singer/songwriter I have ever heard !


Richard Bell (keyboards, accordion, background vocals)
Bruce Cockburn – vocals, guitar, percussion, dulcimer, harmonica, wind chimes)
Gary Craig (drums (tracks, percussion, background vocals)
John Dymond (bass, background vocals)
Colin Linden (guitar, slide guitar, background vocals)
Hugh Marsh (violin)
Dick Smith (percussion, ackground vocals)
backgroud vocals:
Corlina Phillips – Sharon Lee Williams – Vivienne Williams – Alberto Mirabal – Candi Sosa – Eliseo Borrero – Sam Phillips – Jenny Cockburn
T-Bone Burnett (humming on 05.)


01. Adeste Fidelis (Wade) 0.52
02. Early On One Christmas Morn (Traditional) 3.02
03. O Little Town Of Bethlehem (Brooks(Redner) 3.38
04. Riu Riu Chiu (Traditional) 6.26
05. I Saw Three Ships (Traditional) 4.19
06. Down In Yon Forest (Traditional) 4.09
07. Les Agnes Dans Nos Campagnes (Traditional) 3.09
08. Go Tell It On The Mountain (Traditional) 3.12
09. Shepherds (Cockburn) 2.52
10. Silent Night (Gruber/Mohr) 4.10
11- Jesus Ahatonnia (The Huron Carol) (Traditional) 6.33
12. God Rest Ye Merry, Gentlemen (Traditional) 2.53
13. It Came Upon The Midnight Clear (Sears/Willis) 6.41
14. Mary Had A Baby (Traditional) 4.42
15. Joy To The World (Lowell Mason) 0.44




Billie Joe Becoat – Reflections From A Cracked Mirror (1969)

FrontCover1Becoat made a little-known 1969 folk-rock album for Fantasy that leaned closer to folk than rock, although it did use a light rhythm section. Reflections From a Cracked Mirror was an apt title considering the rather scrambled, earnest reflections of the singer/songwriter. His vocal delivery is like a cross between Van Morrison and Dino Valenti, as odd as that combination might sound. Although there are full-band arrangements, the impression is that of a folky troubadour being dragged into the modern era, with bluesy and reasonably tuneful, well-sung compositions whose lyrics are considerably more downcast than the relatively upbeat music. The songs are those of a man approaching the edge, hounded by some internal demons and an external society with which he’s finding hard to cope. It wouldn’t have been at all surprising to come across him a few years later, scraping a living on the street as a busker, unable to adjust to any other job, after his album sold virtually nothing.

“I’ve got everything I need to drive me on out of my feeble mind,” sings Becoat in “I’ve Got Everything I Need,” and that’s a fair signal that we’re dealing with a fellow whose worldview is both self-aware and skewed. Becoat sings — without undue self-pity, it should be noted — about crumbling relationships, the failure of anyone to take responsibility for inner city rioting (“Who Struck the Match?”), chaotic domestic situations, and the inability of educational and social institutions to meet his needs and expectations.


It’s the sound of a man who could be just a few months away from becoming a junkie or dropout, fleeing his wife and children, or suffering a nervous breakdown, but managing to keep a fairly level if anguished head for the moment. It’s a peculiar and somewhat interesting recording, but not so musically excellent as to merit a belated cult following, on the order of other cracked late-1960s acid folkies like Skip Spence or Dino Valenti. It’s also not as fully served by the production as it could be, the skeletal arrangements favoring acoustic guitar, the accompanying bass and drums tentatively running through and adjusting to the offbeat tunes, rather than confidently complementing them. (by Richie Unterberger)

What a great album from one of these loosers of music history … lisen to “Caledonia, The Second” and you´ll know what I mean … a singer/songwriter with such a strong blues and soul power in his voice …


Billie Joe Becoat (guitar, vocals, harmonica)
unknown bassplayer and drummer

01. And I Was Gone 2.43
02.  Caledonia, The Second 4.09
03. Hi Fiddle Dee Fee 2.11
04. Hold On, Boy 4.14
05. I Guess I’ll Have To Learn To Fly 2.55
06. I’m A Good Man, A Sweet Man 2.58
07. I’ve Got Everything I Need 3.32
08. Now I Lay Me Down To Sleep 2.46
09. Sheepskin Blues 2.59
10. Who Struck The Match? 2.09

All songs written by Billie Joe Becoat

LabelB1* (coming soon)

Roy Harper – Stormcock (1971)

FrontCover1Stormcock is the fifth album by English folk / rock singer-songwriter and guitarist Roy Harper. It was first released in 1971 by Harvest Records and is widely considered his best record.

Harper was inspired by a trip to, and time spent in, Big Sur, California. “Me And My Woman” is a love song backed by David Bedford’s orchestral arrangements (Bedford would also collaborate on some of Harper’s later releases). “Hors D’Oeuvres” was inspired by the fate of Caryl Chessman who spent nearly 12 years on death row – at the time the longest ever in the United States – before being executed in a gas chamber in May 1960. “One Man Rock’n’Roll Band” is a critique on the pointlessness of violence.

“Same Old Rock” is an attack on government, the history of war, and organized religion featuring both guitar work and a final intense solo by Jimmy Page.

The album’s four extended songs showcase Harper’s talents, both as a songwriter and guitarist. But, significantly, Stormcock “…epitomized a hybrid genre that had no exclusive purveyors save Harper — epic progressive acoustic.”.

At the time, the album was not particularly well promoted by Harper’s record label. Harper later stated:

RoyHarper01They hated Stormcock. No singles. No way of promoting it on the radio. They said there wasn’t any money to market it. Stormcock dribbled out.

Nonetheless, Stormcock would remain a favourite album of Harper’s fans. In October 2013 NME placed Stormcock at 377 in their list of “The 500 Greatest Albums Of All Time”

Although the album features Jimmy Page on guitar, upon its release, Page was credited as “S. Flavius Mercurius” for contractual reasons.

In 2006, 35 years after its initial release, fellow Mancunian Johnny Marr of English alternative rock band The Smiths said:

If ever there was a secret weapon of a record it would be Stormcock. I don’t know why it’s such a secret. If anyone thinks it might be a collection of lovely songs by some twee old folkie then they’d be mistaken. It’s intense and beautiful and clever: [Bowie’s] Hunky Dory’s big, badder brother.

The album’s title, Stormcock, is an old English name for the Mistle thrush (Turdus viscivorus). The male of this species “is most vocal in the early morning” and has a “tendency to sing after, and sometimes during, wet and windy weather” which “led to the name “Stormcock””. It is also, perhaps, a metaphor for Harper himself. Harper has an appreciation of birdlife and has made reference to many birds within songs on his albums. (by wikipedia)


Roy Harper achieved some acclaim with releases like his debut, Sophisticated Beggar, and Flat Baroque and Berserk, but 1971’s Stormcock was his first effort that was a fully realized success. Even though all four long songs on the record were arguably superior in subsequent live versions, this is one of only a handful of Harper’s albums that has no weak cuts. “Hors d’Oeuvres” had been previewed two years earlier in a faster incarnation, but this version is pleasingly lethargic in a way much like Pink Floyd’s “Fearless.” “The Same Old Rock” is an extended musical poem about the narrow-mindedness of organized religion and features several movements, including one of Jimmy Page’s best solos, even though the notes list Page as S. Flavius Mercurius. After the strangely melodic “One Man Rock and Roll Band,” the album ends with the grand “Me and My Woman.” This version, while slower than the definitive live take from Flashes From the Archives of Oblivion, features lush orchestration by David Bedford. All four lyrics could stand on their own, showing Harper’s vision to be much more profound than the typical stoned poet.

Huty22175 038

His musicianship on acoustic guitar is revelatory, at once thoughtful and hard-edged. Stormcock, in fact, epitomized a hybrid genre that had no exclusive purveyors save Harper — epic progressive acoustic. In this style, Harper amalgamated the best elements of associates Pink Floyd, Led Zeppelin, and folk artists like Bert Jansch into a winning stew of thought-provoking acoustic music. Harper dabbled in this style with mostly good results for the rest of his career, but never again would one of his albums exclusively have these type of songs on it. Stormcock represents a truly original vision comprised of oft-heard parts rarely assembled and therefore is on par with other heavyweights from the class of 1971 such as Led Zeppelin IV or Meddle. (by Brian Downing)


Roy Harper (guitar, vocals, piano)
David Bedford (organ)
S. Flavius Mercurius (Jimmy Page) (guitar on 02.)


01. Hors d’œuvres 8.37
02. The Same Old Rock 12.24
03. One Man Rock And Roll Band 7.23
04. Me And My Woman 13.01

All somgs  written by Roy Harper.



Bob Dylan – Another Side Of Bob Dylan (1964)

FrontCover1Another Side of Bob Dylan is the fourth studio album by American singer and songwriter Bob Dylan, released on August 8, 1964 by Columbia Records.

The album deviates from the more socially conscious style which Dylan had developed with his previous LP, The Times They Are A-Changin’. The change prompted criticism from some influential figures in the folk community – Sing Out! editor Irwin Silber complained that Dylan had “somehow lost touch with people” and was caught up in “the paraphernalia of fame”.

Despite the album’s thematic shift, Dylan performed the entirety of Another Side of Bob Dylan as he had previous records – solo. In addition to his usual acoustic guitar and harmonica, Dylan provides piano on one selection, “Black Crow Blues”. Another Side of Bob Dylan reached No. 43 in the US (although it eventually went gold), and peaked at No. 8 on the UK charts in 1965.

With Dylan’s commercial profile on the rise, Columbia was now urging Dylan to release a steady stream of recordings. Upon Dylan’s return to New York, studio time was quickly scheduled, with Tom Wilson back as producer.

Dylan01The first (and only) session was held on June 9 at Columbia’s Studio A in New York. According to Heylin, “while polishing off a couple of bottles of Beaujolais”, Dylan recorded fourteen original compositions that night, eleven of which were chosen for the final album. The three that were ultimately rejected were “Denise Denise”, “Mr. Tambourine Man”, and “Mama, You Been on My Mind”.

Nat Hentoff’s The New Yorker article in late October 1964 on Dylan includes remarkable descriptions of the June 1964 recording session. Hentoff describes in considerable detail the atmosphere in the CBS recording studio and Dylan’s own asides and banter with his friends in the studio, with the session’s producers, and Hentoff himself.

Ramblin’ Jack Elliott was present during part of this session, and Dylan asked him to perform on “Mr. Tambourine Man”. “He invited me to sing on it with him,” recalls Elliott, “but I didn’t know the words ‘cept for the chorus, so I just harmonized with him on the chorus.” Only one complete take was recorded, with Dylan stumbling on some of the lyrics. Though the recording was ultimately rejected, Dylan would return to the song for his next album.

By the time Dylan recorded what was ultimately the master take of “My Back Pages”, it was 1:30 in the morning. Master takes were selected, and after some minor editing, a final album was soon sequenced. (by wikipedia)


The other side of Bob Dylan referred to in the title is presumably his romantic, absurdist, and whimsical one — anything that wasn’t featured on the staunchly folky, protest-heavy Times They Are a-Changin’, really. Because of this, Another Side of Bob Dylan is a more varied record and it’s more successful, too, since it captures Dylan expanding his music, turning in imaginative, poetic performances on love songs and protest tunes alike. This has an equal number of classics to its predecessor, actually, with “All I Really Want to Do,” “Chimes of Freedom,” “My Back Pages,” “I Don’t’ Believe You,” and “It Ain’t Me Babe” standing among his standards, but the key to the record’s success is the album tracks, which are graceful, poetic, and layered. Both the lyrics and music have gotten deeper and Dylan’s trying more things — this, in its construction and attitude, is hardly strictly folk, as it encompasses far more than that. The result is one of his very best records, a lovely intimate affair. (by Stephen Thomas Erlewine)


Bob Dylan (vocals, guitar, piano, harmonica)


01. All I Really Want To Do 4.02
02. Black Crow Blues 3.12
03. Spanish Harlem Incident 2.22
04. Chimes Of Freedom 7.09
05. I Shall Be Free No. 10 4.45
06. To Ramona 3.50
07. Motorpsycho Nitemare 4.31
08. My Back Pages 4.20
09. I Don’t Believe You 4.20
10. Ballad In Plain D 8.15
11. It Ain’t Me Babe 3.30

All songs written by Bob Dylan