Barry McGuire – This Precious Time (1966)

FrontCover1.jpgFollowing the success of the “Eve Of Destruction” single, Barry McGuire began working on another album for Dunhill Records with producer Lou Adler. Whilst he was recording he was reunited with some old friends from his folk days, as the newly-formed The Mamas & The Papas came to California. He invited them to sing backing vocals for him. The result of these sessions was This Precious Time, which took his music forward with a more sophisticated folk-rock-pop sound. It included one song written by John and Michelle Phillips of The Mamas & The Papas – “California Dreamin'” was first recorded here with the four of them singing backing vocals for McGuire’s lead. Other songs on the album included more P.F. Sloan compositions, The Lovin’ Spoonful’s “Do You Believe In Magic”, Bob Dylan’s “Just Like Tom Thumb’s Blues”, The McCoy’s “Hang On Sloopy” and two Beatles songs (“Yesterday” and “You’ve Got To Hide Your Love Away”).
The album, though a strong one, was not a chart success – perhaps the media backlash “Eve Of Destruction” caused had permanently tarrred McGuire’s name. “California Dreamin'” had all the makings of another obvious hit single, and he was going to release it, until John Phillips asked if maybe The Mamas & The Papas could release it instead. Impressed by what he saw, Lou Adler had signed them to Dunhill. They replaced McGuire’s vocal track and added a flute solo, but otherwise used the same recording. Released as a single, this version gave them a massive hit and launched their careers. (by


A real lost artifact, Barry McGuire’s second album actually has quite a bit of historical significance. After his mega-hit, “Eve of Destruction,” McGuire was set to do a follow-up album, complete with some excellent P.F. Sloan songs. During the early sessions, the Mamas & the Papas had just come into town. Being old friends of McGuire’s from the folkie days (Barry was the lead voice on “Green, Green,” by the New Christy Minstrels), he invited the group to audition for producer Lou Adler. The rest is history, and this record is essentially the Mamas audition, as they sing backgrounds on virtually all of the record. It’s magnificent, too. Hits such as “Do You Believe in Magic,” “Yesterday,” and others work perfectly with McGuire’s gravely lead voice and the Mamas & Papas sweet harmonies. McGuire even cut “California Dreamin’,” and it’s the exact same track as the famous Mamas version, sans Denny Doherty’s lead vocal and Bud Shank’s flute solo. If you’re looking to find the real roots of the Mamas & the Papas, here it is. Unfortunately, Dunhill apparently wanted little to do with Barry McGuire after the backlash of “Eve of Destruction,” and his career and this record presided in ignominy. Too bad, because there is a lot of excellent music here. (by Matthew Greenwald)

A real great albumm including an exciting version of the McCoys Hit “Hang On Sloopy” !

In the studio1.jpg

Steve Barri (percussion)
Hal Blaine (drums)
Barry McGuire (vocals)
Joe Osborn (bass)
John Phillips (guitar)
P.F. Sloan (leadguitar)
background vocals:
The Mamas & The Papas


01. This Precious Time (Sloan/Barri) 2.51
02. California Dreamin’ (Phillips) 2.42
03. Let Me Be (Sloan) 2.38
04. Do You Believe In Magic (Sebastian) 2.16
05. Yesterday (Lennon/McCartney) 2.52
06. Hang On Sloopy (Russell/Farrell) 4.06
07. Just Like Tom Thumb’s Blues (Dylan) 4.03
08. Upon A Painted Ocean (Sloan) 3.00
09. Hide Your Love Away (Lennon/McCartney) 2.51
10. I’d Have To Be Outa My Mind (Sloan/Barri) 3.46
11. Child Of Our Times (Sloan) 3.27
12. Don’t You Wonder Where It’s At (McGuire/Sloan) 2.57




Still alive and well: Barry McGuire

Harry Belafonte – An Evening With Belafonte And Mouskouri (1965)

FrontCover1.JPGAn Evening With Belafonte/Mouskouri is an album by Harry Belafonte and Nana Mouskouri, released by RCA Victor (LPM/LSP-3415) in 1966.

Following the pattern of his album duet with Lena Horne on songs from Porgy and Bess, Harry Belafonte teamed up this time with Greek chanteuse Nana Mouskouri. Belafonte first performed with Mouskouri in Burlington, VT in 1964 during his first college tour. As with Lena Horne, Belafonte sings only two duets with Mouskouri; the remaining tunes may as well have been featured on solo albums, because the two singers didn’t even share instrumentalists — Belafonte used his usual stable of musicians, including guitarist Ernie Calabria, bassist John Cartwright, and percussionist Ralph MacDonald, while Mouskouri was accompanied by bouzouki player George Petsilas. The songs are sung in Greek with Mouskouri’s naturally coming off as more authentic. Most of the tunes were written by the prolific Greek songwriter Manos Hadjidakis, writer of “Never on Sunday.” (by Cary Ginell)


This record was one I see a lot of when I go looking for records. That usually means in must have been a popular record when it came out . So when I finally found it for a dollar, I knew it would not go any lower so I jumped on it.

I knew a lot about Harry Belafonte but virtually nothing about the other singer, Nana Mouskouri. Well, Mouskouri, whose name I am know hating to type out, is one of the most famous international singers of all time.

Born in Chania on the Greek isle of Crete in 1934, Mouskouri has released over 200 albums as well as singles in multiple languages. She has also been parodied by such luminaries as Benny Hill, Ronnie Barker, and SCTV’s Andrea Martin. She retired to Switzerland in 2008. She also gave up her pension after the Greek financial crisis of 2010. Perhaps this led her to return to show business the following year. I believe she is sporadically active here and there.


According to the liner notes, Belafonte saw Mouskouri while working in Athens in 1960 and helped her gain fame across the ocean in the US of A. Mouskouri’s career at the time was taking off in Europe ( Wikipedia credits Quincy Jones in 1962) Anyway, their first performance together was in 1964. The two would tour together thru 1965 and 1966. Wikipedia also states that Belafonte convinced Mouskouri to remove her trademark black rimmed glasses during her performance. When she tried it, she hated it so much that she nearly quit the tour. As a result, Belafonte relented.

This record, released by RCA Victor in 1966, features the pair of singers, singing songs in Mouskouri’s native tongue, Greek. Ten songs, four solos by each singer and two duets. All the songs have song writing credits so I do not know if these were just songs that were popular in Greece at the time. Despite Belafonte being the bigger star at the time, this album is all Mouskouri. Belafonte’s singing is slightly subdued on this effort. This is a little less fair to Belafonte as he is singing in a foreign tongue. I also believe Belafonte was being respectful, allowing Mouskouri more of the spotlight. (by

My edition was published for the German record market with a different frontcover.


Original front + back cover from 1965 (Nana Mouskouri without glasses)

Harry Belafonte (vocals on 01., 03., 05., 07., 09. + 10.)
Jay Berliner (guitar)
Percy Brice (percussion)
Ernie Calabria (guitar)
John Cartwright (bass)Ralph MacDonald (percussion)
Nana Mouskouri (vocals on 02., 03., 04., 06., 08. + 10.)
George Petsilas – guitar, bouzouki

01. My Moon (Fengari Moo) (Petsilas) 3.01
02. Dream (Oneero) (Hadjidakis) 2.37
03. If You Are Thirsty (Kean Tha Depsasees) (Hadjidakis/Gatsos) 3.12
04. The Train (To Traino) (Hadjidakis) 3.17
05. In The Small Boat (Mes Tin Varka) (Hadjidakis) 3.20
06. The Town Crier (Telalees) (Hadjidakis) 2.11
07. Walking On The Moon (Pame Mia Volta) (Hadjidakis) 3.36
08. The Baby Snake (Feedakee) (Hadjidakis) 3.16
09. The Wide Sea (Thalassa Platia) (Hadjidakis) 2.30
10. Irene (Erene) (Petsilas) 2.35




Alternate frontcovers

John Williams – Spanish Guitar Music (1990)

FrontCover1.jpgAll of the music on this disc was recorded for Columbia Records between 1964 and 1970 for release on four different LP albums. These are those albums:


This compilation is something of a classic of acoustic guitar playing. John Williams’ virtuoso technique and talent for bringing forth a wide swathe of sounds from the guitar make it immediately obvious why it has this reputation.

Certain moments astound. For example, a passage at the end of Manuel De Falla’s “The Miller’s Dance” (track10) left me agog. Williams is able to delineate and fully play both melody and accompaniment using different timbres for each. My guess is that he was using his left hand to play the arpeggio accompaniment on the fretboard while with the same hand dampening the strings for the melody in the treble. Very impressive.

Williams is a cerebral player; he doesn’t bring passion and drama to the music. His style is about different timbres and precision. The disc opens with what is probably the single most famous piece for classical guitar, “Asturias” by Isaac Albeniz. Williams presents a fine performance, but it doesn’t have the wild Flamenco passion others bring to the music. Instead it is precise and planned and impeccably articulated. The sole item by a non-Spanish author, the Brazilian Hector Villa-Lobos’ 4th Prelude (track 19), also deserves mention as one of the strongest parts of the disc. The Prelude calls for a variety of different touches, including some high “martellato” touches brilliantly done by Williams.


The collection includes everything from Renaissance and Baroque to postwar compositions. The content is uneven. I found tracks such as “El Colilbri” and those by Manual De Falla not all that interesting musically. Another drawback this release has is insufficient documentation about the sessions themselves. It’s clear from how it sounds that Albeniz’s “Cordoba” (track 15) was recorded at a different time than some of the others. Whatever its provenance, I found “Cordoba” to be one of the disc’s highlights, amply displaying Williams’ tremendous gifts. The music is presented with a wide range of timbres and articulations, reaching from the bottom to the top of the instrument’s range, all done with exacting precision.


The sound engineering is generally very good, important for a performer like Williams. Williams’ art isn’t for those who insist on passion and emotion in their playing, but he is justly renowned for his technique and the different sounds he elicits from the guitar. A memorable recording. Highly recommended. (by jt52)


John Williams (guitar)
English Chamber Orchestra conducted by Sir Charles Groves (on 06. + 18.)


01. Asturias (Albéniz) .20
02. Tango (Albéniz) 2.49
03. Canarios (Sanz) 1.23
04. Fandango (Rodrigo) 3.45
05. Nocturno (Torróba) 3.32
06. El Colibri (Sagreras) 1.14
07. Sonata In D (Albéniz) 3.13
08. The Corregidor’s Dance (de Falla) 1.49
09. Fisherman’s Song (de Falla) 2.29
10. The Miller’s Dance (de Falla) 2.21
11. Madroños (Torróba) 2.47
12. La Nit De Nadal (Traditional) 1.11
13. El Noy De La Mare (Traditional) 2.27
14. La Maya De Goya (Granados) 3.43
15. Cordoba (Albéniz) 6.43
16. Recuerdos de la Alhambra (Tárrega) 3.33
17. Spanish Dance No. 5 (Granados) 4.21
18. El Testamen de Amelia (Traditiional) 2.13
19. Prelude No. 4 In E Minor (Villa-Lobos) 3.26
20. Sevilla (Albéniz) 4.32
21. Homanaje (de Falla) 3.32
22. Fantasía (Mudarra) 1.43
23. Fandanguillo, Op. 36 (Turina) 4.40




John Christopher Williams, OBE (born 24 April 1941) is an Australian virtuosic classical guitarist renowned for his ensemble playing as well as his interpretation and promotion of the modern classical guitar repertoire. In 1973, he shared a Grammy Award in the Best Chamber Music Performance category with fellow guitarist Julian Bream for Julian and John (Works by Lawes, Carulli, Albéniz, Granados). Guitar historian Graham Wade has said: “John is perhaps the most technically accomplished guitarist the world has seen.” (by wikipedia)

Trini Lopez – The Folk Album (1965)

FrontCover1.jpgTrini Lopez (born Trinidad López III, 15 May 1937) is an American singer, guitarist and actor. He was born in Dallas, Texas, on Ashland Street in the Little Mexico neighborhood….Lopez formed his first band in Wichita Falls, Texas, at the age of 15. In 1958, at the recommendation of Buddy Holly, Trini and his group “The Big Beats” went to producer Norman Petty in Clovis, New Mexico. Petty secured them to a contract with Columbia Records, which released the single “Clark’s Expedition”/”Big Boy”, both instrumental. Lopez left the group and made his first solo recording, his own composition “The Right To Rock”, for the Dallas-based Volk Records, and then signed with King Records in 1959, recording more than a dozen singles for that label, none of which charted. In late 1962, after the King contract expired, Lopez followed up on an offer by producer Snuff Garrett to join the post-Holly Crickets as vocalist. After a couple of weeks of auditions in Los Angeles that idea did not go through. He landed a steady engagement at the nightclub PJ’s, where his audience grew quickly. He was heard there by Frank Sinatra, who had started his own label, Reprise Records, and who subsequently signed Lopez”. (by wikipedia)

And, his success was trailblazing for Mexican Americans. His success carries a social significance that other pop stars don’t have.

And here´s his very special “Folk Album” … performed in the very special way of Trini Lopez (for exampled, he arranged Dylan´s “Blowing In The Wind” as a “La Bamba” type of song) … a unique album … with lot´s of these folk hits from this decade !


Don Costa (guitar)
Trini Lopez (guitar, vocals)
Gene Riggio (drums)
David Shriver (bass)
unknown background choir


01. Lemon Tree (Holt) 2.55
02. Pretty Eyes (Weinstein/Randazzo) 2.48
03. Greenback Dollar (Axton/Ramsey) 2.26
04. Puff (The Magic Dragon) (Lipton/Yarrow) 2.33
05. I Love Your Beautiful Brown Eyes (Zeller/Lopez) 2.54
06. Blowin’ In The Wind (Dylan) 3.13
07. We’ll Sing In The Sunshine (Garnett) 2.44
08. Scarlet Ribbons (For Her Hair) (Danzig/Segal) 3.33
09. Crooked Little Man (Bowers/Sennett/Madden) 2.30
10. Don’t Think Twice, It’s Alright (Dylan) 3.36
11. Michael (Rowed The Boat Ashore) (Fisher) 2.56
12. This Train (Stookey/Yarrow) 2.34



‘Spider’ John Koerner – Spider Blues (1965)


“Spider” John Koerner (born August 31, 1938, in Rochester, New York, United States) is an American guitarist, singer, and songwriter. He is best known as a guitarist and vocalist in the blues trio Koerner, Ray & Glover, with Dave Ray and Tony Glover. He has also made albums as a solo performer and with Willie Murphy.

Koerner grew up in Rochester, New York, and after a brief military service attended the University of Minnesota. He intended to major in engineering but soon became involved in the Minneapolis music scene, where he met Dave Ray and Tony Glover. They formed a loose-knit trio, releasing albums under the name Koerner, Ray & Glover. The group gained notice with their first album, Blues, Rags and Hollers, originally released by Audiophile in 1963 and re-released by Elektra Records later that year.

Koerner was an early influence on Bob Dylan, who mentioned Koerner in his autobiography, Chronicles. Speaking of the early 1960s, Koerner later said, “We were all goofy, you know. We were thinkers and drinkers and artists and players, and Dylan was one of us. He was another guy.”


In 1965, Koerner recorded his first solo album, Spider Blues, for Elektra and appeared at the Newport Folk Festival accompanied by Glover. He continued playing on the folk circuit and joined with Willie Murphy to record Running, Jumping, Standing Still in 1969.[4] The duo eventually split up, and Koerner pursued an unsuccessful career in filmmaking, retiring from music and moving to Copenhagen, Denmark.[5] He later returned to music in the traditional folk genre and continued to perform and release new albums from time to time. He now lives in Minneapolis and has two sons and a daughter.


Spider Blues is the debut solo album by blues artist “Spider” John Koerner, released in 1965. He was member of the loose-knit blues trio Koerner, Ray & Glover at the time of its release.

As a member of the blues trio Koerner, Ray & Glover, Koerner was recording on the Elektra label. While recording the trio’s albums Lots More Blues, Rags and Hollers and The Return of Koerner, Ray & Glover, he recorded a number of solo tracks. These tracks were assembled into Koerner’s debut solo album. He also appeared at the Newport Folk Festival that same year, accompanied by trio member Tony Glover.

In his subsequent releases, his style changed as he turned from the blues to traditional folk music. In a 2000 interview, Koerner said, “I finally decided I was not a blues guy. How could I be? I was too young and too white, all that shit. So I took a year off and when I started playing again, I treated the subject in general as folk music. It’s a new culture; it’s not music being made on a back porch anymore.”


In his 1965 Jazz Monthly review, music critic Albert McCarthy excoriated the album and wrote, “This is, without any doubt, one of the worst records I have had to review for many a long day. In a sleeve note notable for the inane quotes from Koerner himself, Paul Nelson of The Little Sandy Review, which I understand is one of the better folk publications, makes the remarkable claim that ‘Koerner’s art is like Chaplin’s, as great and lasting as it is entertaining’. I nominate this as the most absurd remark of the year in the sleeve note field. In fact, Koerner is a passably competent guitarist, a poor harmonica player and a quite dreadful singer. ”

On the other hand, in the mid-late 1960s radio station WBCN in Boston used to regularly play “Rent Party Rag” on the first of every month. (by wikipedia)


“Spider” John Koerner (guitar, harmonica, kazoo, vocals)
Tony “Little Sun” Glover – harmonica on 01.,  04.,  + 13.)

01. Good Luck Child 2.07
02. I Want To Be Your Partner 3.07
03. Nice Legs 2.27
04. Spider Blues 2.17
05. Corrina 3.15
06. Shortnin’ Bread 2.08
07. Ramblin’ and Tumblin’ 3.12
08. Delia Holmes 2.54
09. Need A Woman 2.05
10. I Want to Do Something 3.35
11. Baby, Don’t Come Back 2.39
12. Hal C. Blake 1.42
13. Things Ain’t Right 3.30
14. Rent Party Rag 9.29

All songs written by “Spider” John Koerner



Brian Auger and The Trinity and Julie Driscoll – Streetnoise (1969)

FrontCover1Streetnoise is a 1969 album by Julie Driscoll, Brian Auger and the Trinity, originally released as a double LP.

It includes cover versions of The Doors’ “Light My Fire”, Nina Simone’s “Take Me To The Water”, Laura Nyro’s “Save the Country”, Miles Davis’ “All Blues”, Richie Havens’ “Indian Rope Man”, and “Let The Sunshine In” and “I Got Life” from the musical Hair. Driscoll covers this wide range of musical influences easily and with her highly emotive and distinctive vocals, and with Auger’s intense Hammond organ, the album is instrumentally interesting, too. (by wikipedia)

The final collaboration between singer Julie Driscoll (by that time dubbed as “The Face” by the British music weeklies) and Brian Auger’s Trinity was 1969’s Streetnoise — it was an association that had begun in 1966 with Steampacket, a band that also featured Rod Stewart and Long John Baldry. As a parting of the ways, however, it was Trinity’s finest moment. A double album featuring 16 tracks, more than half with vocals by Driscoll, the rest absolutely burning instrumentals by Trinity. (Auger on keyboards and vocals, Driscoll on acoustic guitar, Clive Thacker on drums, and Dave Ambrose on bass and guitars.) “Tropic of Capricorn,” an instrumental Auger original, kicks off in high gear.


It’s a knotty prog rock number that contains elements of Memphis R&B. it sounds better than it reads; it twists and turns around a minor key figure that explodes into solid, funky grit with Thacker double timing the band. Driscoll enters next with “Czechoslovakia,” a wide-open modal tune that hints at the kinds of music she would explore in the very near future on her debut 1969 and later, with future husband Keith Tippett. Broken melody lines and drones are the framework for Driscoll to climb over and soar above, and she does without faltering before she slides into the traditional gospel tune, “Take Me to the Water.” And this is how this record moves, from roiling progressive rock instrumentals and art songs, done rock style, to inspired readings of the hits of the day such as “Light My Fire,” “Flesh Failures (Let the Sunshine In)” from Hair, and one of most stirring readings ever of Laura Nyro’s “Save the Country” that closes the album. “Indian Rope Man,” is a burning, organ-driven churner that fuses Stax/Volt R&B funkiness with psychedelic rock and jazz syncopation.


Driscoll’s vocal is over the top; she’s deep into the body of the tune and wrings from it every ounce of emotion from it. Auger’s organ solo is a barnburner; reeling in the high register, he finds the turnarounds and offers his own counterpoint in the middle and lower one with fat chords. The rhythm section keeps the groove, funking it up one side and moving it out to the ledge until the coda. Another steaming rocker is “Ellis Island,” with it’s dueling Fender Rhodes and organ lines. it may be the finest instrumental on the album. “Looking in the Eye of the World” features Driscoll in rare form, singing in her voice’s lower register accompanied only by Auger’s piano on a blues moan worthy of Nina Simone. Streetnoise was a record that may have been informed by its era, but it certainly isn’t stuck there, especially in the 21st century. The music sounds as fresh and exciting as the day it was recorded. This is a must-have package for anyone interested in the development of Auger’s music that was to change immediately with the invention of the Oblivion Express, and also for those interested in Driscoll’s brave, innovative, and fascinating career as an improviser, who discovered entirely new ways of using the human voice. Streetnoise is brilliant. (by by Thom Jurek)

In other words: One of most important albums from the Sixties !


David “Lobs” Ambrose (bass, guitar, vocals)
Brian “Auge” Auger (keyboards, vocals)
Julie “Jools” Driscoll (vocals, guitar)
Clive “Toli” Thacker (drums, percussion)



01. Tropic Of Capricorn (Auger) 5.30
02. Czechoslovakia (Driscoll) 6.45
03. Take Me To The Water (Simone) 4.00
04. A Word About Colour (Driscoll) 1.35

05. Light My Fire (Densmore/Krieger/Manzarek/Morrison) 4.30
06. Indian Rope Man (Havens/Price/Roth) 3.00
07. When I Was Young (Traditional/Driscoll) 7.00
08. The Flesh Failures (Let the Sunshine In) (Rado/Ragni/MacDermot) 3.05

09. Ellis Island (Auger) 4.10
10. In Search Of The Sun (Ambrose) 4.25
11. Finally Found You Out (Auger) 4.15
12. Looking In The Eye Of The World (Auger) 5.05

13. Vauxhall To Lambeth Bridge (Driscoll) 6.30
14. All Blues (Davis/Brown) 5.40
15. I’ve Got Life (Rado/Ragni/MacDermot) 4.30
16. Save The Country (Nyro) 3,56




The Byrds – Turn! Turn! Turn! (1965)

LPFrontCover1Turn! Turn! Turn! is the second album by the folk rock band The Byrds and was released in December 1965 on Columbia Records. Like its predecessor, Mr. Tambourine Man, the album epitomized the folk rock genre and continued the band’s successful mix of vocal harmony and jangly twelve-string Rickenbacker guitar. The album’s lead single and title track, “Turn! Turn! Turn!”, was a Pete Seeger adaptation of text from the Book of Ecclesiastes that had previously been arranged in a chamber-folk style by the band’s lead guitarist Jim McGuinn, while working with folksinger Judy Collins. The arrangement that McGuinn used for The Byrds’ version utilized the same folk rock style as the band’s previous hit singles.

The album peaked at #17 on the Billboard Top LPs chart and went to #11 in the United Kingdom. The “Turn! Turn! Turn!” single preceded the album by two months and topped the chart in the United States. Another single taken from the album, “Set You Free This Time”, was less successful and failed to break into the U.S. Top 50. The album marked an increase in McGuinn’s songwriting output and rhythm guitarist David Crosby received his first writing credit on a Byrds’ album. However, the band’s prolific songwriter Gene Clark still contributed most of the original material. The album also included two Bob Dylan covers: “The Times They Are a-Changin'” and the then unreleased song, “Lay Down Your Weary Tune”. Turn! Turn! Turn! would be the last Byrds’ album to feature the full participation of Gene Clark until the release of the original quintet’s 1973 reunion album, Byrds. (by wikipedia)


The Byrds’ second album, Turn! Turn! Turn!, was only a disappointment in comparison with Mr. Tambourine Man. They couldn’t maintain such a level of consistent magnificence, and the follow-up was not quite as powerful or impressive. It was still quite good, however, particularly the ringing number one title cut, a classic on par with the “Mr. Tambourine Man” single. Elsewhere, they concentrated more on original material, Gene Clark in particular offering some strong compositions with “Set You Free This Time,” “The World Turns All Around Her,” and “If You’re Gone.” A couple more Bob Dylan covers were included, as well, and “Satisfied Mind” was their first foray into country-rock, a direction they would explore in much greater depth throughout the rest of the ’60s. (by Richie Unterberger)


Gene Clark (guitar, harmonica, vocals)
Mike Clark (drums)
David Crosby (guitar, vovals)
Chris Hillman (bass, vocals)
Jim McGuinn (guitar, vocals)


01. Turn ! Turn! Turn! (To Everything There Is A Season) (*) 3.54
02. It Won’t Be Wrong (McGuinn) 2.02
03. Set You Free This Time (Clark) 2.53
04. Lay Down Your Weary Tune (Dylan) 3.34
05. He Was A Friend Of Mine (Traditional) 2.34
06. The World Turns All Around Her (Clark) 2.17
07. Satisfied Mind (Hayes/Rhodes) 2.30
08. If You’re Gone (Clark) 2.49
09. The Times They Are A-Changin’ (Dylan) 2.22
10. Wait And See (McGuinn/Crosby) 2.23
11. Oh! Susannah (Traditional) 3.13
12. The Day Walk (Never Before) (Clark) 3.00
13. She Don’t Care About Time (Single Version) (Clark) 2.29
14. The Times They Are A-Changin’ (First Version) (Dylan) 1.54
15. It’s All Over Now, Baby Blue (Version 1) (Dylan) 3.03
16. She Don’t Care About Time (Version 1) (Clark) 2.35
17. The World Turns All Around Her (Alternate Mix) (Clark) 2.12
18. Stranger In A Strange Land (Instrumental) (Crosby) 3.04

(*) Words From The Book Of Ecciesiastes, Adaptation and music by Pete Seeger




To everything – turn, turn, turn
There is a season – turn, turn, turn
And a time to every purpose under heaven

A time to be born, a time to die
A time to plant, a time to reap
A time to kill, a time to heal
A time to laugh, a time to weep

A time to build up, a time to break down
A time to dance, a time to mourn
A time to cast away stones
A time to gather stones together
A time of love, a time of hate
A time of war, a time of peace
A time you may embrace
A time to refrain from embracing

A time to gain, a time to lose
A time to rend, a time to sew
A time to love, a time to hate
A time of peace, I swear it’s not too late!