CD REVIEW
The Greatest Hits of Tom Paxton, Tom Paxton, 1991
If I were to ask someone, in the year 2008, to name a male folk singer from the 1960’s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Tom Paxton is one such singer/songwriter.
The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Tom Paxton as well. I do not know if Tom Paxton, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A decent acoustic guitar but a very interesting (and strong) voice to fit the lyrics of love, hope, longing and sometimes just sheer whimsy, as in the children’s songs, that he was singing about at the time. I would venture however, given what I know of his politics and the probably influence that his good friend the late folksinger and historian Dave Van Ronk had on him, that the answer above is probably no.
As for the songs themselves in this greatest hits compilation, a format that never really give an artist’s full range of hits and that is the case here, we get a fair range of what the good Mr. Paxton produced in the old days. Ramblin’ Boy and Bottle of Wine are evocative of hobo days here. Some peace songs (Peace Will Come, Jimmy with an extremely powerful anti-war message), some songs of love (Katy) and the above-mentioned children’s songs (Going to the Zoo). And, of course, his 'theme song' and the one that he has stated that he never gets tired of playing, The Last Thing On My Mine. And I never get tired of listening to.
Showing posts with label folksinger. Show all posts
Showing posts with label folksinger. Show all posts
Saturday, July 12, 2008
Friday, July 11, 2008
***Have You Ever Seen A .. The Songs of Jesse Winchester
CD REVIEW
Live From Mountain Stage, Jesse Winchester, 2001
If I were to ask someone, in the year 2008, to name a male folk singer from the 1960’s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Jesse Winchester is one such singer/songwriter.
The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Jesse as well. I do not know if Jesse Winchester, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A decent acoustic guitar but a very interesting voice to fit the lyrics of love, hope and longing that he was singing about at the time. Of course, the need to go to Canada as a draft exile from the Vietnam War perhaps cut across cut across some of those youthful dreams.
As for the songs themselves, many that evokes the Southern roots from which Winchester came. Eualie is evocative of that. Other nice touches are That’s What Makes You Strong and his patented Brand New Tennessee Waltz. But the one I have always liked personally, and here my roots show, is Yankee Lady. Hell, I once had a relationship with a woman like the one he describes in that little song. Didn’t we all (male or female), back then.
Live From Mountain Stage, Jesse Winchester, 2001
If I were to ask someone, in the year 2008, to name a male folk singer from the 1960’s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Jesse Winchester is one such singer/songwriter.
The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Jesse as well. I do not know if Jesse Winchester, like his contemporary Bob Dylan, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A decent acoustic guitar but a very interesting voice to fit the lyrics of love, hope and longing that he was singing about at the time. Of course, the need to go to Canada as a draft exile from the Vietnam War perhaps cut across cut across some of those youthful dreams.
As for the songs themselves, many that evokes the Southern roots from which Winchester came. Eualie is evocative of that. Other nice touches are That’s What Makes You Strong and his patented Brand New Tennessee Waltz. But the one I have always liked personally, and here my roots show, is Yankee Lady. Hell, I once had a relationship with a woman like the one he describes in that little song. Didn’t we all (male or female), back then.
Wednesday, July 09, 2008
Soul of A City Boy- Jesse Colin Young
CD REVIEW
Soul of A City Boy, Jesse Colin Young, 1964
If I were to ask someone, in the year 2008, to name a male folk singer from the 1960’s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Jesse Colin Young is one such singer/songwriter.
The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Jesse as well. I do not know if Jesse Colin Young, like his contemporary Bob Dylan whom he followed in moving from acoustic folk to folk rock, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A fair to middling acoustic guitar but a very interesting and mournful voice in the early acoustic days.
Moreover, Jesse set himself, more than others of the time, to speak to urban concerns and longings. I can remember being mesmerized by the effect of Four In The Morning (usually listening to it at that time, as well). Or the longing behind Suzanne and Black Eyed Susan. Or the late night whiff of whiskey in the air (Yes, I know we were underage at the time but let us let that pass) with the forgetfulness of Rye Whiskey. Yes, there were some tools and talent there. People may be more familiar with the latter electric rock material of the Youngbloods days but give a listen to Jesse, back in the day.
The Greatest Hits of Jesse Colin Young, Jesse Colin Young, 1991
The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Jesse as well. I do not know if Jesse Colin Young, like his contemporary Bob Dylan whom he followed in moving from acoustic folk to electric folk rock, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A fair to middling acoustic guitar but a very interesting and mournful voice in the early acoustic days. Then the switch to electric folk rock and beyond, and the joining up with the Youngbloods that forms the core of this greatest hits compilations.
Jesse Colin Young and the Youngbloods were one of the signature groups of the 1960’s not so much for their sound which was pretty much a familiar one from the period but the lyrics and the politics. Songs like Get Together, Sunlight, Darkness, Song for Juli and some others created a mood of hope (sometimes with dope) that got a number of people through the hard times of growing up in that time. Personally, though as much as I liked some of what the Youngbloods did I still go back to that old Jesse classic from the acoustic days Four In The Morning- that’s the ticket. If you need to hear it all though, this is a good bet.
Soul of A City Boy, Jesse Colin Young, 1964
If I were to ask someone, in the year 2008, to name a male folk singer from the 1960’s I would assume that if I were to get an answer to that question that the name would be Bob Dylan. And that would be a good and appropriate choice. One can endlessly dispute whether or not Dylan was (or wanted to be) the voice of the Generation of ’68 but in terms of longevity and productivity he fits the bill as a known quality. However, there were a slew of other male folk singers who tried to find their niche in the folk milieu and who, like Dylan, today continue to produce work and to perform. The artist under review Jesse Colin Young is one such singer/songwriter.
The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Jesse as well. I do not know if Jesse Colin Young, like his contemporary Bob Dylan whom he followed in moving from acoustic folk to folk rock, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A fair to middling acoustic guitar but a very interesting and mournful voice in the early acoustic days.
Moreover, Jesse set himself, more than others of the time, to speak to urban concerns and longings. I can remember being mesmerized by the effect of Four In The Morning (usually listening to it at that time, as well). Or the longing behind Suzanne and Black Eyed Susan. Or the late night whiff of whiskey in the air (Yes, I know we were underage at the time but let us let that pass) with the forgetfulness of Rye Whiskey. Yes, there were some tools and talent there. People may be more familiar with the latter electric rock material of the Youngbloods days but give a listen to Jesse, back in the day.
The Greatest Hits of Jesse Colin Young, Jesse Colin Young, 1991
The following is a question that I have been posing in reviewing the work of a number of male folk singers from the 1960’s and it is certainly an appropriate question to ask of Jesse as well. I do not know if Jesse Colin Young, like his contemporary Bob Dylan whom he followed in moving from acoustic folk to electric folk rock, started out wanting to be the king of the hill among male folk singers but he certainly had some things going for him. A fair to middling acoustic guitar but a very interesting and mournful voice in the early acoustic days. Then the switch to electric folk rock and beyond, and the joining up with the Youngbloods that forms the core of this greatest hits compilations.
Jesse Colin Young and the Youngbloods were one of the signature groups of the 1960’s not so much for their sound which was pretty much a familiar one from the period but the lyrics and the politics. Songs like Get Together, Sunlight, Darkness, Song for Juli and some others created a mood of hope (sometimes with dope) that got a number of people through the hard times of growing up in that time. Personally, though as much as I liked some of what the Youngbloods did I still go back to that old Jesse classic from the acoustic days Four In The Morning- that’s the ticket. If you need to hear it all though, this is a good bet.
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