The folk scene of the sixties developed into the singer-songwriter movement of the seventies, but never disappeared. Between 1970 and 1979 Rolling Stone reviewed numerous folk albums: music, rooted in old, acoustic traditions, often from artists from Greenwich Village with personal connections to Bob Dylan, but also from local scenes from Kentucky to Maine. At that time, these ten albums ran up and down on our record players – even if they are largely forgotten today. [Diese Liste erschien ursprünglich im Juli 2015].
Judee Sill – Heart Food
This mystical Christian folk singer and pianist was the first artist to sign David Geffen for his asylum label. She wrote von Bach influenced songs about the fight for spiritual enlightenment. With piano and multi -lane vocals, it sounds rush and unearthly – as if to experience mystical transcendence or listen to Brian Wilson when praying. After this second album they threw out. Sill got into a downward spiral and died of an overdose in 1979 (possibly deliberately).
At that time we said: “The goal of Sill’s spiritual search is the absolute unity with God, a fusion that is intended both as a psychedelic pantheism as well as in primitive, Judäo-Christian terms. The language that Sill has chosen to express its vision is unusual and powerful. Her diction is lifted, partly almost biblical, partly idiomatic … promises more than I dare to hope. ” – Stephen Holden, RS 135 (May 24, 1973)
Karen Dalton – in My Own Time
Folk legend Karen Dalton was the Muse of MacDougal Street, inspiration for “Katie’s Been Gone” (on Dylans and the bands “Basement Tapes”). She sang with nasal melancholy far beyond her years, like a folky Billie Holiday. This album recorded in “Woodstock” (actually Bearsville, New York) with Harvey Brooks (played with Dylan and Miles Davis) was her second and last. Dalton died in 1993; In 2004 Dylan wrote in his memoir Chronicles that she was his “favorite singer”.
At that time we said: “The source of Karens Legend is her voice. Like Rita Coolidge, who resembles her a little, she is not a songwriter, but she sings with so much subtlety and taste that her interpretations are her own creations … In her best moments, her sound is made of ghostly beauty, addictive … because it is so rare, it is really a pleasure that her brilliance is now accessible. Magic that is worth discovering. ” – Danny Goldberg, RS 87 (July 22, 1971)
Jean Ritchie – None But One
Ritchie, born in Kentucky, had already released dozens of albums when she recorded it; We called her “probably our best traditional folk singer/songwriter”. A cappella or accompanied on the Mountain Dulcimer, she sang songs of her childhood from the Cumberland Mountains and thus pulled a golden thread through generations of Anglo-American life.
At that time we said: “None But One does without a gentler, female version of the Basement Tapes – and still finds size, more through inherent power than by ambition. We do not listen to search and celebrate an identity here – and this identity is as timeless and universal and beautiful.” – Paul Nelson, RS 247 (September 8, 1977)
Mimi Fariña and Tom Jans – Take Heart
Mimi Fariña was a folk icon, sister of Joan Baez and wife as well as music partner of the colorful Richard Fariña, with whom she recorded two influential albums. But in 1966, on her 21st birthday, Richard died in a motorcycle accident. After a detour to Satirische Theater, she returned to music with singer-songwriter Tom Jans. The result: this enchanting album with her most famous song “In the Quiet Morning”. According to Take Heart, Fariña primarily devoted her life to the charity organization Bread and Roses until her death in 2001.
At that time we said: “Mimi Fariña and Tom Jans make really nice music, and this is a lovely album. It is also a ghostly one; being reminded of Dick Fariña’s absence only underlines its importance. I wish you every success with this album. Take Heart.” – George Kimball, RS 92 (September 30, 1971)
Ian Matthews – Valley Hi
The veteran of the legendary British folk group Fairport Convention worked here with producer Michael Nesmith from the Monkees. Matthew’s folk repertoire gave the result a high-gloss sound, but-like much of him-remained a commercial flop. Matthews continued to music and later also worked in the A&R area for Windham Hill. The version of “Seven Bridges Road” on this record inspired the Eagles, who took over the song as a concert opener and hit single.
At that time we said: “As far as listening enjoyment is concerned, Valley Hi is a sensual pleasure. The steamed Hollywood glamor from Nesmith’s production finds a sympathetic addition in Matthews’ own reserved elegance. Sound beauty is its common ideal, consistently, since the converted ship, on which Matthews sails, is built with an eye for the design.” – Stephen Holden, RS 145 (October 11, 1973)
Rosalie Sorrels – Travelin ‘Lady
The folk singer from Idaho toured five children through the country in order to be able to perform in bars and at festivals. She lived so wild that Hunter S. Thompson wrote the Liner Notes for this album. Her music was wearing trains from Country & Western, grown from countless miles on the street. When she played guitar, a window seemed open through which you could smell an older, different world.
At that time we said: “Your texts are the best on this side of Joni Mitchell (‘There’s no more rooms to retire to / i’ve got to move, there’s no place to stay / and i’ve nothing that’s but my shadow / if you need one, i’ll give that away’), while Rosalies voice somewhere between the lyrics of a joan baez and A Bonnie Raitt lies … the direction is always a melodic interior show, supported by Miss Sorrels’ fluid, prismatic shimmering voice. ” – Gary von Tersch, RS 99 (January 6, 1972)
Happy and Artie Dream-Double-Back
The Bronx brothers became part of the Greenwich Village scene of the sixties. Happy dream later belonged to Dylan’s environment: he played in a group that published the first official version of “Blowin ‘in the Wind”, and also accompanied Dylan on “Greatest Hits Vol. II”. Together, the brothers connected their voices and instruments how only family it can. Double-Back was the second of four common albums. They worked together again and again until Artie’s death in 2008.
At that time we said: “There is no bad track on this album. It is really a pleasure to reject yourself with songs like ‘Scavengers’, ‘The Ferryman’ and ‘Brother Thomas’. Double-Back embodies Woodstock music, but both the tortured pounds of the band as well as their opposite-sugar-sweet harmonies with pretentious texts-are noticeable here.” – George Kimball, RS 91 (September 16, 1971)
Mary McCaslin – Way Out West
McCaslin presented homemade versions of their own songs, old western ballads and modern pop songs-such as “Pinball Wizard” from the WHO on Banjo. This album marked her debut as a songwriter. We described it as “an extraordinary album that practically nobody will hear”. She released on the indie label Philo, later also a great album at Capitol (“Sunny California”, 1979), which was only slightly considered.
At that time we said: “McCaslin’s unorthodox guitar moods create unusual, essential melodies of striking beauty. In combination with its clear, finely touching voice, this is magical, for example with the Everlys’ ‘Let it be me’ or their own ‘Northfield’ … Way out West is far superior to most works of its genres and the effort to search for it.” – Ken Barnes, RS 169 (September 12, 1974)
Various Artists – Traveling Through the Jungle
Folk in the tradition of Alan Lomax: field recordings of people who made music in everyday life. Here it was African Americans in the deep south – a title that sounds unhappy today, even if he should indicate African traditions. But the music, with military drums (bought) and homemade flutes, was raw and rousing.
At that time we said: “It sounds rhythmic like Proto-Rock & Roll, with a strong Bo-Diddley beat and roared, bluesy vocals. But the drum style, with traces of both Anglo-American marching music such as West African polythmic, also sounds like a direct ancestor of jazz. – but that shouldn’t keep anyone from enjoying. ” – Robert Palmer, RS 198 (October 23, 1975)
Gordon Bok – Peter and the Wind
Regional folk traditions also bloomed away from Greenwich Village. Gordon Bok, deep -voiced fisherman from Maine, sang primarily about life on the coast of New England. His third album we called a rough masterpiece. Since then, BOK has been sailing, carving and releasing another maritime -shaped album.
At that time we said: “There are some great new songs here, including two brilliant instrumental (BOK is one of the most versatile acoustic guitarists), one of them inspired by the flight of the seagulls … ‘Peter Kagan and the Wind’ is his own adaptation of one of the more well -known myths about New England Sea people … He will never think of it, but I think he’d rather stay in Main anyway and takes care of his own affairs. ” – Janet Maslin, RS 112 (July 6, 1972)