Doc Watson: Live At Club 47

Yep Roc Records YEP-2499

Format: Vinyl, 2LP, Album
Country: US
Released: 2018
Genre: Folk, World, & Country
Style: Folk
[Tracklist]
A1 Wabash Cannonball (3:47)
A2 The House Carpenter (5:23)
A3 I Wish I Was Single Again (3:37)
A4 Little Darling Pal of Mine (3:00)
A5 Train That Carried My Girl from Town (4:31)
A6 Worried Blues (2:53)
B1 Old Dan Tucker (2:36)
B2 Sweet Heaven When I Die (3:04)
B3 Doc's Talkin' Blues (4:18)
B4 Little Margaret (3:09)
B5 Sitting On Top of the World (2:25)
B6 Don’t Let Your Deal Go Down (3:45)
B7 Blue Smoke (1:34)
C1 Deep River Blues (3:07)
C2 Way Downtown (2:54)
C3 Somebody Touched Me (3:39)
C4 Billy in the Low Ground (1:44)
C5 Boil Them Cabbage Down (2:14)
C6 Everyday Dirt (2:39)
D1 I Am a Pilgrim (3:31)
D2 No Telephone in Heaven (2:54)
D3 Hop High Ladies the Cake's All Dough (1:12)
D4 Little Sadie (2:26)
D5 Black Mountain Rag (2:07)
D6 Blackberry Rag (1:29)
D7 Days of My Childhood Plays ( 2:18)
[Credits]
Doc Watson (guitar/autoharp/banjo/harmonica/vocals) Ralph Rinzler (mandolin/harmony) John Herald (guitar/harmony)
Producer: Steve Weiss, Liner Notes: Mary Katherine Aldin, Photographers: David Gahr, John Cohen, Hugh Morton, Eugene Earle and Daniel Seeger, Engineers: Mike Eisenstadt, Brent Lambert, John Loy and Brian Paulson
[Notes]
In the mid-'60s, Doc Watson rose from relative obscurity to become one of the leading lights of American folk music, displaying a dazzling flatpicking technique on the guitar and an encyclopedic knowledge of old-timey and traditional music. Watson was just starting to make a name for himself as a solo act (and was a few months away from his breakthrough performance at the Newport Folk Festival) when, in February 1963, he played Boston's venerable folk music venue Club 47, where he quickly became a favorite of the New England cognoscenti. A local music fan, Michael Eisenstadt, brought a professional-grade tape recorder to the show, and 55 years later, the show has been given a commercial release by Yep Roc Records as Live at Club 47. The audio is remarkably crisp and clear despite being recorded with a single microphone, and it captures Watson in splendid form. It should surprise no one that Watson was picking up a storm on guitar this evening, as well as showing he was a sure hand on banjo and autoharp. But Live at Club 47 is a vivid reminder of how personable and engaging Watson could be performing in front of an audience. Playing in a small room, Watson's simple but expressive vocals are superb, finding humor and drama in these songs, which he delivers with genuine warmth and sincerity. If there are moments when Watson seems to be playing up his hillbilly roots for the sake of the Big City audience, there's no arguing that he knew how to work a crowd and get an honest laugh. Watson seems fully engaged and having a great time on Live at Club 47, and the set list is a treasure trove of essential American folk tunes (including a few he never got around to recording in the studio). Live at Club 47 doesn't reveal much that's unknown about the artistry of Doc Watson, but the good humor and intimacy of this performance are irresistible, and it's as pleasing a document of Doc Watson in concert as you could ask for. (AllMusic Review by Mark Deming)

Woodstock Moutains: More Music From Mud Acres

Rounder Records 3018

Format: Vinyl, LP, Album, Gatefold
Country: US
Released: 1977
Genre: Folk, World, & Country
Style: Bluegrass, Folk, Country
[Tracklist]
A1 Bluegrass Boy (3:17)
A2 Cold Front (3:09)
A3 Sleep With One Eye Open (3:10)
A4 Killing The Blues (3:47)
A5 Waiting For A Train (3:03)
A6 Morning Blues (2:37)
A7 Weary Blues (2:47)
B1 Mason Dixon's On The Line (2:23)
B2 My Love Is But A Lassie Yet (1:05)
B3 Woodstock Mountains (3:43)
B4 Long Journey (2:45)
B5 Sally Ann (2:50)
B6 Barbed Wire (3:00)
B7 Whole World 'Round (2:15)
B8 Amazing Race (2:28)
[Credits]
Artie Traum (guitar/vocals) Happy Traum (banjo/melodica) John Herald (guitar/vocals) Eric Andersen (guitar/vocals) Paul Siebel (guitar/vocals) John Sebastian (vocals) Lee Berg (vocals) Rory Block (vocals) Bill Keith (banjo) Jim Rooney (guitar) Pat Alger (guitar) John Sebastian (harmonica) Paul Butterfield (harmonica) Gordon Titcomb (mandolin) Roly Salley (bass)
Producers: Artie Traum, Happy Traum and George James, Designer: Pat Alger, Photographer: Ceci Sebastian, Engineers: John Holbrook, Thomas Mark and John Nagy
[Notes]
"Woodstock Mountain: More Music from Mud Acres" features Pat Alger, Happy and Artie Traum, Eric Andersen, Lee Berg, Rory Block, Paul Butterfield, John Herald, Bill Keith, Jim Rooney, Roly Salley, John Sebastian and Paul Siebel. This album brought it all together! Their peak. Recorded at Bearsville Sound Studios, Bearsville, N.Y., on January 13-15, 1977.

The Greenbriar Boys: Best of the Vanguard Years

Vanguard 206/07-2

Format: 2xCD, Album, Compilation
Country: US
Released: 2002
Genre: Folk, World, & Country
Style: Bluegrass
[Tracklist]
From New Folks (1961)
1-01 Katy Clyne (2:22)
1-02 I'm Coming Back But I Don't Know When (2:19)
1-03 Stewball (2:31)
1-04 Rawhide (2:01)
From Joan Baez Vol. 2 (1961)
1-05 Banks Of The Ohio (3:06)
1-06 Pal Of Mine (2:47)
From The Greenbriar Boys (1962)
1-07 We Shall Not Be Moved (1:45)
1-08 We Need A Lot More Of Jesus (2:00)
1-09 Girl On The Greenbriar Shore (2:20)
1-10 Life Is Like A Mountain Railway (3:37)
1-11 Down The Road (1:58)
1-12 Rosie's Gone Again (2:18)
1-13 Amelia Earhart's Last Flight (3:41)
1-14 Other Side Of Jordan (1:31)
From Ragged But Right! (1964)
2-01 Sleepy-Eyed John (2:37)
2-02 Ragged But Right (2:57)
2-03 McKinley (2:53)
2-04 Leevee Breaking Blues (3:07)
2-05 A Minor Breakdown (2:19)
2-06 Let Me Fall (1:57)
2-07 The Blues My Naughty Sweetie Gives To Me (2:20)
2-08 At The End Of A Long, Lonely Day (3:41)
2-09 Yellin Holler (2:06)
2-10 I Cried Again (2:56)
From Better Late Than Never (1966)
2-11 The Train That I Ride (2:19)
2-12 I Heard The Bluebirds Sing (2:23)
2-13 Morning Train (2:31)
2-14 Shackles And Chains (2:53)
2-15 Chicken (2:24)
2-16 Alligator Man (2:38)
2-17 Russian Around (2:26)
2-18 Up To My Neck In High Muddy Waters (2:50)
2-19 Little Birdie (2:53)
2-20 Prisoner's Song (2:16)
2-21 Different Drum (3:02)
[Credits]
John Herald (guitar/vocals) Bob Yellin (banjo/harmonica/mandolin/vocals) Ralph Rinzler (guitar/mandolin/vocals) Frank Wakefield (guitar/mandolin/vocals) Joan Baez (vocals) Buddy Pendleton (fiddle) Jackie Cook (bass/vocals) Eric Weissberg (bass) Sandy Block (bass) Russ Savakus (bass) Richard Romoff (bass) Jim Buchanan (fiddle)
Producer: Fred Jasper, Liner Notes: Ed Ward, Designer: Jules Halfant & Amy L. VonHolzhausen, Photographer: Joe Alper & David Gahr, Engineer: David Glasser
[Notes]
This two-CD, 35-song compilation could probably hardly be bettered as a summation of this band's best-recorded work. Disc one focuses on tracks from 1961-1962, including four songs from the 1961 New Folks various-artists compilation, two songs from Joan Baez, Vol. 2 on which they played backup, and eight songs from their proper full-length debut, 1962's The Greenbriar Boys. Though their accent at this time was on traditional songs and covers of bluegrass tunes by the likes of Bill Monroe, this does include "Stewball" (here crediting the band as authors, though different writing credits were used when Peter, Paul & Mary covered it slightly later) and Wayne Raney's sly "We Need a Lot More of Jesus" ("and a lot less rock & roll," goes the end of the couplet when the title is sung on the refrain). Disc two contains 21 songs from their mid-'60s albums Ragged but Right! (1964) and Better Late Than Never! (1966). The first of these was the last to feature the trio lineup of John Herald, Bob Yellin, and Ralph Rinzler. Frank Wakefield replaced Rinzler for Better Late Than Never!, the record that was by far their most contemporary Vanguard effort, with more original material and some very interesting covers, like Floyd Chance's Cajun-flavored "Alligator Man." Far more familiar to rock and pop fans, though, is the original version of Mike Nesmith's "Different Drum," a slower and more whimsical arrangement than that used by the Stone Poneys on their 1967 hit cover of the tune. Linda Ronstadt also covered the Greenbriar Boys' best original song, "Up to My Neck in High Muddy Waters," also originally on Better Late Than Never! (and included on this compilation). As a whole, this is a good survey of a band who did a lot to popularize and preserve traditional bluegrass with skill, as well as take some occasional ventures into progressive directions, not only on the above-mentioned songs, but also on unusual (for bluegrass) Bob Yellin-penned instrumentals like "A Minor Breakdown" and "Russian Around." (AllMusic Review by Richie Unterberger)

Mud Acres: Music Among Friends

Rounder Records 3001

Format: Vinyl, LP, Album
Country: US
Released: 1972
Genre: Folk, World, & Country
Style: Bluegrass, Folk, Country
[Tracklist]
A1 Cowpoke (1:27)
A2 Done Laid Around (2:50)
A3 Darlin' Corey Is Gone (3:29)
A4 Titanic (4:02)
A5 Give Me Back My Fifteen Cents (1:49)
A6 Out Of Joint (1:47)
A7 Jackhammer Blues (2:53)
A8 Oh, The Rain (4:56)
B1 Hobo Blues (3:12)
B2 Off To Sea Once More (4:21)
B3 Fifteen Miles To Birmingham (2:35)
B4 Lonesome Pines (3:44)
B5 Prison Wall Blues )2:20)
B6 Parting Friends (1:38)
B7 Mud Acres (2:04)
[Credits]
Performers: Artie Traum, Bill Keith, Eric Kaz, Happy Traum, Jim Rooney, John Herald, Lee Berg, Maria Muldaur and Tony Brown
Liner Notes: Happy Traum, Designer: Lloyd Ziff, Photographers: David Gahr & Lloyd Ziff, Engineers:Jim Rooney & Mark Harmen
[Notes]
Music Among Friends' was just that – an album concept brought to the fledgling Rounder Records in 1971 by Happy & Artie Traum, and featuring a wide variety of their musical friends from the Woodstock area. Happy Traum, Artie Traum, Maria Muldaur, John Herald, Eric Kaz, Jim Rooney, Bill Keith, Tony Brown, and Lee Berg, yielding an album that was at once relaxed, spirited and diverse yet very coherent. As so many of the folk labels of the early Sixties left folk music seeking greener pastures, 'Mud Acres' captivated listeners hungry for music that better embodied a real sense of community emblematic of the times. This is the album that spawned several successors over the following years.