Associated with a movement for social change, protests songs were often the soundtrack to the turbulent times of the 1960s. With the rise of the Civil Rights movement, the influence of counterculture groups (such as hippies), and the escalation of the Vietnam War, protest songs flourished, often promoting peace or revolution. So, looks like it's about time for a little 3-part series on this influential genre.
One of the key figures in the protest movement was Bob Dylan, who produced a number of landmark protest songs such as "Blowin' in the Wind" (featured here) and "The Times They Are A-Changin.'" While Dylan's era of protest music lasted for a short 20-month period (ending in 1964 when he changed his musical style from acoustic folk to an electrified, rock sound with personal, abstract lyrics), his prolific songbook about everyday injustices and tragedies was adopted by the Civil Rights and counterculture movements (not necessarily written for them). In 1963, Dylan and his then-singing partner Joan Baez had become prominent in the Civil Rights Movement, singing together at rallies including the March on Washington where Martin Luther King, Jr. delivered his "I Have a Dream" speech. Written by Dylan in about 10 minutes (and inspired by a hotel check that refused to give him a room due to his unwashed appearance), here's Dylan and Baez performing "When the Ship Comes In" at that March on Washington, featuring other historic footage as well.
------------------------------------------------------------------------------------------------------------------------- After hearing Bob Dylan's "Blowin' in the Wind," R&B singer Sam Cooke was greatly moved that such a touching song about racism in America could have been written by someone who was not black. Written and recorded in 1963 (and released shortly after his death in late 1964), Cooke's "A Change is Gonna Come" became a sensation among the black community and became an anthem for ongoing civil rights protests. Although only a modest hit compared to usually light-hearted singles (like "Wonderful World" and "Another Saturday Night" both featured here), this song gained in popularity and critical acclaim over the decades, and is ranked #12 on Rolling Stones' "500 Greatest Songs of All Time." With a lush orchestration, here's the talented Sam Cooke reaching back to his gospel roots to sing the song with an intensity and passion never heard before on his pop recordings (no live footage, just audio with a photo montage).
A prolific protest songwriter in the 1960s (or "topical singer," as he preferred), Phil Ochs was known for being a harsh critic of the American military industrial complex and performed at many political events such as anti-war and civil rights rallies, student events, organized labor events, oh and Carnegie Hall. Released in 1965 on the album of the same name, "I Ain't Marching Anymore" is one of Ochs' best-known songs and was written as American involvement in the Vietnam War was beginning to grow. The song criticizes all of American military history from the perspective of a weary soldier who has been present at every single war since of the War of 1812. Bordering between "pacifism and treason" (according to Ochs), he performed this signature song during the protests outside the 1968 Democratic National Convention, inspiring hundreds of young men to burn their draft cards. Here's a rare instance where Phil Ochs actually performed this tune on live TV.
Originating in Berkley, California, Country Joe & the Fish was a rock band widely known for their musical protests against the Vietnam War from 1966 to 1971, and also regarded as influential on the psychedelic rock scene of San Francisco. Written by Country Joe McDonald in 1965, in supposedly less than 30 minutes, "I-Feel-Like-I'm-Fixin'-to-Die Rag" (also known as "The Vietnam Song") was an anti-Vietnam protest song from the group's 1967 album of the same name. Beginning with the "Fish" Cheer, in which the band spells out 'F-I-S-H' like cheerleaders at a football game (which you can imagine what other four-letter word this chant gave way to), the song's lyrics are a sarcastic invitation for young and able men to join in the Vietnam War. A ragtime-style tune similar to the 1920s "Muskrat Ramble", this song was never a big hit, but it was nevertheless well-known. Here's a live solo performance by Country Joe at Woodstock in 1969 (warning: the language is unedited in this clip). Not gonna lie, this catchy tune really gets stuck in your head!
Happy 235th Birthday, America! In honor of Independence Day, we're going all out of with a patriotic blog for you, featuring a wide variety, as usual. Like all big American ceremonies and sporting events, we're starting off with our National Anthem, however, it's the bit "unorthodox" version of the "Star Spangled Banner" as performed by guitar legend Jimi Hendrix, live from Woodstock in 1969!
----------------------------------------------------------------------------------------------- Despite the unpopularity of the Vietnam War, one of the few songs from the 1960s to cast the military in a positive light was "Ballad of the Green Berets" by Staff Sergeant Barry Sadler. While recuperating from a led wound suffered as a medic in Vietnam, SSgt. Sadler wrote this song with Robin Moore in honor of Green Beret James Gabriel Jr., the first Native Hawaiian to die during the war, executed by the Viet Cong while on a training mission in 1962. During a year when British Invasion bands dominated the charts, this song was the #1 hit in the U.S. for five weeks in 1966 and sold over nine million records. Here's a performance of this wonderful, patriotic tune after its debut in January 1966:
------------------------------------------------------------------------------------------------- It only makes sense that the popular music group, Jay and the Americans, should have a patriotic number. Initially formed in late 1950s in New York, the group went through three different "Jays" over the course of their history, however their most famous lineup included Jay Black as their lead singer. The group's first hit with Black (though their second time on the charts) was with their 1963 single written by Leiber & Stoller, "Only in America," which peaked at #25. With singer Paul Anka giving the group a musical introduction, here's another classy performance on the Hullabaloo TV program by Jay and the Americans.
------------------------------------------------------------------------------------------------ Rising to prominence in the early 1960s with her beautiful renditions of traditional ballads and her distinctive vocal style, Joan Baez was American folk singer-songwriter from Staten Island, New York. Baez has performed publicly for over 52 years, releasing 30 albums, and is also remembered for introducing her audiences to the then-unknown fellow folk musician Bob Dylan early in her career. As a great interpreter of other people's music, here's her cover version of "The Night They Drove Dixie Down," originally a roots rock song recorded by The Band in 1969. Telling about the last ten days of the Civil War and the suffering of the South, this rendition struck a chord with its listeners, reaching #3 on the charts in 1971.
----------------------------------------------------------------------------------------------- American funnyman Stan Freberg has been known for many things including comedian, recording artist, animation voice actor, radio personality, puppeteer, and author, just to name a few. Beginning his career in 1944 as voice actor for Warner Bros. cartoons, he went on to become an on-screen actor in comedy films in the 1950s, followed by making satirical recordings for Capitol Records. In 1961, he released Stan Freberg Presents The United States of America: Vol. One, The Early Years, a comedy album that combined dialogue and song in a musical theater format, which parodied the history of the United States from 1492 to the end of the Revolutionary War in 1783. Below, I've posted the 'Declaration of Independence' sketch from this album, which was particularly a satire of McCarthyism. If you have the time, this classic stuff is worth a listen.
------------------------------------------------------------------------------------------------ Singer-songwriter Dion (Dion DiMucci) was one of the most popular American rock and roll performers of the pre-British Invasion era with over a dozen Top-40 hits in the late 1950s and early '60s (like "Runaround Sue"). As the public's taste changed, he regained popularity in the late '60s and early '70s with more mature music, breaking from his teen idol stigma. Released in late 1968, Dion had another major American hit with the folk rock song "Abraham, Martin, and John," a tribute to the icons of social change, Abraham Lincoln, Martin Luther King Jr., John F. Kennedy, and Robert F. Kennedy. Written by Dick Holler, it was in response to the recent assassinations of MLK Jr. and RFK in April and June of that year. The original recording is arranged nicely, opening with oboe and violin, as well as several harp flourishes, however, this is a even mellower performance by Dion with choral accompaniment on the Smothers Brothers Comedy Hour.
------------------------------------------------------------------------------------------------ Known for starting the "historical ballad" craze of the late 1950s and early '60s, Johnny Horton was an American country music and rockabilly singer that had several major successes. He is greatly remembered for his contributions in those genres, however, his career was short-lived when he died in 1960 at the age of 35 (he started having premonitions that he would be killed by a drunk and was in fact killed in a car accident caused by a drunk driver, yikes). His most notable song was "The Battle of New Orleans," which was released in 1959 and earned him a 1960 Grammy Award for Best Country & Western Recording. With comical lyrics, this fun tune describes the 1815 Battle of New Orleans from an American soldier's point of view. Ranked among the Recording Industry Association of America's "Songs of the Century" in 2001, this is the #1 country song to score the Billboard chart, and clearly remains a wonderful, American classic. (I have my dad's old 45 and apparently those are worth a lot!)
Happy 4th of July from The '60s Beat, and thinking of all the men and women who sacrificed for our freedom!
One of the key figures in the protest movement was Bob Dylan, who produced a number of landmark protest songs such as "Blowin' in the Wind" (featured here) and "The Times They Are A-Changin.'" While Dylan's era of protest music lasted for a short 20-month period (ending in 1964 when he changed his musical style from acoustic folk to an electrified, rock sound with personal, abstract lyrics), his prolific songbook about everyday injustices and tragedies was adopted by the Civil Rights and counterculture movements (not necessarily written for them). In 1963, Dylan and his then-singing partner Joan Baez had become prominent in the Civil Rights Movement, singing together at rallies including the March on Washington where Martin Luther King, Jr. delivered his "I Have a Dream" speech. Written by Dylan in about 10 minutes (and inspired by a hotel check that refused to give him a room due to his unwashed appearance), here's Dylan and Baez performing "When the Ship Comes In" at that March on Washington, featuring other historic footage as well. 
After hearing Bob Dylan's "Blowin' in the Wind," R&B singer Sam Cooke was greatly moved that such a touching song about racism in America could have been written by someone who was not black. Written and recorded in 1963 (and released shortly after his death in late 1964), Cooke's "A Change is Gonna Come" became a sensation among the black community and became an anthem for ongoing civil rights protests. Although only a modest hit compared to usually light-hearted singles (like "Wonderful World" and "Another Saturday Night" both featured here), this song gained in popularity and critical acclaim over the decades, and is ranked #12 on Rolling Stones' "500 Greatest Songs of All Time." With a lush orchestration, here's the talented Sam Cooke reaching back to his gospel roots to sing the song with an intensity and passion never heard before on his pop recordings (no live footage, just audio with a photo montage).
