Festival-Anthology recordings

The Newport Folk Festival—1960 Volume 1
1960—Vanguard VRS-9083 (mono) & VSD-2087 (stereo) LP

image Side One

East Virginia Blues - Pete Seeger, accompanying himself on banjo

In The Evening - Pete Seeger, accompanying himself on banjo

Hieland Laddie - Pete Seeger, accompanying himself on banjo, with and guitar by Oscar Brand

Hobo Blues (or Dusty Road) Maudie - John Lee Hooker, accompanying himself on guitar, with Bill Lee, string bass

Tupolo (or Backwater Blues) - John Lee Hooker, accompanying himself on guitar, with Bill Lee, string bass

A Si Mon Moine Voulait Danser - Alan Mills, with Jean Carignan playing fiddle

Le Reel Du Pendu - Instrumental -  Jean Carignan, fiddle solo

I Know An Old Lady - Alan Mills, unaccompanied vocal

La Bastringue - Alan Mills, with Jean Carignan playing fiddle


Side Two

Brian Boru - Instrumental - Tom Makem, bagpipe solo

Johnny, I Hardly Knew Ye - Tom Makem, with Pete Seeger, banjo, and Eric Weisberg, guitar

The Whistling Gypsy - Tom Makem, with Pete Seeger, banjo, and Eric Weisberg, guitar

Old Joe Clark - Jimmy Driftwood, accompanying himself on the bow, with Peter Seeger, banjo

The Unfortunate Man - Jimmy Driftwood, accompanying himself on guitar

Roll In My Sweet Baby's Arms - The New Lost City Ramblers (Mike Seeger, Tom Paley and John Cohen, who also plays—the following instruments: Seeger, fiddle and autoharp; Paley, banjo; Cohen, guitar)

The Man Of Constant Sorrow - Mike Seeger, of The New Lost City Ramblers, with autoharp

Foggy Mountain Top - The New Lost City Ramblers, as on No. 6

Sleeve Notes (Excerpts)

It was Tommy Makem, of County Armaghm [sic], Ireland, strutting back and forth on the stage and piping away. And then the 27-year-old singer who regularly performs with the Clancy Brothers, put down the bagpipes and started to sing with his own very able set of vocal pipes. You can heat Makem, supported by Pete Seeger and Eric Weisberg, in two richly different moods: the sardonic, defiant, declaratory singer reviling the effects of war in "Johnny I Hardly Knew Ye," and the lyric, playful minstrel in "The Whistling Gypsy."