Check out Zia’s page, here, for more information!

Check out Zia’s page, here, for more information!

The Arcade 4/28/12

2012-4-28 from xXGameBoyXx on 8tracks.

1. Boy Meats Girl (Intro Movie) – Danny Baranowsky
2. Super Meat Boy! (Main Theme) – Danny Baranowsky
3. Forest Funk (Ch 1 Light World) – Danny Baranowsky
4. Depth Perception – Insert Rupee
5. Ludacris – Roll Out (Street Fighter 2) – Team Teamwork
6. The Legend of Zelda: A Link to the Past – Time of the Falling Rain – The OneUps
7. Xanadu, Palace of Pleasure – Nobuo Uematsu
8. Jetpack Blues, Sunset Hues – Anamanaguchi
9. Heartache by the Numbers – Guy Mitchell
10. 9-bit Skies – halc
11. & Down – Boys Noize
12. CHEMICAL PLANT – ACT – Jun Senou
13. Around The World – The Listrix
14. CLUB MIX How to Play – Hirokazu Ando
15. Liftoff (Get High) – halc
16. Ghostface Killah – The Champ (Ristar) – Team Teamwork
17. Aurum Island (Ch 15) – Yuzo Koshiro
18. Buggie Running Beeps – Keiichi Sugiyama
19. The Evolution of Flight – halc
20. Dos Punto Cero – Dapuntobeat
21. 3 across 4 - Baiyon
22. You Don’t Talk About Flight Club – halc
23. Forcystus – Derris-Kharlan
24. The Birdman Cometh – Insert Rupee
25. Robots, FTW! (Co-Op Ending) – Mike Morasky

Folk Out – A Semester Retrospective

Show #15- a semester retrospective from folk_out on 8tracks.

1 Chris Pureka: Wagon Wheel
2 Judy Collins: Someday Soon
3 Bob Dylan & Joan Baez: the Water is Wide
4 Hurray for the Riff Raff: Slow Walk
5 Cat Stevens: If You Want to Sing Out, Sing Out
6 Tracy Grammer & Dave Carter: Love, the Magician
7 Ian & Sylvia: You Were on my Mind
8 The Felice Brothers: Little Ann (request)
9 Simon & Garfunkel: The Sound of Silence
10 Jenny Lewis: Rise Up With Fists!!
11 Woody Guthrie: All of You Fascists Bound to Lose
12 Buffy Sainte-Marie: the Universal Soldier
13 Phil Ochs: I Ain’t Marching Anymore
14 Billy Bragg: I Dreamed I Saw Phil Ochs Last Night
15 the Mountain Goats: Southwood Plantation Road
16 Peter, Paul, & Mary: Leaving on a Jetplane
17 The Tallest Man on Earth: King of Spain
18 Gillian Welch: Look at Miss Ohio
19 Lucinda Williams: Lake Charles
20 Neil Young: Cinnamon Girl
21 Emmylou Harris: Bluebird Wine
22 Bob Dylan: Isis (request)
23 Sunshine: Matt Costa (request)
24 Edward Sharpe & the Magnetic Zeros: Up from Below (request)
25 Joni Mitchell: You Turn Me On, I’m a Radio
26 Otis Taylor: Ten Million Slaves (request)
27 Ani DiFranco: If Yr Not

New Orleans Jazz & Heritage Festival, commonly known as Jazz Fest, is a traditional jazz and blues, family-oriented festival. Since 1970, nationally acclaimed headliners and jazz musicians have pulled in an influx of tourism to New Orleans, and we’ve got KLSU on the ground this year, bringing you up to date coverage of the goings on! Hit the jump for Big Red and KLSU Sport’s Chris Abshire’s review of the first weekend!

Friday

Chris Abshire

The first day of any music festival is much like the first day of school. Everyone is still feeling out their surroundings. Jazz Fest’s one-day ticket sales and location within a large city make the first day especially choppy, so its first Friday was no different.

As festival-goers staked out prime spots for shade and figured out whether the crawfish bread or oyster poboys should satiate their appetite, they also wanted some music. And unlike the day itself, the music was anything but a warm-up act.

YOUNG PINSTRIPE BRASS BAND

Jazz Fest is legendary for early highlights. Local acts often provide an unexpected jolt of enjoyment on par with the headliners, a rarity for most music festivals.

Just walk in and peek inside the blues tent or drop by the Jazz & Heritage Stage after you walk through the arch.

Young Pinstripe Brass Band treated the folks at that stage to a rousing post-noon performance.

Young Pinstripe Brass Band

Led by New Orleans staple Herbert A. McCarver IV, the relatively youthful nine-piece brought out the funk to get the crowd dancing and then infused it with a blend of hip-hop and horn solos.

DEE 1

After sauntering over to the food booths to scout those options for later, I made my way over to Dee 1 (David Augustine Jr.), an LSU alum and local rapper, at the Congo Square Stage.

It was still around 1 p.m or so and the crowd was sparse, but Augustine didn’t care. He had his crew with him.

The rapper took his fans on a “virtual tour of New Orleans” with one of his sidekicks interjecting “They ain’t ready” to rousing effect between Augustine’s verses.

He then brought out a guest female vocalist to perform a killer rendition of Lauryn Hill’s classic “Doo Wop (That Thing),” touting the 90s R&B queen’s influence on his music in the process.

Dee 1 with a guest female vocalist covering Lauryn Hill's Doo Wop (That Thing)

Augustine walked a tightrope between festival crowd-pleasing and soulful introspection on stage, but never forgot to fuse the two into a fun time. It was his third straight year playing at Jazz Fest, but still a homecoming worth celebrating. The show was just the victory lap.

CROWD OBSERVATIONS

New Orleans is known for its voodoo, juju, and what have you. Jazz Fest feels like the city under a microscope. Music festivals already attract outrageous get-ups and outsized personalities, but the Crescent City amplifies those qualities..

One man was rocking a full three-piece suit. It was 84 degrees and dripping with New Orleans humidity early in the day. But the man’s suaveness couldn’t be contained.

The day’s best overheard remark came when a clearly dazed young man with dreads turned to his friend with this revelation: “You know, man, I never really thought about it but Vampire Weekend should totally collaborate with Kenny G.”

It was New Orleans at its finest.

GOMEZ

Gomez Singing about crazy relationships and looking suave doing it at the Gentilly Stage

I dropped by Chubby Carrier’s set at the Fais Do Do stage for a minute, and his rollicking Cajun numbers gave the set a perfect Louisiana feeling. Picture a family reunion anywhere south of Houma and that was the show.

Anyway, Gomez set a fantastic trio of shows at Gentilly Stage in motion with a promising, if uneven outing in the mid-afternoon. Whether it was crowd fatigue at the hottest time of the day — about 3 p.m. — or the band’s erratic stylings, the atmosphere was a bit flat.

However, when the British five-piece eschewed its indie and blues leanings for a jam-band psychadelia, their sound truly rippled through the lean crowd.

The band’s finest moment came when they brought out members of The Dirty Dozen Brass Band to infuse their freakouts with a hint of horns.

While Dirty Dozen’s talents seemed underutilized in that role, it gave Gomez just enough flair to win over the crowd, winding down the set with the a breezy, bold version of their hit, “Here Comes the Breeze.”

None of that mattered, though, because guitarist/vocalist Ian Ball committed a fashion atrocity, rocking pastel-peach pink pants. Nothing against pink, but it was like staring at the sun if the sun was a pink easter egg in your grandmother’s home.

GIVERS

Givers performing "Saw You First"

It’s almost impossible to believe Givers were making their Jazz Fest debut, right?

The band has become a staple of south Louisiana music during the last four years, using giddy vocals and jittery percussion to win over indie kids from Lafayette across the Gulf Coast.

But there they were, being introduced by festival producer Quint Davis as ‘Louisiana’s Own,’ and the five members could be seen huddling off stage in a half-nervous, half-bewildered haze.

Givers proved one thing with their show Friday. They’ve come a long way. Gone are the modest dance expectations and simplistic pace of their early shows.

Givers is a band one insanely catchy song away from making a mark far beyond Jazz Fest, and their set solidified that.

Lead singers Teddy Lamson and Taylor Guarisco traded tempo effortlessly, in lock-step with the bubbly beats and global march the band made its reputation on.

But the songs off last year’s excellent In Light felt like they were projected onto the wide screen, becoming massive anthems in a live setting.

Whether it was a serene flute in “Atlantic,” the sinewy guitars and tandem vocals in “Noche Nada’s” chorus or “Ceiling of Plankton’s” paradoxically desperate bounce, Givers managed to confound expectations and still keep their fans happy with a set heavy on heart and light-hearted all at once.

Oh yeah, they also covered the Talking Heads, an apropos antecedent to Givers’ own Afro-beat leanings.

The local kids done good, y’all.

BON IVER

Calgary

If I was being real here, I’d just write “FEELINGS. SO MANY FEELS” about this show, drop the microphone and get out of here.

But I have a shred of pride left, and It’s no secret this was the show I had circled on my calendar from the start. Justin Vernon and co. didn’t disappoint.

It’s not often a breakout star and recent Grammy winner has to compete with a legendary act like the Beach Boys. Vernon made reference to it in the show, calling the classic Cali quintet “pretty good singers” with a wry smile.

But the competing focus kept it intimate, and Gentilly is an underrated venue for seeing popular acts.

For a band that catches a lot of flack for its soft-spoken, unintrusive “bedtime” music (see: SNL/Justin Timberlake’s pointedly funny spoof), Bon Iver live is completely different.

“Blood Bank,” “Skinny Love” and “The Wolves (Act I and II) transform from rainy day staples to thrashing epics in person.

The band’s dabbled in this expanse since the Blood Bank era — I saw them in 2009 at Bonnaroo and there was a cameo by Elvis Perkins in Deerland’s horn section and the now-infamous chanting to “Wolves — but with nine members playing as many as 12 different instruments, it can get overwhelming.

The set began with “Perth’s” militant march, seamlessly flowing into “Minnesota, WI” before picking up the pace with “Towers” and quieting the opening fervor with a somber version of “Michicant.”

As the show hit its mid-section, the sun began to drift in and out of cloud cover, eventually dropping below the side-stage video set-up.

Opening up with Perth into Minnesota

The breeze picked up, dispersing “Hinnom, Tx’s” booming vocals, “Wash’s” impossibly airy melancholy and the gorgeously haunting horns in “Holocene” outwards and upwards.

After amping up the volume on “Blood Bank,” the band tugged at the heartstrings with a *wink* cover of Birdy’s “Skinny Love” — complete with at least four females on the front row crying real, actual tears and screaming every last lyric.

Vernon then took a moment to converse with the crowd, a slight rarity in Bon Iver’s live realm, and showered Jazz Fest and New Orleans with figurative bouquets.

“I first came here when I was 14 with my Mom, and I’ve been back a few times,” he said to the crowd. “There simply isn’t a better music festival in the whole world. I wouldn’t say it if I didn’t mean it – that would be some pandering shit!”

That’s when the band truly broke out its secret weapon: austere, emotionally-naked horns courtesy of Reginald Pace (his hair!) and Colin Stetson.

Stetson is perhaps modern music’s finest bass saxophonist and Pace effortlessly maneuvers between the trombone and chiming percussion.

Vernon sat down at the keys, easing the band into a taut rendition of “Calgary,” pausing for the briefly disorienting distortion of “Lisbon, OH,” before launching into the glorious “Beth/Rest.”

“Beth/Rest” is a divisive song, no doubt. It can feel like an ironic stab at a cheesy 80s sound, but ultimately rewards willing listeners with a mix of impassioned, impressionistic, lyrics and a resolute confidence in itself as an earnest song.

Yeah, we got Emma for an encore, yall

All those qualities amplify in the live setting. The line between saxophone and auto-tune blurs. Horns shuffle in and out with deft disorientation. The drums float above it all.

But when the band briefly brought the song to a halt before a mammoth bit of bass rumbled back in, igniting the horn’s section feverish coda and leading to Vernon’s exclamation, “This is axiom!,” it was hard to deny the saxophone in your bones.

A typically anthemic conclusion with “Wolves” gave way to an encore featuring the title track from 2007′s For Emma, as the horn section broke the track’s initial desolation and carried the parade to its final rest.

Saturday

Big Red

The first weekend of Jazz Fest featured classic acts such as The Beach Boys, Tom Petty & The Heartbreakers and Bruce Springsteen. In recent years, the festival has also featured artists for the young adult crowd. Examples for this year include Givers, Bon Iver, Iron & Wine and Feist.

Feeeeast

On Saturday, I was not only able to see the entirety of Carolina Chocolate Drops’ set, but I also spent some time with them backstage before the show. Student media photographer, Mariah Postlethwaite, and I ventured behind the Sheraton Stage to speak with the Drops.

When we mentioned we were from LSU and living in Baton Rouge, Dom Flemons, Drops’ multi-instrumentalist, said he heard we had awful traffic. Great. Having a  #1 party school and bad traffic is what we’re known for. Nonetheless, they were very laid-back and genuinely nice people.

Carolina Chocolate Drops have a very unique sound. They spice up old blues and bluegrass songs from the early 1900s and create their own fresh version. Their shows bring you back to a simpler time, but not without zest and fire.

Carolina Chocolate Drops

Lead singer and fiddler,  Rhiannon Giddens, brings so much passion to the stage, as evident in “No Man’s Mama” and their popular cover of “Hit ‘Em Up Style.” KLSU’s listeners call the station just about every time it’s played to inquire about the artist. I asked Flemons if that song gets annoying because of its popularity. “Nah, that song is special to us… You can’t hate the song that brought you fans,” he replied.

They were also very interactive with the crowd, making us sing “Hi-hi diddala day” and commenting on how blood-thirsty we were, cheering for “Hit “Em Up Style.”  Drops includes a variety of instruments in their music, including fiddles, banjos, cellos, jugs, bones, kazoos and human beatboxing.

After their set, we headed over to the Gentilly Stage to catch Feist, who was wearing a huge sun hat and sunglasses. The folk a cappella group, Mountain Man, sang backup in their matching flowy dresses. By this time, the sun was setting over the stage and a breeze kept the crowd cool. People were asleep in the grass across the field with others closely packed to see Feist. She played a variety of songs from her discography including coin songs such as “How Come You Never Go There” and “1234.”

Yeah Jazz Fest.

Feist’s band made her songs more bassy and dancy, and the back-up singers, Mountain Man, added the perfect drip of honey. Their range of pitches created the perfect harmonies. Feist was a very fun, interactive front person. She had the crowd respond in different a cappella pitches when she asked where they were from. What resulted was a very hodge-podge off-key sound, but it was still fun, of course.

Although I didn’t get to see many artists, Jazz Fest is something Louisiana has to be proud of. I highly recommend everyone should go at least once and experience this part of our culture.

Stay Tuned! We’re covering Jazz fest for the next week! Don’t forget to follow our instagram, klsuradio

Hit the jump to catch Gogo’s exclusive interview with New Orleans soul/indie rockers The Revivalists, right here on KLSU!

The Revivalists interview by 91.1 KLSU

This week on Spontaneous Combustion, the nation’s oldest running jazz show, join Zia for “In Search of Golden Nuggets” at 11:30 am presenting the best of Junior Walker and the All Stars. Cool Cats Corner at 1:30 pm presents the best of ZZ Top. Don’t miss it!

You can check out more information about Zia and his show at his page, here

The first band to perform was not listed on the bill, and was completely bizarre in several ways. The performer went by the name of Vocka Redu, and I’m going to try my best to describe what I was seeing without seeming completely ridiculous. Redu walked out with tight pants with glitter stars on them, a leather jacket, no shirt, a helmet emitting pink and blue lights, and a super long cigarette in his mouth. On stage, he was out front, with a DJ and a background dancer all crammed on the tiny Spanish Moon stage. There was another background dancer present, but he stood offstage and only danced for a few minutes total. Very strange.

Redu’s music was a combination of hip hop and straightforward dance music. There were even a few times where Redu did some spoken word bits, where he “reprogrammed” himself or had a “malfunction.” On the penultimate song, Redu sent out his background dancer into the crowd with a tips bucket. I think they actually got something too!

Overall, I wasn’t that impressed with Redu’s set. The crowd seemed moderately interested though, which is good.

After Redu’s bizarre and dizzying set was over, Shabazz Palaces came on stage and played a fantastic set. They only played a few songs from their most recent album, and the rest were from their other EPs. The crowd seemed to really enjoy it, and so did I. It may seem strange that I have less to say about Shabazz Palaces, but rest assured I enjoyed it much more than I did Redu’s set.

The last band, !!!, didn’t really impress me much. They played a set of fairly normal dance punk songs, with a few live horns sprinkled here and there. It wasn’t a bad set, just a bit boring. It should also be noted that I don’t really like to dance, which could have something to do with why I wasn’t blown away.

Bad Bad Not Good's latest album, BBNG2, went on sale April 3rd

Canadian jazz trio BADBADNOTGOOD return with their second self recorded album, BBNG 2. But does the new album hold a candle to the group’s older material?

BADBADNOTGOOD, a keyboard, drums, and bass trio, are certainly doing interesting things for jazz. Namely, they are pumping youth and freshness into a genre that many people write off as old fashioned or outdated. And while it is certainly true that there are several fantastic modern jazz musicians out there today, BADBADNOTGOOD is special in many ways. First, they are heavily influenced by indie music, especially indie hip-hop; artists such as Death Grips, Odd Future, and Lil B have all been mentioned several times by the group. This influence has also been seen in another staple of the band: covers of hip-hop songs, complete with a healthy does of improvisation. That, combined with the fact that they are unsigned and quite young (all under 21), makes them stand out in the indie community, and for good reasons.

But this context is irrelevant if the trio’s new full length BBNG2 fails to live up to its fast growing reputation. But don’t worry; the album delivers on all fronts. Many of the qualms I had with last year’s BBNG have been put to rest on this release, such as the lack of original material. While it did feature some original compositions, I couldn’t help but feeling like there should have been more. On the trio’s new record, the original material is not only more plentiful but also just plain better. Tracks like “Rotten Decay” and “UWM” really show the group improving not only as improvisers but as songwriters as well. The group sounds more in tune with one another, and the musicianship of BBNG2 is much more advanced than that of their debut.

In fact, even the tracks that are covers sound better than on the last release. I’m particularly fond of “Flashing Lights” as well as cover-of-a-cover “Limit To Your Love”, as made indie famous by James Blake. The group seems to improvise more on these tracks than on previous cover songs, and of course there’s always the satisfaction of hearing a cover of a song you know and love. If I’m being completely honest, that’s probably the reason I liked a lot more of the covers on BBNG2. I only recognized a handful of the covers on BBNG, whereas this time around I was familiar with all but a few of them.

Another factor that greatly helps improve the quality of BBNG2 comes in the form of a man by the name of Leland Whitty. He and his saxophone are featured on only two of the album’s eleven tracks, but those two benefit enormously from it. He blends in perfectly with the other three musicians, and helps to make the tracks he’s on standouts. In fact, I found myself wishing Whitty was on more of the album. Also speaking of features, there is some great jazz guitar courtesy of Luan Phung on the album’s closing track “You Made Me Realise.”

The only real problem I have with this record is simply that a few of the tracks seem a little underdeveloped.  Two tracks in particular, “DMZ” and “CMYK,” seems like they were worked on less than some of the other tracks. This is especially disappointing considering I was most excited to hear some new original material from the band, and these two originals ended up being the low point of the album for me.  But the tracks aren’t completely bad, just maybe a bit less exciting than some of the others.

I was thoroughly impressed with BBNG2 and I would recommend it to fans of jazz and hip-hop alike. It’s probably a little bit premature to say that these three guys are the future of jazz, but they are successfully bringing jazz to the indie community in a hip and exciting way, and that definitely isn’t an easy thing to do. Best of all, the group gives all their music away on their website. So if you even have the slightest interest in the band, it won’t hurt you at all to check them out. Plus that way when they get super famous you can say you liked them before they blew up.

9/10

It all started with Boyfriendz, a group made up of three friends who hail from Sacramento.  The stage was set abnormally with the drums at center stage and the bass and guitar almost behind the drummer. Even though there was a dwindling crowd, a missing guitar and possibly a new drummer, Boyfriendz still put on an energy filled show. I really appreciated the more ambient vocals and it was complemented nicely by the guitar and bass, but the drummer was going a bit heavy for my enjoyment.

Caddywhompus was up next, and they are who I came to see. They are home grown New Orleanians and this was my third time seeing them and they lived up to my high expectations. Being a little later on in the night the crowd was a bit thicker but no more than 40 or 50 people in the crowd, making it a less energetic show then I was used to, but they still kicked it’s ass. They have an interesting style, almost a pop-like animal collective with a hint of punk.

The night ended with Sun Hotel, who also call New Orleans home. It is a 4 piece band that puts a punk twist on the ambient pop genre. This was the second time I had seen them, the first time being at Block Party, which is a punk/ska festival so 100% different atmospheres. Once again the crowd was thin but Sun Hotel didn’t notice. They got on stage and put on the best show of the night, they finally got the crowd moving and played through 2 a.m. not skipping a beat.

The Arcade 4/7/12

The Arcade 2012-4-07 from xXGameBoyXx on 8tracks.

1. Legend of Zelda: The Wind Waker ‘Her Smile in Every Summer’ OC ReMix – Hot Freaks
2. Toejam Jammin’ – The OneUps (Toejam & Earl)
3. Murs – Me and this Jawn (Mideel) – Team Teamwork
4. Funky Beat – Neverending Bosses
5. Fat Cat Wants Tasty Fish – Teleidofusion
6. Shenmue ‘Amorelle’ OC ReMix – Radiowar
7. Canned Heat – Jamiroquai
8. Theme of Spider – Hideyuki Fukasawa
9. Sonic Adventure 2 Knuckles’ Unknown from M.C. OC ReMix – José the Bronx Rican
10. Put Ya Guns On (MMX5 – Zero Stage 2) – Diggi Dis
11. Jet Set Medley Future – Hideki Naganuma
12. Vamo’ Alla Flamenco (FINAL FANTASY IX) – The Black Mages
13. 3 across 4 – Baiyon
14. Romance (Cat Coccinelle vs Oh “S-Word”) – Cat Coccinelle
15. Teenage Mutant Ninja Turtles ‘Jammin’ with My NES’ OC ReMix – Shnabubula
16. Megamix 1 – Daft Punk
17. Chrono Trigger – Yasunori Mitsuda
18. Move Your Body – Marshall Jefferson
19. Norfair (NES) – Metroid Metal
20. Reptile’s Theme – Skrillex
21. Delfino Plaza – Koji Kondo
22. Megadrive Bass – Neverending Bosses
23. Another Winter – Anamanaguchi
24. Suikoden ‘Days Long Passed, Seldom Remembered’ OC ReMix – Trenthian
25. Donkey Kong Country Blue Vision OC Remix – bLiNd

The Arcade 4/14/12

2012-4-14 from xXGameBoyXx on 8tracks.

1. Intro – Mutato Muzik
2. Crash Bandicoot ‘Hogging Molly’ OC ReMix – Brandon Strader, Rexy
3. Rock’n'roll hall of fame – pornophonique
4. The Hero – Nostalgia
5. 8 – BIT WORLD featuring Hoodie Allen – Your Favorite Martian
6. Simple and Clean – Hikari
7. Super Sonic Racing – Richard Jacques
8. To The King’s Throne – ThePlasmas
9. Superman – Goldfinger
10. Helicopter – Bloc Party
11. Momentary Life – Daisuke Ishiwatari
12. Faster Than a Howling Wind (Natsu’s Theme) – Andrew Aversa
13. T.M.N.T. (Teenage Mutant Ninja Turtles) – Go Ninja, Go – bLiNd
14. Lost Woods (Crizzly Remix) – Crizzly (Koji Kondo)
15. Wave Race 64 Serenity’s Wake OC ReMix – Sole Signal
16. Mega Man 2 ‘Laser Quick’ OC ReMix – TheGuitahHeroe
17. House Special – Vince Pontarelli
18. Braziltris 500 – Safety Words
19. Adam Freeland – Fear – Rez
20. Open Your Heart MJZ Mix – Naofumi Hataya
21. Fox Boogie – Gerhard Trede
22. Rock Creek Park – Blackbyrds
23. Gran Turismo 3 A-spec Cruise Control OC ReMix – Anthony Lofton, Joshua Morse
24. Plains of Eternity – Nobuo Uematsu
25. Throwback Galaxy – Koji Kondo
26. Magical Motherboard – Monomate
27. U’can’t Touch This (Mc Hammer breakcore remix) – CJClip
28. Elemental Master ‘Flaming Hearts’ OC ReMix – Dj Mystix
29. Big Boss – B-A-C
30. Famicom Connection (Tajfel Nipple Remix) – Sabrepulse
31. Stealth Lizard (MMX – Sting Chameleon Stage) – Vurez
32. Hollaback Girl vs. Feel Good Inc. – Gwen Stefani vs. Gorillaz

Folk Out – Fundraiser Edition!

Show #11 – Fundraiser Edition! from folk_out on 8tracks.

1 Bob Dylan: Like A Rolling Stone
2 John Prine/Lucinda Williams: Wedding Bells
3 Nick Drake: Road
4 Joni Mitchell: Woman of Heart and Mind
5 Joan Baez: Wildwood Flower
6 The Band: Up On Cripple Creek
7 Marianne Faithfull: House of the Rising Sun, Version 1
8 Joan Baez: Love is Just a Four Letter Word
9 Leonard Cohen: Halleujah
10 Simon and Garfunkel: the Boxer
11 Bright Eyes: True Blue
12 Tracy Grammer & Dave Carter: Gentle Arms of Eden
13 the Weavers: Goodnight Irene
14 Hazel Dickens & Alice Gerrard: Tiny Broken Heart
15 Peter, Paul, & Mary: 500 Miles
16 Gillian Welch: Everything Is Free
17 Jenny Lewis: Rise Up With Fists!!
18 the Magnetic Fields: Fear of Trains
19 the Mountain Goats: Idylls of the King
20 the Byrds: Wasn’t Born to Follow
21 Luke Ash: Dreams (request)
22 Luke Ash: Traveler

Folk Out 4/8/12 – Out On the Weekend

Show #12- Out On the Weekend from folk_out on 8tracks.

1 Cat Stevens: Peace Train
2 Bob Dylan: Visions of Johanna
3 Eric Andersen: Thirsty Boots
4 Gillian Welch: Annabele (request)
5 Richard Buckner: Blue & Wonder (request)
6 Townes Van Zant: the Catfish Song (request)
7 Arlo Guthrie: Days are Short
8 Bright Eyes: Out on the Weekend
9 Ani Difranco: Little Plastic Castle
10 Ben Kweller: Lizzy
11 David Rovics: No One is Illegal
12 Nick Drake: Strolling Down the Highway
13 Ian & Sylvia: Makes a Long Time Man Feel Bad
14 Ian & Sylvia: Jesus Met the Woman at the Well
15 Woody Guthrie: Jesus Christ
16 Bob Dylan: Pressing On
17 Flatbed Honeymoon: Iron Rails
18 Flatbed Honeymoon: Sweet Chicago
19 Elvis Perkins: While You Were Sleeping (request)
20 Cat Power: Silver Stallion (request)
21 the Decemberists: Calamity Song
22 Luke Ash: Itches
23 Glen Hansard & Markéta Irglová

Folk Out 4/15/12 – 60s Folk

Show #13- 60s Folk from folk_out on 8tracks.

1 Arlo Guthrie: Alice’s Restaurant Massacree
2 Tom Paxton: Lyndon Johnson Told the Nation
3 Country Joe and the Fish: Fixin’ to Die Rag
4 Tim Buckley: No Man Can Find the War
5 Crosby, Stills, Nash, and Young: Ohio
6 Buffalo Springfield: For What It’s Worth
7 Buffy Sainte-Marie: Now That the Buffalo’s Gone
8 Phil Ochs: There But For Fortune
9 Simon & Garfunkel: the Sound of Silence
10 Janis Ian: At Seventeen
11 Rodriguez: Establishment Blues
12 Blackburn & Snow: Stranger in a Strange Land
13 Bob Dylan: The Times They Are A-Changin’
14The Grass Roots: Ballad of A Thin Man
15 Joan Baez: Don’t Think Twice, It’s All Right
16 The Youngbloods: Get Together (live)
17 The Byrds: I Knew I’d Want You
18 Jefferson Airplane: High Flyin’ Bird
19 Mimi & Richard Farina: Reno, Nevada
20 Peter, Paul, and Mary: If I Had a Hammer
21 Sandy Denny and the Strawbs: And You Need Me
22 Donovan: Celeste
21 the 13th Floor Elevators: Splash 1
22 Roy Harper: Big Fat Silver Aeroplane
23 Doc Watson: Black Mountain Rag
24 Joe Cocker: With a Little Help From My Friends (live at Woodstock 1969)
25 Bob Dylan: Most Likely You Go Your Way (And I’ll Go Mine)

Like what you see? Don’t forget to check out their respective pages for more playlists you can listen to whenever you want!