Thomas Richard Paxton is an American folk singer-songwriter who has had a music career spanning more than fifty years. In 2009, Paxton received a Grammy Lifetime Achievement Award, he is noteworthy as a music educator as well as an advocate for folk singers to combine traditional songs with new compositions. Paxton's songs have been recorded, including modern standards such as "The Last Thing on My Mind", "Bottle of Wine", "Whose Garden Was This", "The Marvelous Toy", "Ramblin' Boy". Paxton's songs have been recorded by Pete Seeger, Bob Dylan, The Weavers, Judy Collins, Sandy Denny, Joan Baez, Doc Watson, Harry Belafonte, Peter and Mary, The Seekers, Marianne Faithfull, The Kingston Trio, the Chad Mitchell Trio, John Denver, Dolly Parton and Porter Wagoner, Johnny Cash, Willie Nelson, Flatt & Scruggs, The Move, The Fireballs, many others, he has performed thousands of concerts around the world. Paxton was born on October 1937, in Chicago, Illinois, to Burt and Esther Paxton, his father was "a chemist self-educated", as his health began to fail him, the family moved to Wickenburg, Arizona.
It was here. It was here that he was first introduced to folk music, discovering the music of Burl Ives and others. In 1948, the family moved to Bristow, which Paxton considers to be his hometown. Soon after, his father died from a stroke. Paxton was about fifteen when he received a ukulele, he was given a guitar by his aunt when he was sixteen, he soon began to immerse himself in the music of Burl Ives and Harry Belafonte. In 1955, Paxton enrolled at the University of Oklahoma, it was here that he first found other enthusiasts of folk music and discovered the music of Woody Guthrie and The Weavers. Paxton would note, "Woody was fearless. In college, he was in a group known as the Travellers, they sang in an off-campus coffeehouse. Upon graduating in 1959 with a Bachelor of Fine Arts degree, Paxton acted in summer stock theatre and tried graduate school before joining the Army. While attending the Clerk Typist School in Fort Dix, New Jersey, he began writing songs on his typewriter and spent every weekend visiting Greenwich Village in New York City during the emerging early 1960s folk revival.
Shortly after his honorable discharge from the Army, Paxton auditioned for the Chad Mitchell Trio via publisher Milt Okun in 1960. He received the part, but his voice did not blend well enough with those of the group members. However, after singing his song "The Marvelous Toy" for Okun, he became the first writer signed to Milt's music publishing company, Cherry Lane Music Publishing. Paxton soon began performing at The Gaslight Cafe in Greenwich Village. In 1962, he recorded a produced live album at the Gaslight entitled, I'm the Man That Built the Bridges. During his stay in Greenwich Village, Paxton published some of his songs in the folk magazines Broadside and Sing Out!, performed alongside such folksingers as Bob Dylan, Phil Ochs, Eric Andersen, Dave Van Ronk, Mississippi John Hurt. Paxton met his future wife, Margaret Ann Cummings, at the Gaslight one night in January 1963 after being introduced to her by David Blue. Pete Seeger picked up on a few of Tom Paxton's songs in 1963, including "Ramblin' Boy" and "What Did You Learn in School Today?"
Paxton increased his profile as a performer, appearing at the 1963 Newport Folk Festival, recorded by Vanguard Records. A month after Newport in 1963, Paxton married Midge, he began traveling the country on the coffeehouse and small-venue circuit before returning to New York. Paxton became involved with causes that promoted civil rights and labor rights. In 1963, Paxton and a group of other folk musicians performed and offered moral support to striking coal miners in Hazard, Kentucky. After returning to New York, Paxton signed with Elektra Records in 1964, a label which at that time featured a distinguished roster of folk musicians, he would go on to record seven albums for Elektra. As the folk revival hit its peak, Paxton began getting more work outside of New York City, including benefit concerts and college campus visits. In 1964, he took part in the Freedom Summer and visited the Deep South, with other folk musicians, to perform at voter registration drives and civil rights rallies, his civil rights song "Beau John" was written after attending a Freedom Song Workshop in Atlanta and the song "Goodman and Chaney" was written about the murders of three civil rights activists in the summer of 1964 by members of the Ku Klux Klan near Philadelphia, Mississippi.
Paxton's own compositions began to be recognized within folk music circles, in other genres. Of the songwriters on the Greenwich Village scene of the 1960s, Dave Van Ronk said, "Dylan is cited as the founder of the new song movement, he became its most visible standard-bearer, but the person who started the whole thing was Tom Paxton... he tested his songs in the crucible of live performance, he found that his own stuff was getting more attention than when he was singing traditional songs or stuff by other people... he set himself a training regimen of deliberately writing one song every day. Dylan had not yet showed up when this was happening, by the time Bobby came on the set, with at most two or three songs he had written, Tom was singing at leas
A song is a single work of music, intended to be sung by the human voice with distinct and fixed pitches and patterns using sound and silence and a variety of forms that include the repetition of sections. Through semantic widening, a broader sense of the word "song" may refer to instrumentals. Written words created for music or for which music is created, are called lyrics. If a pre-existing poem is set to composed music in classical music it is an art song. Songs that are sung on repeated pitches without distinct contours and patterns that rise and fall are called chants. Songs in a simple style that are learned informally are referred to as folk songs. Songs that are composed for professional singers who sell their recordings or live shows to the mass market are called popular songs; these songs, which have broad appeal, are composed by professional songwriters and lyricists. Art songs are composed by trained classical composers for recital performances. Songs are recorded on audio or video.
Songs may appear in plays, musical theatre, stage shows of any form, within operas. A song may be for a solo singer, a lead singer supported by background singers, a duet, trio, or larger ensemble involving more voices singing in harmony, although the term is not used for large classical music vocal forms including opera and oratorio, which use terms such as aria and recitative instead. Songs with more than one voice to a part singing in polyphony or harmony are considered choral works. Songs can be broadly divided depending on the criteria used. Art songs are songs created for performance by classical artists with piano or violin/viola accompaniment, although they can be sung solo. Art songs require strong vocal technique, understanding of language and poetry for interpretation. Though such singers may perform popular or folk songs on their programs, these characteristics and the use of poetry are what distinguish art songs from popular songs. Art songs are a tradition from most European countries, now other countries with classical music traditions.
German-speaking communities use the term art song to distinguish so-called "serious" compositions from folk song. The lyrics are written by a poet or lyricist and the music separately by a composer. Art songs may be more formally complicated than popular or folk songs, though many early Lieder by the likes of Franz Schubert are in simple strophic form; the accompaniment of European art songs is considered as an important part of the composition. Some art songs are so revered. Art songs emerge from the tradition of singing romantic love songs to an ideal or imaginary person and from religious songs; the troubadours and bards of Europe began the documented tradition of romantic songs, continued by the Elizabethan lutenists. Some of the earliest art songs are found in the music of Henry Purcell; the tradition of the romance, a love song with a flowing accompaniment in triple meter, entered opera in the 19th century, spread from there throughout Europe. It became one of the underpinnings of popular songs.
While a romance has a simple accompaniment, art songs tend to have complicated, sophisticated accompaniments that underpin, illustrate or provide contrast to the voice. Sometimes the accompaniment performer has the melody. Folk songs are songs of anonymous origin that are transmitted orally, they are a major aspect of national or cultural identity. Art songs approach the status of folk songs when people forget who the author was. Folk songs are frequently transmitted non-orally in the modern era. Folk songs exist in every culture. Popular songs may become folk songs by the same process of detachment from its source. Folk songs are more-or-less in the public domain by definition, though there are many folk song entertainers who publish and record copyrighted original material; this tradition led to the singer-songwriter style of performing, where an artist has written confessional poetry or personal statements and sings them set to music, most with guitar accompaniment. There are many genres of popular songs, including torch songs, novelty songs, rock and soul songs, other commercial genres, such as rapping.
Folk songs include ballads, plaints, love songs, mourning songs, dance songs, work songs, ritual songs and many more. Air Animal song: bird vocalization, whale song, zoomusicology Aria Canticle Hymn Instrumental Lists of songs Madrigal Poem and song Song structure Theme song Vocal music Marcello Sorce Keller, "The Problem of Classification in Folksong Research: a Short History", Folklore, XCV, no. 1, 100- 104. Jean Nicolas De Surmont, From vocal poetry to song, toward a Theory of Song Obects" with a foreword by Geoff Stahl, Ibidem
New York Public Library
The New York Public Library is a public library system in New York City. With nearly 53 million items and 92 locations, the New York Public Library is the second largest public library in the United States and the third largest in the world, it is a private, non-governmental, independently managed, nonprofit corporation operating with both private and public financing. The library has branches in the boroughs of Manhattan, the Bronx, Staten Island and affiliations with academic and professional libraries in the New York metropolitan area; the city's other two boroughs and Queens, are not served by the New York Public Library system, but rather by their respective borough library systems: the Brooklyn Public Library and the Queens Public Library. The branch libraries consist of circulating libraries; the New York Public Library has four research libraries, which are open to the general public. The library chartered as The New York Public Library, Astor and Tilden Foundations, was developed in the 19th century, founded from an amalgamation of grass-roots libraries and social libraries of bibliophiles and the wealthy, aided by the philanthropy of the wealthiest Americans of their age.
The "New York Public Library" name may refer to its Main Branch, recognizable by its lion statues named Patience and Fortitude that sit either side of the entrance. The branch was declared a National Historic Landmark in 1965, listed on the National Register of Historic Places in 1966, designated a New York City Landmark in 1967. At the behest of Joseph Cogswell, John Jacob Astor placed a codicil in his will to bequeath $400,000 for the creation of a public library. After Astor's death in 1848, the resulting board of trustees executed the will's conditions and constructed the Astor Library in 1854 in the East Village; the library created was a free reference library. By 1872, the Astor Library was described in a New York Times editorial as a "major reference and research resource", but, "Popular it is not, and, so is it lacking in the essentials of a public library, that its stores might as well be under lock and key, for any access the masses of the people can get thereto". An act of the New York State Legislature incorporated the Lenox Library in 1870.
The library was built on Fifth Avenue, between 70th and 71th Streets, in 1877. Bibliophile and philanthropist James Lenox donated a vast collection of his Americana, art works and rare books, including the first Gutenberg Bible in the New World. At its inception, the library charged admission and did not permit physical access to any literary items. Former Governor of New York and presidential candidate Samuel J. Tilden believed that a library with citywide reach was required, upon his death in 1886, he bequeathed the bulk of his fortune—about $2.4 million —to "establish and maintain a free library and reading room in the city of New York". This money would sit untouched in a trust for several years, until John Bigelow, a New York attorney, Andrew Haswell Green, both trustees of the Tilden fortune, came up with an idea to merge two of the city's largest libraries. Both the Astor and Lenox libraries were struggling financially. Although New York City had numerous libraries in the 19th century all of them were funded and many charged admission or usage fees.
Bigelow, the most prominent supporter of the plan to merge the libraries found support in Lewis Cass Ledyard, a member of the Tilden Board, as well as John Cadwalader, on the Astor board. John Stewart Kennedy, president of the Lenox board came to support the plan as well. On May 23, 1895, Bigelow and George L. Rives agreed to create "The New York Public Library, Astor and Tilden Foundations"; the plan was hailed as an example of private philanthropy for the public good. On December 11, John Shaw Billings was named as the library's first director; the newly established library consolidated with the grass-roots New York Free Circulating Library in February 1901. In March, Andrew Carnegie tentatively agreed to donate $5.2 million to construct sixty-five branch libraries in the city, with the requirement that they be operated and maintained by the City of New York. The Brooklyn and Queens public library systems, which predated the consolidation of New York City, eschewed the grants offered to them and did not join the NYPL system.
In 1901, Carnegie formally signed a contract with the City of New York to transfer his donation to the city in order to enable it to justify purchasing the land for building the branch libraries. The NYPL Board of trustees hired consultants for the planning, accepted their recommendation that a limited number of architectural firms be hired to build the Carnegie libraries: this would ensure uniformity of appearance and minimize cost; the trustees hired McKim, Mead & White, Carrère and Hastings, Walter Cook to design all the branch libraries. The notable New York author Washington Irving was a close friend of Astor for decades and had helped the philanthropist design the Astor Library. Irving served as President of the library's Board of Trustees from 1848 until his death in 1859, shaping the library's collecting policies with his strong sensibility regarding European intellectual life. Subsequently, the library hired nationally prominent experts to guide its collections policies.
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Louis "Studs" Terkel was an American author, historian and broadcaster. He received the Pulitzer Prize for General Non-Fiction in 1985 for The Good War, is best remembered for his oral histories of common Americans, for hosting a long-running radio show in Chicago. Terkel was born to Russian Jewish immigrants, Samuel Terkel, a tailor, Anna Finkel, a seamstress, in New York City. At the age of eight he moved with his family to Chicago, where he spent most of his life, he had two brothers and Meyer. He attended McKinley High School. From 1926 to 1936, his parents ran a rooming house that served as a meeting place for people from all walks of life. Terkel credited his understanding of humanity and social interaction to the tenants and visitors who gathered in the lobby there, the people who congregated in nearby Bughouse Square. In 1939, he married Ida Goldberg, the couple had one son. Although he received his J. D. degree from the University of Chicago Law School in 1934, he decided instead of practicing law, he wanted to be a concierge at a hotel, he soon joined a theater group.
A political liberal, Terkel joined the Works Progress Administration's Federal Writers' Project, working in radio, doing work that varied from voicing soap opera productions and announcing news and sports, to presenting shows of recorded music and writing radio scripts and advertisements. His well-known radio program, titled The Studs Terkel Program, aired on 98.7 WFMT Chicago between 1952 and 1997. The one-hour program was broadcast each weekday during those forty-five years. On this program, he interviewed guests as diverse as Martin Luther King, Leonard Bernstein, Mort Sahl, Bob Dylan, Alexander Frey, Dorothy Parker, Tennessee Williams, Jean Shepherd, Big Bill Broonzy. In the late 1940s and early 1950s, Terkel was the central character of Studs' Place, an unscripted television drama about the owner of a greasy-spoon diner in Chicago through which many famous people and interesting characters passed; this show, along with Marlin Perkins's Zoo Parade, Garroway at Large and the children's show Kukla and Ollie, are considered canonical examples of the Chicago School of Television.
Terkel published his first book, Giants of Jazz, in 1956. He followed it in 1967 with his first collection of oral histories, Division Street America with 70 people talking about effect on the human spirit of living in an American metropolis, he served as a distinguished scholar-in-residence at the Chicago History Museum. He appeared in the film Eight Men Out, based on the Black Sox Scandal, in which he played newspaper reporter Hugh Fullerton, who tries to uncover the White Sox players' plans to throw the 1919 World Series. Terkel found it amusing to play this role, as he was a big fan of the Chicago White Sox, gave a moving congratulatory speech to the White Sox organization after their 2005 World Series championship during a television interview. Terkel received his nickname. To keep the two straight, the director of the production gave Terkel the nickname Studs after the fictional character about whom Terkel was reading at the time—Studs Lonigan, of James T. Farrell's trilogy. Terkel was acclaimed for his efforts to preserve American oral history.
His 1985 book "The Good War": An Oral History of World War Two, which detailed ordinary peoples' accounts of the country's involvement in World War II, won the Pulitzer Prize. For Hard Times: An Oral History of the Great Depression, Terkel assembled recollections of the Great Depression that spanned the socioeconomic spectrum, from Okies, through prison inmates, to the wealthy, his 1974 book, Working, in which People Talk About What They Do All Day and How They Feel About What They Do was acclaimed. Working was made into a short-lived Broadway show of the same title in 1978 and was telecast on PBS in 1982. In 1995, he received the Chicago History Museum "Making History Award" for Distinction in Journalism and Communications. In 1997, Terkel was elected a member of The American Academy of Letters. Two years he received the George Polk Career Award in 1999. In 2004, Terkel received the Elijah Parish Lovejoy Award as well as an honorary Doctor of Laws degree from Colby College. In August 2005, Terkel underwent successful open-heart surgery.
At the age of ninety-three, he was one of the oldest people to undergo this form of surgery and doctors reported his recovery to be remarkable for someone of that advanced age. Terkel smoked two cigars a day until 2004. On May 22, 2006, along with other plaintiffs, including Quentin Young, filed a suit in federal district court against AT&T Inc. to stop the telecommunications carrier from giving customer telephone records to the National Security Agency without a court order. Having been blacklisted from working in television during the McCarthy era, I know the harm of government using private corporations to intrude into the lives of innocent Americans; when government uses the telephone companies to create massive databases of all our phone calls it has gone too far. The lawsuit was dismissed by Judge Matthew F. Kennelly on July 26, 2006. Judge Kennelly cited a "state secrets privilege" designed to protect national security from being harmed by lawsuits. In an interview in The Guardian celebrating his 95th birthday, Terkel discussed his own "diverse and idiosyncratic taste in music, from Bob Dylan to Alexander Frey, Louis Armstrong to Woody Guthrie".
Terkel published a new personal memoir entitled Touch and Go in fall 20
"Lord Randall", or "Lord Randal", is an Anglo-Scottish border ballad consisting of dialogue between a young Lord and his mother. Similar ballads can be found across Europe in many languages, including Danish, Magyar, Irish and Wendish. Italian variants are titled "L'avvelenato" or "Il testamento dell'avvelenato", the earliest known version being a 1629 setting by Camillo il Bianchino, in Verona. Lord Randall returns home to his mother after visiting his lover. Through the mother's inquiry, it is revealed that the Lord has been poisoned by his lover, who has fed him poisoned eels. In some variants, Lord Randall dictates his last will and testament after realizing he has been poisoned, his lover's motive for poisoning him is never discussed. In 1962, Bob Dylan modeled his song "A Hard Rain's A-Gonna Fall" on "Lord Randall", introducing each verse with variants of the introductory lines to each verse of "Lord Randall". Dylan's ballad is interpreted as a reaction to the Cuban Missile Crisis. Dylan himself disclaimed this as an oversimplification, in reality, Dylan first publicly performed the song a month before the crisis.
List of the Child Ballads Digitised copy of Lord Randal in James Johnson's Scots Musical Museum, printed between 1787 and 1803, from National Library of Scotland. JPEG, PDF, XML versions. Traditional English Lute Songs - Lord Randall A painting of the poisoning of Jimmy Randall appears on Kentucky artist and ballad singer Daniel Dutton's web site: "Ballads of the Barefoot Mind" Italian version "L'avvelenato"
Don't Think Twice, It's All Right
"Don't Think Twice, It's All Right" is a song written by Bob Dylan in 1962, recorded on November 14 that year, released on the 1963 album The Freewheelin' Bob Dylan and as a single. In the liner notes to the original release, Nat Hentoff calls the song "a statement that maybe you can say to make yourself feel better... as if you were talking to yourself." It was written around the time. The melody is based on the public domain traditional song "Who's Gonna Buy Your Chickens When I'm Gone" and was taught to Dylan by folksinger Paul Clayton, who had used it in his song "Who's Gonna Buy You Ribbons When I'm Gone?" As well as the melody, a couple of lines were taken from Clayton's "Who's Gonna Buy You Ribbons When I'm Gone?", recorded in 1960, two years before Dylan wrote "Don't Think Twice". Lines taken word-for-word or altered from the Clayton song are, "T'ain't no use to sit and wonder why, darlin'," and, "So I'm walkin' down that long, lonesome road." On the first release of the song, instead of "So I'm walkin' down that long, lonesome road babe, where I'm bound, I can't tell" Dylan sings "So long, honey babe, where I'm bound, I can't tell".
The lyrics were changed when Dylan performed live versions of the song and on cover versions recorded by other artists. In addition to its original release, the song has appeared on several of Dylan's greatest hits compilations, including Bob Dylan's Greatest Hits Vol. II, The Best of Bob Dylan, The Essential Bob Dylan. Another version of the song, recorded as a demo for Dylan's music publisher M. Witmark & Sons in 1963, was included on two releases in Columbia's Bootleg Series: Vol. 7: No Direction Home: The Soundtrack and Vol. 9 – The Witmark Demos: 1962–1964. In addition, live versions have been released on Before the Flood, Bob Dylan at Budokan, The Bootleg Series Vol. 6: Bob Dylan Live 1964, Concert at Philharmonic Hall, Live at The Gaslight 1962, Live 1962-1966: Rare Performances From The Copyright Collections. It has been argued that the guitar on the original version of the song, which features a fast fingerstyle, was played by Bruce Langhorne. In live performances, Dylan strummed the chords, or flatpicked, but in a similar, fast-paced manner.
Moreover, the 1963 "Witmark demos" version of the song has Bob Dylan finger-picking, in a similar manner to the original 1962 recording. Furthermore, a recording of an April 1963 concert in New York City contains a live version of "Don't Think Twice", finger-picked in a manner similar to that heard on the original recording; the song was used on the television series Mad Men, Friday Night Lights, Men of a Certain Age. It was used in Nancy Savoca's 1991 film Dogfight, starring River Phoenix and Lili Taylor, it was featured in the BBC Scottish sitcom series, Still Game in the final episode, Over the Hill, played in the final scenes of the show. Bob Dylan–vocals, acoustic guitar, harmonica "Don't Think Twice, It's All Right" has been covered by Willie Nelson and Merle Haggard, Peter and Mary, Esther & Abi Ofarim, who recorded a version in French and Dee Dee, Bobby Darin, Glen Campbell, Dolly Parton, The Seekers, John Anderson, Randy Travis, Arnaldo Baptista, The Georgia Satellites, Melanie, Johnny Cash, Ed Sheeran, Bobby Bare, Jackie DeShannon, Gordon Lightfoot, Davey Graham, Ralph McTell, Rory Gallagher, Stone the Crows, Elvis Presley, Burl Ives, Waylon Jennings and Scruggs, Steve Young, Donavon Frankenreiter, Ramblin' Jack Elliott, Jerry Reed, Joan Baez, Joshua Radin, Doc Watson, The Waifs, Vonda Shepard, John Martyn, Elliott Smith, Billy Bragg, Frank Turner & Mark McCabe, Nick Drake, Sandi Thom, Susan Tedeschi, Emily Haines and the Magical Orchestra, Boris Grebenshchikov, Jackie Greene, Ben Lee, Bryan Ferry, Julie Felix, Wolfgang Ambros, Arlo Guthrie, Tristan Prettyman, Bree Sharp, Gavin Castleton, The Folkswingers, O.
A. R. with Matt Nathanson and Mike Ness, The Kingston Trio, David Wiffen, Billy Paul, guitarist Lenny Breau, Ryan Montbleau, John Mayer, Albert Hammond Jr. The Allman Brothers Band, Emilie-Claire Barlow, Cock Robin and the Hawk, Eddie from Ohio, Barbara Dickson, Chris Thile, Brad Mehldau, Kronos Quartet, Drew Holcomb and The Neighbors, Milky Chance, Eastern Conference Champions, Post Malone, Jess & Matt, Lill Lindfors, Nick Takenobu Ogawa; the Peter and Mary cover was the definitive single, reaching #9 pop Billboard Hot 100, #2 easy listening on Billboard's charts. Eric Clapton performed, to critical acclaim, a blues rendition of the song at the 1992 30th Anniversary Concert Celebration in Dylan's honor; the Four Seasons released a cover of the song as a single in 1965 under the pseudonym The Wonder Who? Their "joke" version reached the #12 position on the Billboard Hot 100 chart, sold one million copies. List of Bob Dylan songs based on earlier tunes