Posts Tagged Joan Baez

06/05/26 – Counter Culture – Midweek Song List (148)

May 8, 2026 at 6:11 am · Filed under Midweek Song List, Music ·Tagged , , , , , , , , , , ,

A young woman with long, wavy hair wearing sunglasses and a light blue top, happily holding headphones in her hands against a yellow background. The text overlay reads 'MIDWEEK SONG LIST 6 MAY 2026'.

The first Midweek Song List of May arrives with a mix that wanders from union anthems to Glam Rock debates and a closing question for Bowie loyalists. A regular reader asked us to mark May Day retrospectively with Revolution Song—we’ve obliged, though information on it remains elusive. If anyone knows more, do get in touch. We stay with the labour theme for a moment, picking up the thread from March’s nod to the General Strike with another version of We Belong to the Union!—this time delivered with gusto by Australian comedian Robin Roberts. From there we drift into Glam territory, comparing Hot Love with last week’s Ride a White Swan to see which one truly set the template. Bastille’s acoustic Pompeii brings a modern lift, Wilson Pickett reminds us what a real voice sounds like, and we close with Lulu’s take on The Man Who Sold the World. Bowie fans, your verdict is needed. The songlist appears every week on Wednesday but sometimes later on the web!

Amelia – ‘Pathways’

https://www.youtube.com/watch?v=G2pio7RzNjU
A drifting, quietly determined track that moves like someone walking through a half‑lit city at their own pace, Pathways builds its mood through soft synth washes and Amelia’s calm, clear vocal. There’s a sense of someone sorting through choices without rushing, letting the melody breathe while the rhythm nudges things forward. It’s understated but not slight, the kind of song that rewards a second listen because the emotional weight sits just beneath the surface rather than shouting for attention.

Joan Baez – ‘House Of The Rising Sun’

https://youtu.be/rD80eZ6Gxz0?si=RvRkwZEndP4SqIZO
Baez approaches this folk standard with the poise and clarity that made her such a defining voice of the 60s. Her version strips away the grit of later rock interpretations and replaces it with something colder and more fateful, as if she’s recounting a story she already knows ends badly. The guitar is crisp, the vocal unwavering, and the whole thing feels like a reminder that the song’s roots lie in warning, not swagger.

Bastille – ‘Pompeii’ (Acoustic)

https://www.youtube.com/watch?v=ytie995zY-Q
The acoustic take on Pompeii shows just how strong the bones of the song really are. Dan Smith’s voice carries a mix of urgency and melancholy, and without the big production behind him the lyrics land with more force. There’s a warmth to the stripped‑back arrangement that makes the chorus feel almost communal, as though the band are playing in a small room rather than a festival field. It’s a reminder of how good they were at crafting melodies that stick.

The Cult – ‘Spiritwalker’

https://www.youtube.com/watch?v=uod2gdVKP6c
A blast of early Cult energy, Spiritwalker mixes post‑punk edges with the beginnings of the widescreen rock they’d later embrace. Ian Astbury’s vocal has that shamanic, incantatory quality he was leaning into at the time, while the guitars churn and shimmer in equal measure. The track feels like a bridge between scenes—too atmospheric to be straightforward rock, too muscular to be goth—and that tension gives it its bite.

Lulu – ‘The Man Who Sold The World’

https://www.youtube.com/watch?v=YQARz_7uo_g
Lulu’s version remains one of the more divisive Bowie covers, partly because she leans into the theatricality rather than the unease. Her voice is bold, polished, and confident, which shifts the song’s meaning; instead of a haunted confession, it becomes something closer to a dramatic monologue. The arrangement is unmistakably of its era, but there’s a strange charm in hearing such a polished pop voice tackle something so shadowed. Whether it works is another matter entirely.

Magazine – ‘The Light Pours Out Of Me’

https://www.youtube.com/watch?v=OFGA2HbCa0A
Howard Devoto delivers this with the cool detachment that made Magazine so distinctive. The track pulses forward on a taut rhythm section while the guitars slice through with angular precision. It’s art‑rock with a sneer, but also with a sense of purpose—every part feels sharpened, deliberate, and slightly dangerous. Devoto’s vocal sits just above the fray, sounding like someone observing the world from a slight height and not entirely impressed.

Alexander Nikolov – ‘Revolution Song’

https://www.youtube.com/watch?v=ZrknnBTJU20
A curious piece, partly because so little is known about it. The song has a homemade, rough‑edged quality that gives it an earnest charm, as though it was recorded with more conviction than resources. There’s a sense of someone trying to capture a moment of political feeling without worrying about polish. If anyone knows more about Nikolov or the origins of this track, we’d genuinely like to hear from you.

Wilson Pickett – ‘In The Midnight Hour’

https://www.youtube.com/watch?v=FGVGFfj7POA
Pickett’s voice hits with the force of someone who means every word, and the groove behind him is pure 60s soul—tight, confident, and built for movement. There’s a rawness in his delivery that hints at gospel roots, but the arrangement keeps things firmly on the dancefloor. Listening now, it’s easy to imagine how electrifying this must have been live, with that horn section punching through the mix and Pickett working the room.

Robin Roberts – ‘We Belong to the Union!’

https://www.youtube.com/watch?v=vptDwRrOw3g
Roberts brings a lively, almost cheeky energy to this union anthem, delivering it with the enthusiasm of someone who knows the value of solidarity and isn’t afraid to shout about it. The performance has a music‑hall bounce that makes the message feel celebratory rather than solemn. It’s spirited, good‑humoured, and clearly made to be sung loudly in company.

Shakespears Sister – ‘Stay’

https://www.youtube.com/watch?v=Zb_Z4F0Z0fc
Few songs shift gears as dramatically as Stay. Siobhan Fahey and Marcella Detroit create a strange, theatrical tension—first with the fragile, almost celestial opening, then with the sudden plunge into something darker and more commanding. The contrast still lands after all these years. It’s a track that feels like a miniature drama, complete with a twist in the middle.

Siouxsie & The Banshees – ‘Hong Kong Garden’

https://www.youtube.com/watch?v=tyA-G_zYuKA
A burst of colour and sharp edges, Hong Kong Garden captures the Banshees at their most immediate. The guitar line is bright and insistent, almost playful, while Siouxsie’s vocal cuts through with that unmistakable mix of cool distance and pointed intent. It’s punk filtered through something more stylish and self‑aware, and it still sounds fresh.

T. Rex – ‘Hot Love’

https://www.youtube.com/watch?v=1kqbpbHbqm0
If Ride a White Swan hinted at what Glam could become, Hot Love pushes things further into the glitter‑dusted territory that would soon define the genre. Bolan’s voice has that lazy, feline swagger, and the rhythm has a looseness that feels both casual and utterly assured. You can hear the blueprint forming—stomp, strut, sparkle—and it’s easy to see why some argue this is where Glam truly took shape.

Cover image for 'Lyrics to Live By 2' by Tim Bragg featuring a vinyl record and a 'Buy Now' button. The background is yellow with black text.

Leave a Comment

A Complete Unknown: The Untold Story of Bob Dylan’s Rise By Patrick Harrington

February 14, 2025 at 4:39 pm · Filed under Film & DVD Reviews, Folk ·Tagged , , , , , , ,

A Complete Unknown is a compelling, layered biopic that delves into the early years of Bob Dylan’s rise in the folk music scene, capturing the raw essence of his artistic transformation. The film follows Dylan from his arrival in New York in the early 1960s, his immersion into the Greenwich Village folk scene, and his ascent as a cultural icon. It meticulously chronicles his relationships with key figures such as Joan Baez, Pete Seeger, Woody Guthrie, and Johnny Cash, while exploring his evolution from folk acoustic performer to the electric trailblazer who shattered conventions at the Newport Folk Festival. I like others appreciated the film’s focus on a formative chapter in Dylan’s life, rather than following the typical cradle-to-the-grave biopic format

Plot Summary

The film opens with Dylan (played with uncanny authenticity by Timothée Chalamet) stepping off a Greyhound bus into the cold, chaotic streets of New York. Drawn by the myth of Woody Guthrie, Dylan quickly becomes a fixture in folk clubs, soaking up influences and developing his distinct voice. His rapid ascent is marked by pivotal encounters: his artistic and romantic entanglement with Joan Baez, his deep admiration for Guthrie, and his friendships with legends like Pete Seeger and Johnny Cash.

The narrative builds towards the infamous 1965 Newport Folk Festival, where Dylan, armed with an electric guitar, defies purists and sparks outrage among the folk establishment. His performance was nothing short of seismic. Opening with an electrified, blistering rendition of Maggie’s Farm, followed by Like a Rolling Stone, Dylan’s transition into amplified rock shocked the audience. While some fans embraced the bold shift, others jeered and booed, feeling betrayed by his departure from traditional folk. Folk purists saw it as sacrilege, and critical reactions ranged from awe to anger. Pete Seeger himself was rumored to have been so upset that he wanted to cut the power, though accounts vary on whether this is legend or reality. Regardless, the performance was a watershed moment that redefined the boundaries of folk music and cemented Dylan’s reputation as an artist who refused to be confined by expectations.

This event also marked a turning point for Newport itself, accelerating its evolution from a folk purist haven into a more expansive musical showcase, embracing broader influences in the years that followed.

Acting and Performances

The cast is phenomenal, breathing life into their real-life counterparts. Timothée Chalamet embodies Dylan’s elusive charisma, delivering a performance that captures his enigmatic blend of arrogance, vulnerability, and genius. His ability to channel Dylan’s mannerisms and speech patterns makes for an uncannily convincing portrayal.

Joan Baez, played by Monica Barbaro is a standout. She conveys both the deep affection and lingering frustration that defined her relationship with Dylan. Baez herself has remarked that Dylan is “kind of an asshole,” and the film does not shy away from this aspect of his personality. Their tumultuous relationship is depicted with nuance, culminating in Baez’s heartbreak and her subsequent writing of Diamonds and Rust, a song laced with both admiration and regret. Baez sang of Dylan —“You, who are so good with words / And at keeping things vague” and that feels particularly poignant and true.

Pete Seeger, played by Edward Norton, and Woody Guthrie (portrayed by Scoot McNairy) serve as Dylan’s ideological compass, while Johnny Cash (played by Boyd Holbrook), his pen pal and confidant, provides warmth and camaraderie in a world where Dylan often seems isolated. The interactions between these titans of music are electric, giving the film its heartbeat.

Themes and Cultural Impact

The film does an excellent job of positioning Dylan not just as a musician but as a poet and cultural force. The central theme of artistic evolution is explored through Dylan’s constant pushing of boundaries, challenging the status quo, and redefining himself. His songs—woven throughout the film—underscore his genius as a lyricist.

The film also delves into themes of authenticity, rebellion, and the price of fame. Dylan’s journey is not just about his music but also about his struggle to stay true to himself amidst external pressures and expectations.

Historical Context

The 1960s was a tumultuous decade marked by significant cultural and political upheaval. The folk music revival, which sought to revive traditional American music, became intertwined with social and political movements, particularly the civil rights movement. Dylan’s involvement in these causes, including his performances at civil rights rallies and participation in the 1963 March on Washington, is highlighted in the film, reinforcing his status as more than just a musician.

Dylan’s evolution from folk purist to rock pioneer mirrored broader changes in the musical landscape of the 1960s. His controversial shift to electric music at the 1965 Newport Folk Festival symbolized the broader generational and cultural shifts taking place.

Final Thoughts

A Complete Unknown is a rich, evocative portrait of an artist who refused to be boxed in. It does justice to the complexity of Dylan’s character—his brilliance, his contradictions, and his relentless pursuit of something beyond labels. One character describes him as a contrarian and another as an “arsehole”. He certainly was portrayed as sometimes selfish to the point of cruelty. The film also serves as a love letter to the folk revival era, bringing to life not just Dylan, but Baez, Seeger, Guthrie, and Cash in all their glory. To give just one example, Joan Baez’s House of the Rising Sun – simply spellbinding.

I absolutely loved the music in this film which were weaved seamlessly into the narrative. Every song was a reminder of why Dylan remains one of the greatest songwriters of all time. The electrified Newport performance was a thrill to watch, and the tension it caused within the folk community only added to its historical weight. As the credits rolled, the audience stayed in their seats, completely absorbed in his words and melodies. It was a testament to the enduring power of his music.

By Pat Harrington

Leave a Comment