Mamas en papas dating

He later did the same thing, this time resulting in a #1 hit, for Simon & Garfunkel's "The Sound of Silence." Also the producer for Dion's overlooked folk-rockish recordings of the mid-1960s.4.

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Shel Talmy: Far more famous as the producer of the early hits by the Kinks and the Who, but also a major contributor to British folk-rock as producer for the Pentangle, Bert Jansch, Roy Harper, and Ralph Mc Tell.13.Nik Venet (sometimes spelled Nick Venet): In the late 1960s, producer of laid-back folk-rockers and antecedents of Southern California country-rock and soft rock, including Fred Neil, Hearts and Flowers, Linda Ronstadt & the Stone Poneys, and John Stewart.14. The Youngbloods, "Get Together." Many artists covered Dino Valenti's classic ode to love and brotherhood, including the We Five, the Jefferson Airplane, and (in live performance) Judy Collins and Joni Mitchell. Judy Collins, "Both Sides Now." The most graceful mass folk-rock smash of the late 1960s, an example par excellence of an original early 1960s folkie growing into the folk-rock revolution with maturity, and the track that first enabled a Joni Mitchell song to reach most ears.11. A cover of a Pete Seeger song that was the ideal marriage of rock with a progressive social conscience.

The Youngbloods were not the first to do it, but they were the ones to have the biggest hit with the song, and deservedly so, as their slow arrangement and Jesse Colin Young's vocals brought out the most rousing, soulful qualities of the tune.12.

Jim Dickson: Early manager of the Byrds, and producer of their electric demos in 1964 (now available on The Preflyte Sessions).

The one who gave them nearly unlimited studio time to learn their electric instruments and perfect their harmonies, the one who brought bluegrass musician Chris Hillman into the band on bass, and the one who suggested the group cover "Mr.

Country Joe & the Fish, "I-Feel-Like-I'm-Fixin'-to-Die Rag." The funniest, and most vicious, anti-Vietnam War protest song.

Not always thought of as a folk-rock song, but it should be noted that -- in addition to boasting a psychedelic jugband flavor -- it was first recorded as an acoustic jugband folk tune on a 1965 EP, prior to the release of the famous rock version two years later on the group's second album.1.

Ochs had previously done this protest classic as a solo acoustic track.