There are landmark achievements in anyone’s life that define his or her self-worth. I had two \u2013 taking that first ride on my bike without anyone’s help and learning how to fingerpick a guitar. That last one was really hard because I didn’t have a guitar and I couldn’t afford lessons. I taught myself how to play on borrowed guitars and in the late 60s, I saw Mississippi John Hurt on TV, the camera blissfully zooming in on his fingers so I could see what he was doing. I bought Mississippi John’s records and kept trying and trying to play like him, just like I did with my bike. Finally, I could do it on my own.<\/p>\n
In the 60’s, every folk artist, almost without exception, had to fingerpick. The popular TV shows about the folk revival featured several fine fingerpickers like Dave Van Ronk, Doc Watson, Pete Seeger and, of course, Bob Dylan.
\nMuch more than the music, the 60s were about the lyrics \u2013 for the first time in pop music history, songs were meaningful and addressed serious issues. I vividly remember Pete Seeger’s \u201cWhere Have All the Flowers Gone?\u201d (war), \u201cIf I Had a Hammer\u201d (civil rights), \u201cTurn! Turn! Turn!\u201d (world peace) and \u201cLittle Boxes\u201d (conformity). When Dylan left Minnesota and reached New York City, it didn’t take him long to dominate the coffee house\/college music scene and when he wrote \u201cBlowin’ In The Wind\u201d in 1962, an anthem for the civil rights movement, he became larger than life. There followed several compositions termed \u201cprotest songs\u201d where the ills of the day were laid bare, such as \u201cThe Times They Are A-Changin’\u201d, \u201cMasters of War\u201d and \u201cOxford Town\u201d, which we recorded in September of 2015 (see Archives).<\/p>\n
I couldn’t help but notice at the time that there was another element insinuating itself into the fabric of contemporary music – a loveless, cold and nomadic value system that was completely against everything I believed in. Certainly, \u201cDon’t Think Twice (It’s Alright)\u201d was at the forefront of this disturbing social shift, as was almost everything written and recorded by the Rolling Stones, but this kind of social angst went much further back and also had a Canadian connection. Nova-Scotian Hank Snow had a huge hit in 1950 with \u201cI’m Movin\u201d On.\u201d and B.C. native Ian Tyson’s \u201cFour Strong Winds\u201d, which he wrote in the early 60s, is certainly one of the most iconic Canadian songs ever written. It was recorded by everyone from Neil Young to Johnny Cash and was a huge success in Scandinavia. In Sweden, the song was a hit for 60s pop band Hep Stars, whose keyboard player, Benny Andersson, went on to world fame as a member of ABBA. In Norway, the song was recorded by The Vanguards, another 60s pop band which featured guitarist Terje Rypdal, who became one of most influential artists in the Scandinavian Jazz field.<\/p>\n
Anyone interested in the nomadic, restless 60s should see \u201cInside Llewyn Davis\u201d, the masterful 2013 film by the Coen brothers. The film follows one turbulent week in the life of a struggling folk singer in 1961. It was nominated for 90 awards world-wide and won 27.<\/p>\n
Here is my fingerpicking version of Dylan’s “Don’t Think Twice (It’s Alright).”<\/p>\n
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Richard S\u00e9guin – voice and guitar<\/p>\n
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