Born to Jewish Hungarian parents in Brooklyn in 1941, Paul Simon grew up to be one of the foremost musicians of our time. He is best known for his albums with childhood friend Art Garfunkle, but I believe Simon’s solo work is where he really shines.

“American Tune” is a fine example. With its melody, guitar picking, lyrics, and overall artistry, the song comes together as a masterpiece. “American Tune” expresses the recording artist’s political disappointment in the early nineteen-seventies. The nineteen-sixties bloom of racial equality, love, and peace had already blossomed and faded.

While my favorite recording artists continued to produce heartfelt, meaningful, and exquisitely beautiful folk and folk rock music, America’s social and political evolution stalled. With the election of President Richard Nixon in 1972, the glowing hope and ideals of the prior decade receded into the background.

Paul Simon artfully captures the undercurrents of this period in this remarkable song. Despite its melancholy tone, I am deeply moved by the beauty of the words and music.

“American Tune” popped into my head unexpectedly and without warning. It literally came “from out of nowhere.” I think it did because we are about to take another evolutionary backward step under the Trump administration.

Please enjoy my cover of Paul Simon’s moving song.

I’m watching an interesting film titled “If You Could Read My Mind.” The Canadian documentary is about the life and career of Gordon Lightfoot.

Lightfoot arrived in downtown Toronto as a young man after growing up in Oridella, a small rural Canadian town. Since there were no clubs to play in at the time, Gordon landed a job in a bank to earn a living. Lightfoot was about to earn a promotion when he told his manager that he had decided to leave the bank to accept a role as an extra on a square-dancing Canadian TV show. Lightfoot’s manager found it hard to believe that the young man was leaving a good job with a future to go square dancing.

As folk music became commercially viable in the late sixties, clubs began to spring up featuring promising musicians. Gordon landed a spot in one of them. He stood apart from the crowd because he performed many of his own songs in a characteristically pure voice. After he developed a following, a club owner invited Lightfoot to perform at his club across the street at twice the salary. Lightfoot gratefully accepted the invitation to perform at the Riverboat, Toronto’s premier folk music club.

With his beautiful voice and prolific outpouring of quality music, it was only a matter of time before Warner/Reprise Records rewarded Lightfoot with a one million dollar recording contract, an unheard-of number for a Canadian singer. His first album with the new label was released in 1970 when Gordon was forty-two. Lightfoot had left United Artists after five albums because he felt they did not represent him adequately. “Sit Down Young Stranger” shipped 80,000 copies before sales stopped dead. The album “had no legs” in the industry’s parlance. Warner changed the name of the album and picked a new single to lead it off. “If You Could Read My Mind” became a runaway hit when an announcer on an important local radio station kept playing it. Sales of the album ballooned to 650,000 copies. The rest is history.

Here’s my cover of the song.

Nanci Griffith introduced her third album with its title song, "Once in a Very Blue Moon," on the Austin City Limits TV show in 1984. She sang to a live audience with her typical, bold, and beautiful voice, which continues to endear this singer/songwriter to millions of people around the world after her passing.

This poignant song could easily sound sad, but not the way Nanci performs it. With her crystal-clear voice, it actually sounds uplifting. A quality comes through Griffith's songs. It sounds to me like "nothing will ever get me down." I'm sure Nanci Griffith endured many hardships and obstacles in her life, but she always came out on top. I dedicate my cover to the memory of this inspiring woman.

The Incredible String Band burst onto the folk music scene in 1966 with the release of their first album, aptly named “The Incredible String Band.” As an avid lover and consumer of folk, I had never heard anything like their songs. The band started out as a trio composed of Clive Palmer, Robin Williamson, and Mike Heron. Williamson and Heron composed most of ISB’s music. Palmer eventually dropped out, replaced by other musicians and the girlfriends of Williamson and Heron.

Signed by Electra Records, the group produced seven albums for the label, most notably their first four, which included “The Five Hundred Spirits or the Layers of the Onion” and “The Hangman’s Beautiful Daughter.”

Through intermittent tours and appearances at prestigious venues like the Albert Hall, The Incredible String Band gained worldwide fans and international recognition from their humble beginnings in Edinburgh, Scotland.

Listen to Mike Heron’s lilting, whimsical “Painting Box” to get a sense of The Incredible String Band’s multifaceted musical range. Here’s my cover.

“Against the Wind” is regarded as one of Bob Seeger’s best songs. The lyrics are replete with the songwriter’s reflections on his youth, past relationships, and music career. The metaphor of running against the wind came from Seeger’s high school days, where he ran on the track team.

Seeger created his eleventh album, “Against the Wind,” intending to record hit songs. In other words, the artist wasn’t overly concerned with aesthetics. He wanted to make a commercially viable collection of songs, leaving it up to Capitol Records which ones to release as singles. Along with his Silver Bullet Band, Seeger certainly succeeded.

“Against the Wind” has been described as a bittersweet cross between country and rock music. The song holds an attraction for me as I look back on my life from the perspective of a 75-year-old. I’ve published eleven novels and recorded innumerable songs. Has any of it made a positive and significant impact on the world? Perhaps in a very small sense, the answer is “yes.” But the results have been far below my expectations.

I’m sure we are all, in one sense or another, running against the wind. There are things we turn away from that must be confronted. There are obstacles we must overcome if we are to move forward. Seeger ends this song with a determination to keep running against the wind no matter what it takes. I offer my cover in the same spirit.

Recorded with Audacity software–Absolutely the best free recording software out there.

John Fogerty wrote this song, in part, for his son, Josh. Josh was three years old at the time, and John could barely wait for his son to hear him sing the song on the radio, especially the part that goes: "Doot doot doo lookin' out my back door."

The song's chorus references a passing parade. Fogerty says the lyric is inspired by a Dr. Seuss book he read as a child, "To Think I Saw It On Mulberry Street."

Some people say the lyric "Won't you take a ride on the flying spoon" is a reference to cocaine or heroin. Fogrety vehemently denies this. He discouraged drug use by any of his band members, saying drugs interfered with their music and their jobs.

Credence Clearwater Revival gained prominence in the late 1960's. The band split up acrimoniously in 1972. John Fogerty is still performing as of this writing.

Here's my cover of this fun song.

Cat Stevens ( Yusuf Islam) has never publicly said what this song is about, so we are left to offer our own interpretations.

When I read the lyrics, I get a picture of a farmer of indiscriminate age waking up at the crack of dawn and looking out through a window at his fields. At the very instant when the sun rises, there is barely sound. Our farmer reflects back on his youth and how it felt every day to awaken with a song in his heart and the dreams he envisioned to pursue.

The last refrain floated into my head from out of nowhere:

"There'll be the evening,

In the end,

But 'till that time arrives,

You can rest your eyes,

And begin again."

The lyrics are beautiful and express the child-like innocence found in many of Cat Stevens' songs. I interpret this last refrain to mean: Take advantage of and be grateful for every moment you are alive.

Here's my cover.

Most of the lyrics in "Danny's Song" were inspired by a letter Kenny Loggins' brother, Dan, wrote to him in 1968 after Dan's son, Colin, was born. In the letter, Dan said he planned to marry the boy's mom, Sheila, and they planned to move to Berkley, California, even though they had no money.

Kenny Loggins wrote the song in 1970 and released it as a single. It went nowhere. Later that year, Kenny teamed up with Jim Messina and released the song on their first album, "Sittin' In." Again the song went nowhere. If nothing else, "Danny's Song" showcased Loggins' talent for capturing a feeling for a moment in time.

It was not until Anne Murray covered the song and released it as a single in 1973 that it became a hit, reaching #1 in Canada and #7 on the charts in America. The song's success put Loggins and Messina on the map.

Here's my cover.

Back in the days when recording artists released singles, "We Can Work It Out" made its debut in 1965. The Beatle's manager, Brian Epstein, felt that the other song on the record, "Day Tripper," was more commercial and so, should be the lead song. Typically, the lead song of a single is recorded on the top side (A side) and the other song (B side) goes beneath it. Since both songs became hits, the record turned out to be the first double "A" single ever recorded.

John Lennon and Paul McCartney wrote the song with Paul writing the optimistic verses and John writing the more pessimistic chorus, in this case, the bridge.

The song sprang from a disagreement Paul had with his then-girlfriend, actress Jane Asher. Jane and her mother, Margaret, had a powerful impact on Paul's life. The couple stayed together for five years from 1963 to 1968.

Here's my cover.

Cat Stevens’ song “The Boy With A Moon And Star On His Head” is a poetic and mystical tale that expresses themes of love, destiny, and the unknown and unexpected. 

The song’s lyrics are replete with metaphors and symbolism, for example, the “holy magnolia” and “naked earth,” which elicit a sense of purity and connection to the universe. Cat Stevens, known for his introspective and spiritual songwriting, uses this narrative to convey a deeper message about the power of love and the unpredictable ways in which destiny unfolds. It is a beautiful story in song, rendered in Stevens’ unique style.