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Vietnam/The Sixties 2, Sixties Literature 1

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(ALPERT, Richard). BABA RAM DASS to (DYLAN, Bob)

1. (ALPERT, Richard). BABA RAM DASS. Be Here Now. (San Cristobal): (Lama Foundation) (1971). Alpert's enormously popular autobiography and guidebook to enlightenment, first published a year earlier in a different form in an edition of 300 copies under the title From Bindu to Ojas. While others before Alpert--notably Aldous Huxley and Alan Watts--had laid the groundwork, Alpert's book was a bestseller, being reprinted numerous times and selling hundreds of thousands of copies--the first such book to reach a mass audience in the West. Its success encouraged further, similar efforts by others and opened the floodgates for the exploration and acceptance of diverse philosophies and perspectives--bringing cultural diversity to mainstream consciousness and fostering what has come to be known as the "New Age" movement. Probably no other single book was as pivotal in helping East meet West. Alpert was Timothy Leary's colleague in the Harvard experiments with LSD in the early Sixties. This copy is inscribed by the author: "____ -/ In the book written/ by nobody & owned by nobody/ we meet to know God/ Ram Dass." This page, the first blank, is detached from the text. It bears an additional owner name, and the inside front cover has an elaborate gift inscription. Only issued in wrappers, a good copy and, because the book was reprinted many times, very scarce in the first printing, let alone inscribed.

2. (Anthology). Playboy Interviews. (Chicago): Playboy Press (1967). Sixteen interviews from Playboy, spanning the years 1964-66, and focusing on a number of the most influential figures of the decade, including the Beatles, Martin Luther King, Malcolm X, Timothy Leary, Ayn Rand, Jean-Paul Sartre, Vladimir Nabokov, Ian Fleming, and Frank Sinatra, among others. Slight soiling to top edge; near fine in a very good, edgeworn dust jacket partially split at the rear spine fold.

3. (Anthology). Mark in Time. San Francisco: Glide (1971). Photographs of poets, with excerpts from their work selected by the poets themselves. Contributors include Richard Brautigan, Gary Snyder, Allen Ginsberg, Lawrence Ferlinghetti, Kay Boyle, Ishmael Reed, and many others. Oblong quarto, heavily illustrated. Page edges foxed; else fine in a heavily edgeworn dust jacket, about good.

4. (Art). Starart. (DeWinton): (Starart) (1979). Artwork by a number of prominent figures from the Sixties: folksinger Joni Mitchell, blues musician John Mayall, Cat Stevens, Klaus Voormann (who did the cover of the Beatles' album, Revolver), Ron Wood of the Small Faces and, later, the Rolling Stones, and Commander Cody, of the quintessential Sixties bar band, Commander Cody and His Lost Planet Airmen. Drawings, paintings, sculpture, etc. Oblong quarto. Fine in a very good, foxed dust jacket with a small chip at the front spine fold.

5. BACH, Richard. Jonathan Livingston Seagull. (NY): Macmillan (1970). The very scarce first edition of one of the most popular examples of the pop literature of the time--a huge bestseller that went into dozens of printings. As a small, cult item, the book enjoyed considerable counterculture respect--as a follow-your-own-muse fable. Its enormous commercial success provoked a scornful backlash that was aided by a rather insipid film version a couple of years later. Gift inscription front flyleaf; else fine in a fine, price-clipped dust jacket with trace wear at the crown. Extremely scarce, and a book whose success is a testament to the characteristics of a particular moment in time.

6. -. Same title, the deluxe edition, bound in leather (or "leatherette"), slipcased and signed by the author. From the sheets of the sixteenth printing. A fine copy in near fine slipcase.

7. (Beats). KNIGHT, Arthur and Kit. The Beat Diary. (California, PA): (n.p.) (1977). A review copy of this anthology, which collects Ginsberg, Kerouac, Burroughs, Cassady, Snyder, Ferlinghetti, Corso, Di Prima, Huncke, and John Clellon Holmes, among others. Signed by Fred W. McDarrah. With an 8 1/2" x 11" handwritten review slip signed by the editors. Quarto; wrappers. Mildly rubbed and with a few creases; about very good. The review slip is edgeworn from overhanging the covers. Issued as Volume 5 in the Knights' then-ongoing tribute to the Beat movement, The Unspeakable Visions of the Individual.

8. (Beatles). Love Letters to the Beatles. (London): Anthony Blond, 1964. Small illustrated quarto printing approximately sixty of the more desperate and comical of the hundreds of thousands of letters the Beatles received that year (e.g., "Dear Beatles, This is my 43rd letter to you. Please answer quick, I am desperetely [sic] running out of stamps..." and many more equally, or more, poignant-- "Is it true that instead of seeing screaming girls in the audience all you really see is a lot of screaming dollar signs?..."). Near fine in a very good dust jacket with a few edge tears and tiny chips.

9. (Beatles). ALDRIDGE, Alan, ed. The Beatles Illustrated Lyrics 2. NY: Delacorte Press/Seymour Lawrence (1971). A review copy of the first American edition. Beatles lyrics, illustrated in color and black and white by a multitude of artists in a variety of media, with each song bearing a brief explanatory blurb by a Beatle. The book was issued after the group's break-up, and the last song included is "Goodbye." After which, John writes: "I was the dreamweaver, but although I'll be around I don't intend to be running at 20,000 miles an hour trying to prove myself. I don't want to die at 40." Pages browning with age; near fine in a near fine dust jacket with one edge tear.

10. BLAZEK, Douglas. Broken Knuckle Poems. (Cleveland): (Black Rabbit Press) (1969). A volume of underground poetry, dedicated to Charles Bukowski. One of 500 copies. "© Douglas Blazek, 1969" handwritten by the author on verso of title page, and several corrections to the text in his hand. Mimeographed sheets; split at crown; else near fine in wrappers.

11. BRAUTIGAN, Richard. Lay the Marble Tea. San Francisco: Carp Press, 1959. His scarce third book, and first collection of poems (his earlier two books were each a single poem). Published a year after his first book, The Return of the Rivers. A small pamphlet, printing twenty-four poems, with a cover illustration by Kenn Davis, and an epigraph by Emily Dickinson, from whom the title is taken. Wrappers foxed, creased on the rear panel, and splitting an inch or more from each end of the spine, causing one 1/4" horizontal tear to the front panel. A good copy only, but exceedingly rare.

12. BRAUTIGAN, Richard. Karma Repair Kit: Items 1-4. (n.p.): Communication Company (n.d.) (c. 1967). Broadside, 8 1/2" x 11", printed in black. Slight sunning to a portion of the page, and a bit of wrinkling causing a small tear; overall a very good copy of this ephemeral piece.

13. BRAUTIGAN, Richard. The Pill Versus the Springhill Mine Disaster. San Francisco: Four Seasons (1968). Writing 20 in the Four Seasons Foundation series, a collection of poems. Issued in wrappers (there was an edition of 50 signed hardcovers--the only hardcover edition). Small wrinkle at base of spine, but still fine; a nice copy of this collection.

14. -. Another copy. Fading to spine and sunning along spine; near fine.

15. BRAUTIGAN, Richard. Rommel Drives on Deep Into Egypt. NY: Delacorte (1970). The hardcover issue of this collection of poetry. Very near fine in a price-clipped dust jacket that has a couple of short edge tears and slight wear at the spine extremities; about near fine.

16. -. Same title, the simultaneous issue in wrappers. Trace spine-rubbing; else fine.

17. -. Another copy of the issue in wrappers. Remainder stamp bottom edge of pages; small hole-punch front cover and one small edge chip. Very good.

18. BRAUTIGAN, Richard. The Abortion: An Historical Romance 1966. NY: Simon & Schuster (1971). The uncommon hardcover edition of this novel. Remainder stripe bottom edge of pages otherwise fine in a slightly spine-faded, very good dust jacket.

19. BRAUTIGAN, Richard. Revenge of the Lawn. Stories 1962-1970. NY: Simon & Schuster (1971). A review copy of the simultaneous issue in wrappers. Fine.

20. -. Another copy. Owner name; very good in wrappers.

21. BRAUTIGAN, Richard. Willard and his Bowling Trophies. NY: Simon & Schuster (1975). One of the novels from the middle period of Brautigan's career, when he was experimenting with different approaches to traditional "genre" novels, this one being sub-titled "A Perverse Mystery." Remainder mark; near fine in a near fine dust jacket.

22. BRAUTIGAN, Richard. The Tokyo-Montana Express. NY: Delacorte/Lawrence (1980). The publisher's copy of this collection of short prose pieces, depicting stops on a mythical train route from Montana to Tokyo, imbued with Brautigan's characteristic gentle whimsy and humor. Bound in full leather with raised bands, gilt stamped, top edge gilt, and marbled endpapers. While it is not known how many copies would have been done in this way, a reasonable guess would be that there were only two--one for the author and one for the publisher. Indeed, while we have seen such bound copies of modern literary titles fairly often, they have always been in the authors' own collections, and we have only ever seen single copies of a given title. Near-unique, and thus one of the scarcest of all Brautigan items. Very slight rubbing at extremities of spine, but still fine. From the library of Seymour Lawrence.

23. (Bread and Puppet). Bread and Puppet Newspaper No. 5. (n.p.): (n.p.) (1967). A 32 page booklet, 4 1/4" x 5 1/2", mimeographed, using words from The New York Times and the Lamentations of Jeremiah together with simple line drawings to tell the story of the destruction of the villages of Ben Suc, Rach Hap, Bung Cong and Rachkien. Bread and Puppet was a political theater troupe started in New York in the early Sixties by German puppet master, Peter Schumann. They were renowned for their street theater and later for their massive puppets, some of them more than 40 feet tall. Their annual Bread and Puppet Circus is an ongoing event every summer on their farm in the Northeast Kingdom of Vermont, drawing tens of thousands of people from all over the East Coast for two days of theater and pageantry with a political and moral edge. Stapled pages; very near fine.

24. BRUCE, Lenny. How to Talk Dirty and Influence People. (Chicago): Playboy Press (1965). Autobiography of the comedian who redefined standup comedy in the Sixties, giving it a social relevance it had previously shed. Fine in a very good, rubbed and price-clipped dust jacket with modest edgewear.

25. BRUCE, Lenny. Lenny Bruce's Interviews of Our Times. (San Francisco): Fantasy, (n.d.). Fantasy 7001, 12" Hi-Fi Long Playing Microgroove (red) album of this ground-breaking comedian's shticks, some of which are marked by the publisher with a double asterisk, to indicate "Suitable for air play ONLY if station plans to terminate broadcasting activities." Fine in a near fine sleeve, which is slightly browned with age, with an insert listing the publisher's other recordings available (including two other Bruce albums, Howl and other poems by Allen Ginsberg, and more).

The Only Copy of an Unpublished Bukowski Book

26. BUKOWSKI, Charles. The Other. [Hamburg: Gingko Press, n.d.]. The only copy of this book, never published in this form. Published several years later in an illustrated edition. A story by Bukowski which was going to have been published by the Gingko Press in Hamburg, but the project was canceled. This is the printer's dummy (labeled #1/1) and is as close to publication as the book ever got. Attractively designed on sheets that would have been a mockup of the final design had the project gone forward. With a signed drawing by Bukowski tipped to the front cover. Soft covers, tenuously tapebound; otherwise fine. The earliest form of this title, and the unique, single example of this edition. A Bukowski rarity.

27. BUKOWSKI, Charles. Notes of a Dirty Old Man. North Hollywood: Essex House (1969). Paperback original of this novel which was published as soft core pornography but which ended up being a pivotal volume in expanding the definition of what constituted serious literature in the late Sixties. The publisher folded shortly after this book came out, but Bukowski went on to become a countercultural icon, and his writing--most of it no more or less "pornographic" than this--to be universally acknowledged as "literary" and the work of a significant artist. Owner name in pencil on first page. Light stains along spine edges; very good in wrappers.

28. BURROUGHS, William and GYSIN, Brion. The Exterminator. (San Francisco): Auerhahn, 1960. Collaboration between these longtime friends. Printed by Dave Haselwood, who later reissued this title under his own imprint in 1967. The edition is estimated by the bibliographer at 1000 copies. Covers and four illustrations by Gysin. Owner name on flyleaf; near fine in wrappers.

29. CASSADY, Neal. The First Third. (San Francisco): City Lights (1971). "A partial autobiography & other writings"--the posthumous first book by the legendary friend/sidekick of Jack Kerouac--model for "Dean Moriarty" of On the Road--and the driver of Ken Kesey and the Merry Pranksters' famous bus, Furthur. Cassady and Kerouac corresponded throughout the late Forties and Fifties, and Cassady's letters were said to have inspired the free-flowing style that Kerouac adopted for On the Road and his later novels. None of Cassady's own writings, however, were published in his lifetime. Only issued in softcover. Near fine in wrappers.

30. CASSADY, Neal. Grace Beats Karma. NY: Blast (1993). A collection of Cassady's letters from prison, 1958-60. Cassady was sentenced to 5 years in San Quentin for selling three marijuana cigarettes to an undercover agent. This collection of letters bridges the gap between his days with Kerouac and the Beats in the late '40s and early '50s and his period as a counterculture icon in the early and mid-'60s. This is the issue in wrappers. Slight edge-rubbing; else fine.

31. (CASSADY, Neal). PLUMMER, William. The Holy Goof. Englewood Cliffs: Prentice Hall (1981). A biography of Neal Cassady, beatnik extraordinaire. The only full-length biography to date. Fine in a near fine dust jacket with four small holes on the rear panel.

32. (CASSADY, Neal). Spit in the Ocean 6. (Pleasant Hill): (SITO) (1981). "The Cassady Issue." Edited by Ken Babbs, and with input from William Burroughs, Ken Kesey, Larry McMurtry, Jerry Garcia, John Clellon Holmes and many others. Also including previously unpublished manuscript material of Cassady's. Fine in wrappers.

33. -. Another copy. Very good.

34. CASTANEDA, Carlos. The Teachings of Don Juan. Berkeley: U. of California Press, 1968. The author's first book, originally presented as a scholarly work, later seen as a popular culture landmark, and still later debunked by a number of serious critics as fiction. Still, the premise of the book, as described on the dust jacket copy--"It has been assumed that the West has produced no way of spiritual knowledge comparable to the great system of the East. The present book is accordingly nothing less than a revelation..."--gives a fair indication of its true impact, regardless of whether it is fact or fiction: it popularized the idea that there were significant, coherent spiritual disciplines among Native American cultures, which has since been borne out by any number of more traditional anthropological investigations. In so doing, it played an important role in revising the popular Western view of Native American cultures, and helped fuel the cultural renaissance that has taken place among Native Americans in the past three decades, a renaissance that has had a significant impact on mainstream Western culture. The Teachings of Don Juan is one of the most important books published in the U.S. in the 1960s, for its far-reaching impact on our view of the nature of spirituality and the metaphysical--with implications on everything from politics to ecology. Fine in a very good, rubbed dust jacket with one edge tear. This book was later reprinted by Simon & Schuster, in an edition that has the earmarks of a first printing but is actually a later edition, and Castañeda's later books became bestsellers upon publication, but the first edition of this title is very scarce.

35. (Civil Rights). HANSBERRY, Lorraine. The Movement. NY: Simon & Schuster, 1964. Quarto. Photographs of the civil rights struggle at a critical point in its history--just after the march on Washington, D.C., on August 28, 1963 at which Martin Luther King gave his immortal "I Have a Dream" speech, and the bombing, three weeks later, of a church in Birmingham, Alabama, which killed four young girls, aged 11 to 14. At the time, the Civil Rights movement was torn between the pull of the non-violent, integrationist approach advocated by King and the separatist impulse being advocated by Malcolm X and the Black Muslim and Black Nationalist movements. Hansberry, the African-American playwright and winner of the New York Drama Critics Circle Award in 1959 for A Raisin in the Sun, documents this moment carefully, with her brief text supplemented by photographs, most of them by Danny Lyon. Other photographers include Jill Krementz and Robert Frank. Near fine in wrappers.

36. (Civil Rights). Mississippi Free Press. Jackson, MS: February 22 - August 1, 1964. Newspaper-format newsletter of the early-'60s civil rights movement in the Deep South. Sixteen issues (out of a sequence of 23). Pages acidifying; still near fine. A look, as it was happening, at the civil rights movement in the heart of the South, where it struggled against the most ingrained legal and social barriers and met the greatest resistance, both official and individual. The civil rights movement rewrote the political map of the U.S. irreversibly in the early Sixties, but at a price that is documented in such journals as this. In its combination of hopeful idealism and righteous outrage at injustice----together with a healthy dose of local politics ("112 Garbage Men Write to Mayor")----the paper provides a grass-roots view of the movement to overhaul both the entrenched legal barriers to racial equality and the prejudice that fostered such discrimination. An important document of a volatile era.

37. (Clothing). JACOPETTI, Alexandra. Native Funk & Flash. (n.p.): Scrimshaw Press, 1974. Oblong quarto, a photographic view of an "emerging folk art"--the colorful embroidery and other forms of decoration, and patching, of everyday clothing that became a defining characteristic of the Sixties counterculture. Photographs by Jerry Wainwright. This is the hardcover edition; there was also a simultaneous softcover. Near fine in a near fine dust jacket.

38. (Communes). GASKIN, Stephen. Hey Beatnik! This is the Farm Book! (Summertown): (Book Publishing) (n.d.) (c. 1973). Quarto, magazine format. The first summary of the history and values that created "The Farm," a community started by hippies in Tennessee after a cross-country caravan that started out in San Francisco. The Farm's most significant impact, so far, on mainstream society has been its promotion of the vocation of midwifery and natural childbirth, although it has also taken the role of pioneer in a number of other areas involving self-reliance, including organic farming, small publishing, etc. This is the first issue, in stapled wrappers, rather than perfectbound. Mild rubbing; near fine.

History of a Famous Commune, Inscribed

39. (Communes). The Morning Star Scrapbook. (Occidental): (Friends of Morning Star) (1973). The history of the most famous/notorious California commune of the Sixties, which was in constant legal trouble from 1966-1973 for being a haven for hippies. Morning Star, located about 50 miles north of San Francisco, was a natural destination for hippies moving out of the city, because of its reputation for openness and welcoming newcomers. Young people from Haight-Ashbury began arriving in November, 1966, and the commune's first bust came in June, 1967, when Diggers from the Bay Area came up. This copy has an autograph note laid in from Louis Gottlieb, longtime owner of Morning Star, and signed "the defendant," to Alvah Bessie, the noted radical author and screenwriter. The note is written on a copy of the court document prepared by Gottlieb, acting as his own lawyer, arguing his right to deed Morning Star Ranch to God. (It was thought, among other things, that it would be harder for the authorities to serve God with summonses for violating county ordinances than it had been to serve Gottlieb.) Quarto, only issued in wrappers. Printed on newsprint that is yellowing with age; a very good copy. The scrapbook reprints numerous photographs of Morning Star residents over the years, as well as various news articles and other items related to the ranch. An important document of the Sixties counterculture, and a unique and excellent association copy, with Gottlieb's own court argument, which is not published elsewhere. A landmark piece of counterculture history.

40. -. Another copy. Near fine.

41. (COSBY, Bill). Handbill for Salute to Dick Gregory. NY: (n.d.) (c. 1967). Cosby is to appear at New York's Fillmore East in a salute to Gregory, the African-American comedian and social activist. 5 1/2" x 8 1/2". Blue on white. Fine.

42. (CRUMB, R.). CRUMB, Dana and COHEN, Sherry. Eat It. A Cookbook. San Francisco: Bellerophon (1972). A natural foods cookbook with R. Crumb illustrations throughout and four-color Crumb illustrations on the front and rear covers. Includes a centerfold section of Crumb drawings: "Kitchen Kut-Outs!" including "Hotshot Manny Mustard," "Bad Guy Billy Beercan," and others. A humorous and down-to-earth cookbook, with an introduction that explains the reasoning behind eating natural foods, which was still something of a novelty at the time and not yet a significant factor in the mainstream dialogue on food and nutrition. Quarto. $2.50 price sticker. Near fine in wrappers.

43. (Diggers). Invisible Circus. (n.p.): (n.p.) (1967). A handbill poster announcing the Diggers' "Invisible Circus," a free "72 hour environmental community happening." Psychedelic design, with circus motif, done by Dave Hodges. 8 1/2" x 11" on lightweight paper; the same image was also used for a larger poster, printed on heavier stock; one small tear at the upper edge and pinholes at the corners; very good.

44. (Drama/Performance). HANSEN, Al. A Primer of Happenings & Time/Space Art. NY: Something Else Press (1965). A primer on the form that preceded performance art. Near fine in a near fine, spine-tanned dust jacket with a small stain on the rear panel. Illustrated with numerous photographs of various happenings. An uncommon book, published by a small, alternative press.

45. (Drama/Performance). Dionysus in 69. NY: FSG/(Noonday Press) (1970). Quarto; wrappers. A documentary history of one of the more controversial off-off Broadway performances of the late Sixties, which was groundbreaking in terms of both audience participation and also the degree of nudity and sensuality incorporated into the production. One small corner crease, light rubbing; very near fine. Includes a history of The Performance Group, which staged the play, dialogue, and photographs of the rehearsals and production.

46. (Drama/Performance). BECK, Julian. The Life of the Theater. (San Francisco): City Lights (1972). A history of the Living Theater, one of the influential radical theater troupes of the 1960s, by one of its co-founders, written in the form of short notes, reflections and meditations on the nature of theater and its relation to revolutionary consciousness and self-awareness. Owner name inside front cover; unevenly edge-sunned; otherwise near fine in wrappers.

47. (Drama/Performance). DAVIS, R.G. The San Francisco Mime Troupe: the First Ten Years. Palo Alto: Ramparts Press (1975). The hardcover issue of the definitive history of one of the most important and influential performance groups of the 1960s, which blended performance art with satire and political commentary. Heavily illustrated with photographs, drawings and reproductions of posters, and with a useful chronology of the group's history and performances. Fine in a near fine dust jacket.

48. (Drugs). High Times. (NY): (Trans High Corp.) (1974). The premier issue of the first mass market magazine devoted to recreational drug use; prior efforts in this area had been strictly "underground" publications. Includes "Terra II" by Timothy Leary. Light overall wear; very good.

49. (Drugs). Drug Tales. NY: St. Martin's (1980). An anthology edited and introduced by Duncan Fallowell. Includes "A Night on the Town" by Hunter Thompson (from Fear and Loathing in Las Vegas) and "The Heat Closing In" by William Burroughs (from Dead Fingers Talk; a shorter version opened Naked Lunch). Other contributors include Terry Southern, Anna Kavan, Mohammed Mrabet, and such classic American authors as Nathaniel Hawthorne and Edgar Allan Poe. Light foxing to top edge; else fine in a price-clipped jacket.

Proof Copy of the Suppressed First Edition of Tarantula

50. DYLAN, Bob. Tarantula. NY: Macmillan (1966). The uncorrected proof of the suppressed first edition. Dylan was within two weeks of finishing "a few changes" to the galleys when his legendary motorcycle accident halted the book's progress. The book remained unpublished for five years, during which time a mimeographed pirated edition was issued by Wimp Press, created from a copy of the proof that had been circulated. The original edition made it only to this galley stage before being pulled. According to the preface of the published book, there were "a few sets of galleys that had gone around to different people..." The accident that delayed this book also removed Dylan from the public eye for years and it was a different world--having been through the polarizing effects of the Vietnam war and the political upheavals of the late Sixties and early Seventies--when this book was finally formally published. Dylan had been eclipsed by his times, and while still a legendary figure his influence was not even a shadow of what it had been in 1966 and earlier, when he galvanized both the folk music scene and the young protest movement. Tall, ringbound wrappers. Corners creased; still about near fine. A rare state of the only book written by the legendary singer whose poetry and songs transformed both folk and rock music in the Sixties. Together with a copy of the trade edition (Macmillan, 1971), which adds an introduction explaining the history of the publication of the book. Fine in a near fine dust jacket.

51. -. Same title, the British trade edition (London: MacGibbon & Kee, 1971). Small stain on one page; some foxing to rear dust jacket flap. Still, near fine in a near fine dust jacket. The British edition omits the introduction of the American publication. In our experience, a very scarce edition.

52. DYLAN, Bob. Poem to Joanie. (Bolinas): (Amalthea Tearaway) (n.d.). By all appearances, a bootleg publication--no surprise that Dylan's words would be bootlegged: his music, along with that of the Beatles, helped instigate the entire bootleg music industry in the 1960s. This is the first separate appearance of a poem that was originally printed untitled in the liner notes of a Joan Baez album. Twenty pages, illustrated; fine in stapled wrappers.

53. (DYLAN, Bob). Broadside Ballads Vol. 1. (Cathedral Station): (Broadside Records) (1963). An LP anthology, with several Dylan songs, including "Blowin' in the Wind" performed by the New World Singers. With liner notes reproducing the music and a quote by Dylan about the song from the July 1962 issue of Sing Out magazine. Also by Dylan on this album: "I Will Not Go Under the Ground," performed by Happy Traum; "Only a Hobo & Talkin' Devil" and "John Brown," both performed by "Blind Boy Grunt," a pseudonym for Dylan himself. Album fine; laid-in liner notes, fine; sleeve very good.

54. (DYLAN, Bob). SHEPARD, Sam. Rolling Thunder Logbook. NY: Viking (1977). A journal/logbook kept by the playwright Shepard of a tour Dylan put on with his "Rolling Thunder Revue, which traveled through New England for several months playing music mostly in out-of-the-way small venues in the dead of winter. Dylan was accompanied at various times by such friends as Phil Ochs, Allen Ginsberg, Joan Baez, Arlo Guthrie, Ramblin' Jack Elliot and others. T-Bone Burnett was part of his band. Shepard originally was to have acted as scriptwriter for a movie documentary of the tour--he was to write the lines, as needed, for the principals to utter to make the production a viable effort, a sort of updated Woodstock, done in cinema veritÉ style; the movie, however, never happened, and Shepard's journal is the primary documentation of the trip in all its various aspects, for better and for worse, and as candid a view of Dylan and the entourage that has inevitably accompanied him since the early Sixties as we are likely to get. Near fine in a very good, internally mended edgetorn dust jacket.

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