A Mighty Wind

everyone went there.

-He was singing, he was backing people up--

-I thought I was a guitar player at the time.

If you have enough vibrato on those blue

Fender guitars, you sound like a surf king.

I was drawn to the folk music as well

and I wound up down at The Folk Place...

...and met these two guys.

I could play the guitar. I could sing right

in the middle there, mostly sang for myself.

-Not a bad-looking gent, to boot.

-No, that's true. That didn't hurt.

We ended up getting together

and it just kind of...

-It clicked.

-It clicked.

And Mr. Irving Steinbloom came down

and he signed us to Folk Town...

-...which was the label to be on.

-Terrific label.

Later on we were

kind of moved down the food chain...

...to the Folk Tone label

which was a subsidiary.

It was a decent label,

they just didn't have the distribution.

-They didn't have any distribution.

-No distribution at all.

And the covers were printed

in two colors instead of four...

...which I noticed was a problem.

And they had no hole

in the center of the record--

No, you had to provide it yourself.

So the people complained

that you'd get this vinyl, in those days...

-...and it's up to you to center it.

-It would teeter crazily on the spindle.

And that was, of course, we had

no control over that aspect of it.

They were still good records.

Good product.

If you punched a hole in them,

you'd have a good time.

It's scary but it's true

So do what the Good Book tells you to

I guess it was in about 1958

in Greenwich Village.

My partner Chuck Wiseman

and myself had gotten together...

...with Fred Knox and Bill Weyburn.

We were lucky to be joined by one

of the greatest talents of our generation...

...any generation, as a matter of fact,

Ramblin' Sandy Pitnik.

And we became the Village Folk Ensemble.

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