We who believe in freedom should not rest, until the killing of black men, a black mot, son, becomes as important to the rest of the country as the killing of a white mother's We who believe in freedom cannot rest until this happens. Ella Baker 1903-' Portrait of Ella Baker on this page by Sharon Riley. Dear Friends, I was seven years old in the summer of 1964 and I have never been to Mississippi. While attending college at Kent State University, I became familiar with the names Ella Baker; Fannie Lou Hamer; Medgar Evers; and Goodman, Schwerner, and Chaney. I was enamored of their courage and conviction , and eventually, I became absorbec in creating a lasting tribute to them and to their timeless quest for justice. The creation of the Mississippi Freedom Summer Project is, in every way , evolutionary and a labor of love. This musical collection and forthcoming anthology was born while I was in graduate school researching songs from the Civil Rights Movement. Digging through issues of Broadside magazine from the early 60's, I noticec that the most powerful and provocative pieces capturec the brutality committed against those who dared to eradicate the segregation and racist status quo in Mississippi. There, in the summer of 1964, close to one thousand college students from the North joined civil rights workers in a dangerous operation to bring about social reforms for southern blacks, including voting rights, better schools, and adequate housing. Their passion and purpose filled the pages of this national song magazine, where the story of the Mississippi Freedom Summer unfolded, at once urgent and eloquent. Like an explorer who discovered a buried treasure, I had to share my riches with the rest of the world. I began by weaving this information into an arts-empowerment program for at-risk, low-income youth and children in Washington, D.C. Not surprisingly, most of my students had been denied exposure to the events and individuals who made possible the Mississippi Freecom Summer, as American history texts typically make cursory, if any, reference to one of the country's most decisive initiatives for social change. Realizing something more had to be done, I put all of my energies and limited resources into developing a national forum for Freedom Summer participants to document their legacies in a non-commercial format , unscarred by censorship and media distortion. Literally hundreds of people have supported my efforts, in a generous offering of articles, testimonies , and the cherished lyrics and melodies included here. I'm careful to remind you, however, that this collection is not meant to be a historical account; rather, it is a retrospective reminiscent of the racial discrimination and economic disparity that continues today I dangerously ignored and inexcusably dismissed. Nor is this project all inclusive. Hundreds of Freedom Summer volunteers were never located, and others have never forwarded their materials despite their initial enthusiasm and my repeated requests. Perhaps, they feel their recollection has been tempered by the passage of time; or, conversely, their memories have proven too difficult to record . It is, nevertheless, a fine tribute, which I have dedicated to the memory of Ella Baker. Ella's name is not widely known among the general public, but to those inside the movement, her uncompromising mission and inspiriting presence were a sustaining force . I am also proud to present this project in honor of Emmett Till , Medgar Evers, Michael Schwemer, Andrew Goodman, James Chaney ... and all those who gave their lives to the ongoing struggle for racial equality and social justice. Freedom Is a Constant Struggle has touched my life in many ways. The captivating power of the material and the wonderful people I met made this experience one of the most rewarding in my life. It is my hope that the songs assembled for this collection stir the emotions of the listener as they have mine, and that they are shared with generations to come . In Peace, Susie Erenrich Executive Director Cultural Center for Social Change A Note About This Recorded Collection This historical album contains analog as well as digital source material, some of which was recorded live more than 30 years ago. Every attempt has been made to obtain original master recordings and capture the best possible sound. Some of the original master recordings had inherent problems, but capturing the song in its historical context was more vital than attempting to obtain more contemporary material. IlISCl 1. Hey Nelly Nelly, pertonne<! by .llly CoIlns Silverslein-Freidman, Hollis Music, Inc., BMI. Used by pennissioo 01 Eleklra Records. From 'Judy Collins 13.' 2. Heres To The Stafe Of MIssisSippi, arrange<! ar<! pertonne<! by I'tlII Ochs WOlds ar<I music by Phil Ochs, Wamer BrothelS, ASCAP Producec urxIer lICense flom Eleklra Enlertairmenl Taken Irom 1l1ere Bul For FOr1lJ1e' 3. 8<Jllad Of Medgar Evers, Ie<! by MaIIhew.kroes, pertonnec by the St«:C Freedoot Si'QeIs. Recorde<! in Allanla GA, include<!thrOl.\lh courtesy of Phonogram, Inc. Used by pennissioo of Matthew Jooes ar<! The Smithsonian Institution. Taken from "Voices of the Civil Rights Movement Black American Freedom Songs, 1960-1966.' 4. Deafh Of Medgar Evers, perlonned by DooaIl.eace. Words ar<! music by Tom Paxlon. No previoos recooIl\!. C Deep Fori< Music, Inc. Recon1ed for IhIs alllm 5. Onfy A Pawn fn Therr Game, pertonnec by Bob IJyIa1. Words ar<! music by Bob Dylaf\ Special Wriler Music. Use<! by pennissi., of ColllTIbia Records. Taken from 1l1e Times They Are A-Changin'.' 6. Too Meny Martyrs. pertonnec by KIn & Raggio Hanis. Words by Phil Ochs. MusK: by Phil Ochs ar<I Boll Gibsoo. Applesee<l Music, ASCAP Used by pennissioo of the Ochs Eslate. Newly ooxded lor IhIs abm. 7 Bfowm' fn The WInd, pertonne<! by Pel8r, PIli & MaIy. Words ar<I music by Bob Dylan, Special Wriler Music. Produced tJ'Ider license from Warner Brolhers Records Inc. Taken from "Ten Years Together." 8. If fsn7 Nice, pertormed by .Illy CoIlns. Words ar<I music by Malvina Reynold~ music by Malvina Reynolds and Barbara Dane, Schroder Music, ASCAP. Used by pennission of Eleklra Records. Taken from 'Judy Collins' Fillll Album.' 9. Ain! Gonna Lef Notxldy Turn Me Round pertormed by .iji.o lasIBr Adaplatioo of Iradili",,1 song by members of the Albany Movement Newly ooxded for IhIs abm. 10. Hammer Song, pertonnec ar<I arrange<! by IIafbn Dn. Words ar<I musrc by Lee Hays ar<I Pele Seeger, TAO 0 1958 (renewe<!) & 1962 Ludlow MusK: Inc. Use<! by pennissi., 01 Dreadnaughl Mus~, 8M1 11 Gomg Down To MlsslsslPP~ pertonne<! by f'tIII Ochs. Words ar<! music by Phil Ochs, c.,lrolle<! by the Estate of Phil Ochs. Used by permissioo of Rhino Records, Inc'/Archives Alive Records. Taken from "A Toas l To Those Who Are Gooe.' 12. 1m On My Way, perfonned ar<! arranged by BaIbor.! DIrre. Adaplalioo 01 a lradilional song. Used by pennission 01 Dreadnaughl Music, BMI. 13. Thirsfy Boofs, perfonne<! by EI1c ArdeBen. Words ar<I music by Eric Ar<!erse~ Deep Fori< Music (SBK Unile<! Partnership lid.) Use<! by pennissioo 01 Vanguald Records, a We~ Music Group Company. Taken Irom 1l1e Besl of Eric ArxIersen' 14. Garry If O~ pertonnec by CaroIy!l Hester (accompanied by David BllITIe). Words ar<I music Gil Tumer, o TAO (1964) & Melody Trails, Inc. (1965). Use<! by pennissi., of Re<! River Productions, Inc. Newly ooxded for !his alllm 15. Wade fn The Wafer, pertonned by .iji.o lasIBr. Tradilional spirilual. Newly ooxded for IhIs alllm 16. Move On Over, pertonned by Len Chorder, produced by Tim Horrigan. Words by Len Chandler, lune lradiliooal (John Brown's Body, Batlle Hymn of Ihe Republic), @ DARHE Music, Inc. Newly ooxded for 1IIIs alliin. No previoos I8COIlII\I. 17. 1m Gorng To Gef My Baby Out Of jail, pertonne<! by Len ChrldIer, produced by Tim Horrigan. Words ar<I music by Len Char<ller~ARHE Music Inc. Newly ooxded for 1IIb alliin. 18. Waves Of FreerJom. pertonnec by Er~ ArxIersen Words ar<I music by Eric Ardersen, Deep Fori< Music Use<! by pennlSsroo 01 Vanguard Records, a Welk MusK: Group Company Tak., flom 'A Crullry Dream' 19. This Wife Ughf Of Mine, pertonne<! by Odella. Tradili.,al song. Use<! by pennissioo of Pookie Tree Mesrc, Rose Quartz Records, ar<I Flyil'l,l Fish Records, Inc. Taken lrom 'Movin' II D~' 20. How Long pertorme<! by MagpIe (Tony l.oooi1o & Greg AI1znor) ar<I KIn & Rogglo Hanis. Words ar<! music by Phil Dchs. No previoos recooIl\!. DISC 2 t Movin' II O~ perlormed by Odella. Words aOO ""sic by Odella. Used by permlSSIoo 01 Pook" Tree Music, Rose Quartz Records ar<I Flying Fisli Records, loc. Taken Irom "Mev in' It On: 2. AmI You Gal A Righi To The Tree 01 We, perlormed by QJy lIId ClIIdIe t:arawal. Words aOO roosic by Guy Caraw~ C (1965, 1985) by Stormking MuSiC, 8M1. Title Irom an old Jam's IslaOO, SC, chant as sung by loci Murphy. Choral arrangement by Pete Seeger. Used by permissioo 01 Flying Fish Records, loc. Taken Irom "Ain't You Got A Right To The Tree 01 lile: 3. Freedom School, pertormed by Jad< llIIdnll. Words aOO music by Jack laOOron. Used by permission 01 Vanguard Records, a Welk Music Group Company Taken lrom "Jackie Washington at Club 47: 4. Song For Ben Chaney. perlormed by Jad< LnIIm. Words ar<I ""sic by Jack laOOroo Used by permissioo 01 Vanguard Records, a Welk Music Group Company. Taken Irom "Jackie Wasliingtoo at Club 47" 5. Goodma~ Schweme( and Chaney, perlormed by Tom I'aldoo.