Television: Nov. 19, 1965

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THE ODD COUPLE is odd indeed, as an impulsive slob and his compulsively antiseptic pal set up an all-male household after their wives have left them. Spats and laughs are the daily routine.

LUV. A trio of psychic swingers try to worry themselves and each other to death as they trade neuroses and woes in Murray Schisgal's satire.

THE OWL AND THE PUSSYCAT. Bill Manhoff pits a prudish book clerk against a free-living prostitute and injects each round with hilarity as the flesh triumphs over the spirit.

Off Broadway

A VIEW FROM THE BRIDGE. Arthur Miller's minor-key drama strikes a tragic note as a longshoreman defies family tradition and society's mores because of an incestuous love for his niece.

THE DECLINE AND FALL OF THE ENTIRE WORLD AS SEEN THROUGH THE EYES OF COLE PORTER REVISITED. The fun and games that lurk beneath even the bleak surface of Depression and War are replayed in a revue of the lesser-known tunes in the Porter portfolio.

RECORDS

Folk Music JOAN BAEZ: FAREWELL, ANGELINA (Vanguard). Time and tax debts have not diminished Baez's haunting voice one iota, but they have changed her material. Forsaking her early ballads, she now warbles four Dylan tunes (including It's All Over Now, Baby Blue and A Hard Rain's Gonna Fall), launches into French, and sings Where Have AH the Flowers Gone in German—as if her English would offend.

BOB DYLAN: HIGHWAY 61 REVISITED (Columbia). Having breathed new strife into folk music's repertoire, Dylan's muse seems a little winded, and some of his new delirious diatribes have a wheezy, hollow sound. Devotees will still enjoy his rasping version of his hit tune, Like a Rolling Stone, as well as his eleven-minute talking blues, Desolation Row, where "everybody is making love or else expecting rain."

TOM PAXTON: AIN'T THAT NEWS! (Elektra). Like many another contemporary folknik, Paxton writes his own songs rather than searching Appalachia for old, impoverished ones. The result is a running satire pegged on today's headlines. With a precise, Midwest enunciation and simple guitar accompaniment, he sings out against everything from Mississippi injustice to the subliminal threat of war toys.

DONOVAN: CATCH THE WIND (Hickory). At 19, Donovan (born Donovan Leitch) is already known as the British Dylan for his original composition, his crude, nasal voice and whining harmonica. Unlike Dylan, he is more blue than bitter, ignores contemporary complaints to mine the more traditional folk lode—unrequited love, loneliness and rootless ramblings.

THE WEAVERS: REUNION AT CARNEGIE HALL, PART 2 (Vanguard). If anyone has forgotten that the Weavers were once the pharaohs of folk, here is fresh proof. Recorded at a concert in 1963, this new release includes Frozen Logger, Kisses Sweeter Than Wine, Old Smoky and Rock Island Line, plus a ditty called I'm Standing on the Outside of Your Shelter—bomb shelter, that is.

JUDY COLLINS' FIFTH ALBUM (Elektra). Armed with a powerful, needle-sharp alto, Judy Collins tilts against modern windmills—superhighways, jet planes—eloquently defends Negro riots and sit-ins in the name of civil rights, and pierces through to the heart of the poetry in Dylan's Mr. Tambourine Man.