Saturday, September 8, 2007
Big Bill Broozny
great video - from 1956
http://youtube.com/watch?v=KhPTfPykpDI
Born William Lee Conley Broonzy
June 26, 1893
Scott, MS.
Died
August 15, 1958
Chicago, IL.
Broonzy's body of work--including his enduring
originals "Key to the Highway" and "Black, Brown
and White"--ranks him among Muddy Waters, B.B.
King and Robert Johnson in terms of influence.
A storyteller as much as a lonesome singer, Broonzy was
among the first performers to marry rough rural blues (like
Johnson's brand of Mississippi Delta moaning) with upscale jazzy
city blues (like Charles Brown's cocktail piano crooning). He began
his career as a violinist (a skill he learned from an uncle) and learned
from mentor Papa Charlie Jackson how to adapt those skills to the guitar.
As his obvious talent gradually turned him into a star, he moved to Chicago
and started hooking up with Memphis Slim, Brownie McGhee, John Lee "Son-
ny Boy" Williamson and Big Maceo; he also recorded for many different
labels, including Columbia, OKeh and Bluebird. Most refused to put
out "Black, Brown and White"--a powerful attack on racism with
the memorable tell-it-like-it-is chorus, "Get back," after
Broonzy wrote it in 1949; two years later, in France,
writer-critic Hugues Panassie and record company
officials helped him get it in circulation.
Broonzy's pockets of regional popularity coagulated into an adoring
national audience after he played John Hammond's From Spirituals to Swing
concert (as a replacement for Robert Johnson, who had just died) at New York
City's Carnegie Hall in 1938. Regular Chicago and southern gigs followed until
the 1950s, when Broonzy--along with peers Leadbelly, Josh White and Sonny Terry
and Brownie McGhee--became an avatar of the folk movement. While touring and
recording in Europe throughout the 1950s, he wrote a fascinating biography,
Big Bill Blues, with Danish writer Yannick Bruynoghe.
Because Broonzy was such a prolific writer and because so many different
big record companies put out his stuff, plenty of thorough CD collections doc-
ument various stages of his career. Most impressive include Good Time Tonight
(Columbia/Legacy, 1990, prod. various) [Rating: 5.0] , which spans 1930 to
1940 (including, of course, his classic "I Can't Be Satisfied");
Do That Guitar Rag (1928-35) (Yazoo, 1973) [Rating: 4.5] ; and Blues in the
Mississippi Night (Rykodisc, 1990) [Rating: 5.0] , a sometimes chilling 1946 Alan
Lomax-recorded no-holds-barred conversation between Broonzy, pianist Memphis
Slim and harpist Sonny Boy Williamson about racism in the South.
What to Buy Next:
Feelin' Low Down (GNP Crescendo, 1973) [Rating: 3.5]
Worth Searching For:
Big Bill's Blues (Portrait) [Rating: 5.0] captures Broonzy's
seriousness and humor as well as the spontaneity of his record-
ing process.
From:
MusicHound Blues:
The Essential Album Guide
By Steve Knopper
Copyright © 1998 Visible Ink Press
A division of Gale Research
http://youtube.com/watch?v=KhPTfPykpDI
Born William Lee Conley Broonzy
June 26, 1893
Scott, MS.
Died
August 15, 1958
Chicago, IL.
Broonzy's body of work--including his enduring
originals "Key to the Highway" and "Black, Brown
and White"--ranks him among Muddy Waters, B.B.
King and Robert Johnson in terms of influence.
A storyteller as much as a lonesome singer, Broonzy was
among the first performers to marry rough rural blues (like
Johnson's brand of Mississippi Delta moaning) with upscale jazzy
city blues (like Charles Brown's cocktail piano crooning). He began
his career as a violinist (a skill he learned from an uncle) and learned
from mentor Papa Charlie Jackson how to adapt those skills to the guitar.
As his obvious talent gradually turned him into a star, he moved to Chicago
and started hooking up with Memphis Slim, Brownie McGhee, John Lee "Son-
ny Boy" Williamson and Big Maceo; he also recorded for many different
labels, including Columbia, OKeh and Bluebird. Most refused to put
out "Black, Brown and White"--a powerful attack on racism with
the memorable tell-it-like-it-is chorus, "Get back," after
Broonzy wrote it in 1949; two years later, in France,
writer-critic Hugues Panassie and record company
officials helped him get it in circulation.
Broonzy's pockets of regional popularity coagulated into an adoring
national audience after he played John Hammond's From Spirituals to Swing
concert (as a replacement for Robert Johnson, who had just died) at New York
City's Carnegie Hall in 1938. Regular Chicago and southern gigs followed until
the 1950s, when Broonzy--along with peers Leadbelly, Josh White and Sonny Terry
and Brownie McGhee--became an avatar of the folk movement. While touring and
recording in Europe throughout the 1950s, he wrote a fascinating biography,
Big Bill Blues, with Danish writer Yannick Bruynoghe.
Because Broonzy was such a prolific writer and because so many different
big record companies put out his stuff, plenty of thorough CD collections doc-
ument various stages of his career. Most impressive include Good Time Tonight
(Columbia/Legacy, 1990, prod. various) [Rating: 5.0] , which spans 1930 to
1940 (including, of course, his classic "I Can't Be Satisfied");
Do That Guitar Rag (1928-35) (Yazoo, 1973) [Rating: 4.5] ; and Blues in the
Mississippi Night (Rykodisc, 1990) [Rating: 5.0] , a sometimes chilling 1946 Alan
Lomax-recorded no-holds-barred conversation between Broonzy, pianist Memphis
Slim and harpist Sonny Boy Williamson about racism in the South.
What to Buy Next:
Feelin' Low Down (GNP Crescendo, 1973) [Rating: 3.5]
Worth Searching For:
Big Bill's Blues (Portrait) [Rating: 5.0] captures Broonzy's
seriousness and humor as well as the spontaneity of his record-
ing process.
From:
MusicHound Blues:
The Essential Album Guide
By Steve Knopper
Copyright © 1998 Visible Ink Press
A division of Gale Research
Saturday, September 1, 2007
History of Sing Out! from 2000 interview http://www.wjffradio.org
Folk Plus - Saturday March 4, 2000
Telephone interview with Mark Moss, editor of Sing Out! Folk Song Magazine.
Mark Moss talks about Sing Out! before the 3/4/2000 airing of Folk Plus on WJFF, featuring the music reviewed in the current Winter 2000 issue of the magazine.
Angela: This is Mark Moss, editor of Sing Out! and thanks for joining us and kicking off this show. I'd love it if you could give a basic intro to the history of Sing Out!...
Mark: Sure. Well, Sing Out!'s story started actually a few years before Sing Out! did. In 1946 at the close of the Second World War, when a group of folks were coming back from serving in the various branches of the armed service (these included Pete Seeger, Woody Guthrie and that era of folkies) they wanted a way to keep in touch with each other when going their separate ways all across the country. So, they started an organization called "People's Songs", which was an arts cooperative along with Pete, Woody, Paul Robeson, Lena Horne, Carl Reiner and tons of people from all parts of the entertainment field. They also published a monthly newsletter called "People's Songs" which was a way of keeping in touch with each other and publishing traditional songs, political songs, labor songs, to share with the work they were doing. It evolved into a cooperatively run booking organization that if you needed a singer to come and be in a rally or something like that you'd call "People's Songs" and you'd get Pete, or Woody or Sonny Terry, or one of the hundreds of artists that participated in the group.
In 1949 "People's Songs", coming off the heels of work that they had done on the Wallace campaign in 1948 (Henry Wallace was the socialist candidate that year) and "People's Songs" had put a whole bunch of work into trying to help him get elected and were essentially bankrupt at the close of the election. By the time the next year rolled around, they were done. By December of 1949 they published the final issue of "People's Songs". But the membership that was somewhere between six hundred and a thousand people at that point said "Hey, wait a minute, we really want this magazine. This way to share songs, keep in touch and link/bridge for the community." So People's Artists, which is what the organization evolved into after the bankrupcy, May of 1950, published the first issue of a little magazine called Sing Out! which derived its name from the lyrics to a song by Pete Seeger and Lee Hays, two members of the Weavers called "Hammer Song" which 10 or 12 years later became a big hit for Peter Paul and Mary as "If I Had a Hammer". So that's really where Sing Out! came from.
As the 50's involved into the 60's with the folk boom or folk scare however you want refer to it, took over. Sing Out! rode that crest along with it and grew to have a circulation/readership of pretty close to 20,000 in it hey day. By the late 70's the editor of the magazine since just about its inception, a fellow by the name of Irwine Silver, decided he wanted to move on and do other things and sold the magazine to a cooperative of folks which included Mose Ashe of Folkway Records. There have been a long standing symbiotic relationship between Folkways and Sing Out! Happy Traum, Harold Leventhal, Manny Soloman from Vangaard Records, a whole group of people who were involved in the late 60's folk era. That group of people then passed the ownership of the magazine on to itself. They saw it as buying out Irwin and giving a magazine a way to continue on its own.
All these years, right through, cause Sing Out! never stopped publishing during these transitions, they always published lots of songs, running the gammit. I mean I heard the distance sort of, the intro to your show, and like you say, the definition of what folk music is, is extremely broad. Along with Child Ballads and traditional Appalachian Mountain tunes, Cajun music, bluegrass and blues and a lot of stuff that's easier to put under the folk umbrella. They also printed music from all around the world before there was a way to explain traditional music from other cultures as World Music. Before that nomanclature was there, Sing Out! was including that under the umbrella of what folk music was. Starting in 1950 they had an "international music" section to the magazine. Ian Anderson, who is the editor of Folk Roots, one of our sister publications, published out of England, says that the first time he ever heard African Music was on a little flexible plastic record that was included in an issue of Sing Out! magazine in the 1970's. Ian was one of the folks who actually got together and created the "World Music" slot for marketing African and Middle Eastern Music into record stores in Great Britain. So, that has always been what our mission was.
By the late 1970's early 1980's Sing Out! was having another fiscal crisis, very similar to what had occurred in 1949. This time, Pete was still involved in the magazine we had the benefit of him really having lived through the history of what had gone on before, Pete came to a group of us who were involved in the magazine and said "Look you can't just pack it in. We have to go to the readership of the magazine and say 'What do you wnat us to do' because maybe we can find a way to save this?" So for about 3 or 4 months, Pete and I co-edited a newsletter that went out to the approximately 2,000 members that were still readers subscribing to Sing Out! at that time.
Angela: What year was that?
Mark: That was 1982. We said "What would you like us to do? Is this important to you? Would you like us to keep it going?" Resoundingly, both with their voices and their wallets, they spoke and helped us pay off a sizeable back debt. We moved the operation to Pennsylvania, formed a non-profit tax-exempt corporation and started publishing in Pennsylvania in April of 1983. It has taken off since then. Today our readership is approaching the peak that Sing Out! had in the 1960's during the folk boom. We have a circulation of approaching 20,000 about a third of which are members of the organization and get every issue mailed to their house. Today we are quarterly. The magazine is a lot bigger than it used to be. Each issue is more than 200 pages. We have 6 feature articles in each issue. Columns from all kinds of folks, including Pete, who still writes a regular column for us, instrumental teach-ins.... I think the most important aspect of what Sing Out! does and what really sets us apart from other music magazines is that we publish 20 songs in each issue of the magazine with full lead sheets and lyrics for people to learn. I guess our fundamental 'raison d'etre" our mission statement for what we do as a non-profit is, that we want people to not just consume music but to make music. Have it be part of their daily lives. Sing a lullabye to your kid when you are putting him or her to sleep, get friends in together and make music in your kitchen or living room. Along with publishing Sing Out!, about 10 years ago we started a book publishing arm of the organization. The first book we put out was a book called "Rise up Singing" which was become enormously popular among group singing circles and people who like to make music in their homes. We sold nearly 3/4 of a million copies of that book.
Angela: Its a bible.
Mark: Yeah, a lot of people call it the blue bible. We also maintain a multi-media archive and resource centre of recordings and photos and newspaper clippings and books and magazines and anything related to the folk revival from the 1940's to the present in our offices here in Pennsylvania. We are working diligently to try to make more of it accessable through our website.
Angela: It is endless work. It's endless!
Mark: Yeah. But you know it beats digging ditches.
Angela: Well if people listening for the next two hours Mark, really have their interest peaked - never heard of Sing Out! before and don't get a copy, I was going to tell them the website.
Mark: www.Singout.org
Angela: Is there a toll free number also I believe.
Mark: There is, 888 SINGOUT. One of the new toll free exchanges. If you go to the website people will notice that there is a link right there to get a free sample issue of the magazine if they'd like to try it out.
Telephone interview with Mark Moss, editor of Sing Out! Folk Song Magazine.
Mark Moss talks about Sing Out! before the 3/4/2000 airing of Folk Plus on WJFF, featuring the music reviewed in the current Winter 2000 issue of the magazine.
Angela: This is Mark Moss, editor of Sing Out! and thanks for joining us and kicking off this show. I'd love it if you could give a basic intro to the history of Sing Out!...
Mark: Sure. Well, Sing Out!'s story started actually a few years before Sing Out! did. In 1946 at the close of the Second World War, when a group of folks were coming back from serving in the various branches of the armed service (these included Pete Seeger, Woody Guthrie and that era of folkies) they wanted a way to keep in touch with each other when going their separate ways all across the country. So, they started an organization called "People's Songs", which was an arts cooperative along with Pete, Woody, Paul Robeson, Lena Horne, Carl Reiner and tons of people from all parts of the entertainment field. They also published a monthly newsletter called "People's Songs" which was a way of keeping in touch with each other and publishing traditional songs, political songs, labor songs, to share with the work they were doing. It evolved into a cooperatively run booking organization that if you needed a singer to come and be in a rally or something like that you'd call "People's Songs" and you'd get Pete, or Woody or Sonny Terry, or one of the hundreds of artists that participated in the group.
In 1949 "People's Songs", coming off the heels of work that they had done on the Wallace campaign in 1948 (Henry Wallace was the socialist candidate that year) and "People's Songs" had put a whole bunch of work into trying to help him get elected and were essentially bankrupt at the close of the election. By the time the next year rolled around, they were done. By December of 1949 they published the final issue of "People's Songs". But the membership that was somewhere between six hundred and a thousand people at that point said "Hey, wait a minute, we really want this magazine. This way to share songs, keep in touch and link/bridge for the community." So People's Artists, which is what the organization evolved into after the bankrupcy, May of 1950, published the first issue of a little magazine called Sing Out! which derived its name from the lyrics to a song by Pete Seeger and Lee Hays, two members of the Weavers called "Hammer Song" which 10 or 12 years later became a big hit for Peter Paul and Mary as "If I Had a Hammer". So that's really where Sing Out! came from.
As the 50's involved into the 60's with the folk boom or folk scare however you want refer to it, took over. Sing Out! rode that crest along with it and grew to have a circulation/readership of pretty close to 20,000 in it hey day. By the late 70's the editor of the magazine since just about its inception, a fellow by the name of Irwine Silver, decided he wanted to move on and do other things and sold the magazine to a cooperative of folks which included Mose Ashe of Folkway Records. There have been a long standing symbiotic relationship between Folkways and Sing Out! Happy Traum, Harold Leventhal, Manny Soloman from Vangaard Records, a whole group of people who were involved in the late 60's folk era. That group of people then passed the ownership of the magazine on to itself. They saw it as buying out Irwin and giving a magazine a way to continue on its own.
All these years, right through, cause Sing Out! never stopped publishing during these transitions, they always published lots of songs, running the gammit. I mean I heard the distance sort of, the intro to your show, and like you say, the definition of what folk music is, is extremely broad. Along with Child Ballads and traditional Appalachian Mountain tunes, Cajun music, bluegrass and blues and a lot of stuff that's easier to put under the folk umbrella. They also printed music from all around the world before there was a way to explain traditional music from other cultures as World Music. Before that nomanclature was there, Sing Out! was including that under the umbrella of what folk music was. Starting in 1950 they had an "international music" section to the magazine. Ian Anderson, who is the editor of Folk Roots, one of our sister publications, published out of England, says that the first time he ever heard African Music was on a little flexible plastic record that was included in an issue of Sing Out! magazine in the 1970's. Ian was one of the folks who actually got together and created the "World Music" slot for marketing African and Middle Eastern Music into record stores in Great Britain. So, that has always been what our mission was.
By the late 1970's early 1980's Sing Out! was having another fiscal crisis, very similar to what had occurred in 1949. This time, Pete was still involved in the magazine we had the benefit of him really having lived through the history of what had gone on before, Pete came to a group of us who were involved in the magazine and said "Look you can't just pack it in. We have to go to the readership of the magazine and say 'What do you wnat us to do' because maybe we can find a way to save this?" So for about 3 or 4 months, Pete and I co-edited a newsletter that went out to the approximately 2,000 members that were still readers subscribing to Sing Out! at that time.
Angela: What year was that?
Mark: That was 1982. We said "What would you like us to do? Is this important to you? Would you like us to keep it going?" Resoundingly, both with their voices and their wallets, they spoke and helped us pay off a sizeable back debt. We moved the operation to Pennsylvania, formed a non-profit tax-exempt corporation and started publishing in Pennsylvania in April of 1983. It has taken off since then. Today our readership is approaching the peak that Sing Out! had in the 1960's during the folk boom. We have a circulation of approaching 20,000 about a third of which are members of the organization and get every issue mailed to their house. Today we are quarterly. The magazine is a lot bigger than it used to be. Each issue is more than 200 pages. We have 6 feature articles in each issue. Columns from all kinds of folks, including Pete, who still writes a regular column for us, instrumental teach-ins.... I think the most important aspect of what Sing Out! does and what really sets us apart from other music magazines is that we publish 20 songs in each issue of the magazine with full lead sheets and lyrics for people to learn. I guess our fundamental 'raison d'etre" our mission statement for what we do as a non-profit is, that we want people to not just consume music but to make music. Have it be part of their daily lives. Sing a lullabye to your kid when you are putting him or her to sleep, get friends in together and make music in your kitchen or living room. Along with publishing Sing Out!, about 10 years ago we started a book publishing arm of the organization. The first book we put out was a book called "Rise up Singing" which was become enormously popular among group singing circles and people who like to make music in their homes. We sold nearly 3/4 of a million copies of that book.
Angela: Its a bible.
Mark: Yeah, a lot of people call it the blue bible. We also maintain a multi-media archive and resource centre of recordings and photos and newspaper clippings and books and magazines and anything related to the folk revival from the 1940's to the present in our offices here in Pennsylvania. We are working diligently to try to make more of it accessable through our website.
Angela: It is endless work. It's endless!
Mark: Yeah. But you know it beats digging ditches.
Angela: Well if people listening for the next two hours Mark, really have their interest peaked - never heard of Sing Out! before and don't get a copy, I was going to tell them the website.
Mark: www.Singout.org
Angela: Is there a toll free number also I believe.
Mark: There is, 888 SINGOUT. One of the new toll free exchanges. If you go to the website people will notice that there is a link right there to get a free sample issue of the magazine if they'd like to try it out.
Friday, August 31, 2007
September Folk Birthdays
September Birthdays of Folk Musicians
2 Paul Bellows
4 David Broza
4 Joel RL Phelps
5 Mary Ellen Bernard
5 John Stewart
5 Louden Wainwright III
6 Peter Mulvey
8 Jimmie Rodgers
10 Terry Kitchen
11 Leo Kottke
13 55 Don Conoscenti
14 Dougie MacLean
16 Maura O'Connell
17 48 Michael Hough Mustard's Retreat
19 Keith Grimwood Trout Fishing in America
19 41 Mama Cass Elliot
20 60 Dave Hemingway Beautiful South
23 Ani Difranco
23 4 Bruce Springsteen
26 Eddie Hartness Eddie From Ohio
29 07 Gene Autry
-Lee Larcheveque
2 Paul Bellows
4 David Broza
4 Joel RL Phelps
5 Mary Ellen Bernard
5 John Stewart
5 Louden Wainwright III
6 Peter Mulvey
8 Jimmie Rodgers
10 Terry Kitchen
11 Leo Kottke
13 55 Don Conoscenti
14 Dougie MacLean
16 Maura O'Connell
17 48 Michael Hough Mustard's Retreat
19 Keith Grimwood Trout Fishing in America
19 41 Mama Cass Elliot
20 60 Dave Hemingway Beautiful South
23 Ani Difranco
23 4 Bruce Springsteen
26 Eddie Hartness Eddie From Ohio
29 07 Gene Autry
-Lee Larcheveque
Thursday, August 30, 2007
Thanks to Dan Riles and Broadside Electric
http://www.broadside.org/contents.html
A contemporary band out of Philadelphia PA
who playing some of my fave music with great gusto!
A contemporary band out of Philadelphia PA
who playing some of my fave music with great gusto!
Sunday, August 26, 2007
English Folk -video suggestions from 2007 backwards
http://youtube.com/watch?v=EbdTHqlZMZI
http://youtube.com/watch?v=mEMjZ_fCb4k
below Eliza Carthy and the Ratcatchers at the Wath Folk Festival 2007 and more
"This was videoed at Maidstone in 1970 just behind my old school at Oakwood Park. I was in the audience and several kids from my school can be seen dancing. How young we were.
I've renamed this as I hope to upload the rest of the video in parts. Part is here:
http://www.youtube.com/watch?v=H4_Qna..."
http://youtube.com/watch?v=mEMjZ_fCb4k
below Eliza Carthy and the Ratcatchers at the Wath Folk Festival 2007 and more
"This was videoed at Maidstone in 1970 just behind my old school at Oakwood Park. I was in the audience and several kids from my school can be seen dancing. How young we were.
I've renamed this as I hope to upload the rest of the video in parts. Part is here:
http://www.youtube.com/watch?v=H4_Qna..."
Looks like a "home video" Steeleye Span and Martin Carthy
Here they are playing in someone's living room-1970
English folk - where to start
For information on the English Folk Revival, a HUGE topic take a look at http://eds.efdss.org/
English Dance & Song exists to interest, inform and stimulate the membership of the EFDSS, as well as the wider folk music and dance community.
The range of interests include traditional song, traditional dance (social, display, ceremonial), traditional music, custom and children's games. The geographical spread is not confined to England, but may also include Scotland, Wales and Ireland; as well as the USA, and other areas of the world which may be appropriate.
Some names to check out: Maddy Prior, June Tabor, Ceilidh Minogue, Lau, the Musical Tradition’s Meeting’s a Pleasure CDs, Mary Humphreys & Anahata, Cyril Tawney, Alison McMorland & Geordie McIntyre, Fernhill, All Jigged Out, The Watersons.
The ‘rediscovery’ of English folk song has taken place in two (not entirely discrete) waves. The first gathered momentum in the last decades of the nineteenth century and flourished in the early part of the twentieth. This ‘first’ revival arose out of a desire to collect and preserve what was held to be archetypically English song. The ‘second’ (post-war) folk revival has made extensive use of the materials collected in the first revival, but has also in part been a reaction to the way in which the earlier collectors selectively edited their material and arranged it for a more middle-class audience.
Information on the post-war revival can also be gleaned from the pages of magazines such as Folk Review, Sing, Spin, and more recently Folk Roots and The Living Tradition.
English Dance & Song exists to interest, inform and stimulate the membership of the EFDSS, as well as the wider folk music and dance community.
The range of interests include traditional song, traditional dance (social, display, ceremonial), traditional music, custom and children's games. The geographical spread is not confined to England, but may also include Scotland, Wales and Ireland; as well as the USA, and other areas of the world which may be appropriate.
Some names to check out: Maddy Prior, June Tabor, Ceilidh Minogue, Lau, the Musical Tradition’s Meeting’s a Pleasure CDs, Mary Humphreys & Anahata, Cyril Tawney, Alison McMorland & Geordie McIntyre, Fernhill, All Jigged Out, The Watersons.
The ‘rediscovery’ of English folk song has taken place in two (not entirely discrete) waves. The first gathered momentum in the last decades of the nineteenth century and flourished in the early part of the twentieth. This ‘first’ revival arose out of a desire to collect and preserve what was held to be archetypically English song. The ‘second’ (post-war) folk revival has made extensive use of the materials collected in the first revival, but has also in part been a reaction to the way in which the earlier collectors selectively edited their material and arranged it for a more middle-class audience.
Information on the post-war revival can also be gleaned from the pages of magazines such as Folk Review, Sing, Spin, and more recently Folk Roots and The Living Tradition.
Friday, August 24, 2007
Notes from AUG 23rd More video for PP&M
Thanks for the calls and emails.
We are having a blast doing this show and
appreciate your support. Someone asked about the Willie Dixon quote I mangled:
“The blues are the roots and the other musics are the fruits. It’s better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues.”
Willie Dixon (bass, vocals; born July 1, 1915, died January 29, 1992)
Willie Dixon has been called “the poet laureate of the blues” and “the father of modern Chicago blues.” He was indisputably the pre-eminent blues songwriter of his era, credited with writing more than 500 songs by the end of his life.
And "Love Has No Pride" covered so beautifully by Bonnie Raitt and Linda Ronstadt
was written by Eric Kaz and Libby Titus
Here are the links for PP&M videos:
http://youtube.com/watch?v=R0bFTq0Ivgk
http://www.youtube.com/watch?v=rPnLK1WnXxg
http://www.youtube.com/watch?v=iw4xAvm_DXE
We are having a blast doing this show and
appreciate your support. Someone asked about the Willie Dixon quote I mangled:
“The blues are the roots and the other musics are the fruits. It’s better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues.”
Willie Dixon (bass, vocals; born July 1, 1915, died January 29, 1992)
Willie Dixon has been called “the poet laureate of the blues” and “the father of modern Chicago blues.” He was indisputably the pre-eminent blues songwriter of his era, credited with writing more than 500 songs by the end of his life.
And "Love Has No Pride" covered so beautifully by Bonnie Raitt and Linda Ronstadt
was written by Eric Kaz and Libby Titus
Here are the links for PP&M videos:
http://youtube.com/watch?v=R0bFTq0Ivgk
http://www.youtube.com/watch?v=rPnLK1WnXxg
http://www.youtube.com/watch?v=iw4xAvm_DXE
Saturday, August 18, 2007
PP&M sing Dylan @ the Newport Folk Festival 1964
Some fabulous video on youtube, just type in Peter Paul and Mary.
Peter Paul and Mary - today and early days
Latest info from wikipedia
The trio broke up in 1970 to pursue solo careers, but found little of the success they had experienced as a group, although Stookey's "The Wedding Song (There is Love)" (written for Yarrow's marriage to Marybeth McCarthy, the niece of senator Eugene McCarthy) was a hit and has become a wedding standard since its 1971 release.
In 1978, they reunited for a concert to protest nuclear energy, and have recorded albums together and toured since. They currently play around 45 shows a year.[1]
The group was inducted into the Vocal Group Hall of Fame in 1999.
In 2004, Travers was diagnosed with leukemia, leading to the cancellation of the remaining tour dates for that year. She received a bone marrow transplant and is recovering. She and the rest of the trio resumed their concert tour on December 9, 2005 with a holiday performance at Carnegie Hall.
Peter, Paul and Mary received the Sammy Cahn Lifetime Achievement Award from Songwriters Hall of Fame in 2006.
The trio sang in Mitchell, South Dakota, George and Eleanor McGovern Library and Center for Leadership dedication concert on October 5, 2006.
Recently the trio had to cancel several dates of their summer 2007 tour, as Mary took longer than expected to recover from back surgery. [2] They will make up at least one of the dates, at the Northfork Theatre (formerly Westbury Music Fair) in December 2007.
from http://www.classicbands.com/ppm.html
The trio of Peter, Paul & Mary were launched during an unusually creative period in popular music. Peter Yarrow, who had come to Greenwich Village with a psychology degree from Cornell, recalls that, "The Village in the early 1960s was a crucible of creativity. Involvement in music was a matter of joyous discovery, not a business. We knew that folk music was having an enormous impact in the Village, but was a couple of years away from being embraced on a national scale."
At the same time, the Village was a starting place for Noel Paul Stookey, a fledgling stand-up comic from Michigan State University. He met up with Peter and independently, Mary Travers, who was already known for her work in the "Song Swappers", a folk group that had recorded with Peter Seeger. Having grown up in the Village, the flaxen-haired singer was a familiar figure at the Washington Square Sunday singing event. The three decided to work together, encouraged by the folk impresario, Albert Grossman, who became their manager.
After rehearsing for seven months in Travers' three flight walk-up apartment, Peter, Paul & Mary premiered at the Bitter End in 1961, and then played at other seminal folk clubs like the Chicago "Gate of Horn" and San Francisco's "Hungry I". Following their appearance at the famed "Blue Angel" nightclub in New York, they embarked on a rigorous touring schedule that lasted nearly ten straight years.
1962 marked the trio's debut on Warner Brothers Records with "Peter, Paul and Mary" which brought folk music to the vast American public and to the top of the charts. As Billboard Magazine noted, "It became an instant classic. The album was in the Top 10 for ten months, remained in the Top 20 for two years, and did not drop off the Hot 100 album chart until three-and-a-half years after its release." The trio's version of "If I Had A Hammer" was not only a popular single from this LP, it was also embraced as an anthem of the civil rights movement.
This success marked the beginning of an incredibly influential time for Peter, Paul & Mary, and for the contemporary urban folk tradition which they personified. In the third week of November 1963, they had 3 albums on the Billboard Top 6. Also in '63, their recording of "Puff, The Magic Dragon" written by Peter Yarrow and Leonard Lipton won the hearts of millions, while their recording of "Blowin' In The Wind" helped introduce a fellow Village songwriter named Bob Dylan. It was folk music that was to spark the imagination and the passion of a generation intent on social change.
The song, "Puff, The Magic Dragon" was actually the center of controversy when it was first released. At the time, the drug culture was making headlines and some radio stations mis-took the lyrics and refused to play the song. Years later, Paul Stookie laughed as he explained that the song is the story of a little boy growing up and had nothing at all to do with marijuana.
But Peter, Paul & Mary did more in those times than chronicle events; they lived their songs. They stood with Dr. Martin Luther King, Jr. in Selma and in Washington. They were deeply involved in the anti-Vietnam War crusade, consistently performing at demonstrations, fund-raisers and "teach-ins." In 1969, Yarrow co-organized the March On Washington, and Peter, Paul & Mary sang before the half-million people who had come together for that landmark event.
By virtue of the trio's popularity, their recordings effectively introduced the work of important new writing talents to the American public. Their renditions of Gordon Lightfoot's "In The Early Morning Rain" and John Denver's "Leaving On A Jet Plane," engineered by the legendary Phil Ramone, helped launch an appreciation and awareness of these "new" artists. By 1970, Peter, Paul & Mary had earned eight gold and five platinum albums.
The trio broke up in 1970 to pursue solo careers, but found little of the success they had experienced as a group, although Stookey's "The Wedding Song (There is Love)" (written for Yarrow's marriage to Marybeth McCarthy, the niece of senator Eugene McCarthy) was a hit and has become a wedding standard since its 1971 release.
In 1978, they reunited for a concert to protest nuclear energy, and have recorded albums together and toured since. They currently play around 45 shows a year.[1]
The group was inducted into the Vocal Group Hall of Fame in 1999.
In 2004, Travers was diagnosed with leukemia, leading to the cancellation of the remaining tour dates for that year. She received a bone marrow transplant and is recovering. She and the rest of the trio resumed their concert tour on December 9, 2005 with a holiday performance at Carnegie Hall.
Peter, Paul and Mary received the Sammy Cahn Lifetime Achievement Award from Songwriters Hall of Fame in 2006.
The trio sang in Mitchell, South Dakota, George and Eleanor McGovern Library and Center for Leadership dedication concert on October 5, 2006.
Recently the trio had to cancel several dates of their summer 2007 tour, as Mary took longer than expected to recover from back surgery. [2] They will make up at least one of the dates, at the Northfork Theatre (formerly Westbury Music Fair) in December 2007.
from http://www.classicbands.com/ppm.html
The trio of Peter, Paul & Mary were launched during an unusually creative period in popular music. Peter Yarrow, who had come to Greenwich Village with a psychology degree from Cornell, recalls that, "The Village in the early 1960s was a crucible of creativity. Involvement in music was a matter of joyous discovery, not a business. We knew that folk music was having an enormous impact in the Village, but was a couple of years away from being embraced on a national scale."
At the same time, the Village was a starting place for Noel Paul Stookey, a fledgling stand-up comic from Michigan State University. He met up with Peter and independently, Mary Travers, who was already known for her work in the "Song Swappers", a folk group that had recorded with Peter Seeger. Having grown up in the Village, the flaxen-haired singer was a familiar figure at the Washington Square Sunday singing event. The three decided to work together, encouraged by the folk impresario, Albert Grossman, who became their manager.
After rehearsing for seven months in Travers' three flight walk-up apartment, Peter, Paul & Mary premiered at the Bitter End in 1961, and then played at other seminal folk clubs like the Chicago "Gate of Horn" and San Francisco's "Hungry I". Following their appearance at the famed "Blue Angel" nightclub in New York, they embarked on a rigorous touring schedule that lasted nearly ten straight years.
1962 marked the trio's debut on Warner Brothers Records with "Peter, Paul and Mary" which brought folk music to the vast American public and to the top of the charts. As Billboard Magazine noted, "It became an instant classic. The album was in the Top 10 for ten months, remained in the Top 20 for two years, and did not drop off the Hot 100 album chart until three-and-a-half years after its release." The trio's version of "If I Had A Hammer" was not only a popular single from this LP, it was also embraced as an anthem of the civil rights movement.
This success marked the beginning of an incredibly influential time for Peter, Paul & Mary, and for the contemporary urban folk tradition which they personified. In the third week of November 1963, they had 3 albums on the Billboard Top 6. Also in '63, their recording of "Puff, The Magic Dragon" written by Peter Yarrow and Leonard Lipton won the hearts of millions, while their recording of "Blowin' In The Wind" helped introduce a fellow Village songwriter named Bob Dylan. It was folk music that was to spark the imagination and the passion of a generation intent on social change.
The song, "Puff, The Magic Dragon" was actually the center of controversy when it was first released. At the time, the drug culture was making headlines and some radio stations mis-took the lyrics and refused to play the song. Years later, Paul Stookie laughed as he explained that the song is the story of a little boy growing up and had nothing at all to do with marijuana.
But Peter, Paul & Mary did more in those times than chronicle events; they lived their songs. They stood with Dr. Martin Luther King, Jr. in Selma and in Washington. They were deeply involved in the anti-Vietnam War crusade, consistently performing at demonstrations, fund-raisers and "teach-ins." In 1969, Yarrow co-organized the March On Washington, and Peter, Paul & Mary sang before the half-million people who had come together for that landmark event.
By virtue of the trio's popularity, their recordings effectively introduced the work of important new writing talents to the American public. Their renditions of Gordon Lightfoot's "In The Early Morning Rain" and John Denver's "Leaving On A Jet Plane," engineered by the legendary Phil Ramone, helped launch an appreciation and awareness of these "new" artists. By 1970, Peter, Paul & Mary had earned eight gold and five platinum albums.
Thanks, all! for helping the show grow. AUG 16th
Big shout out to our friend and excellent storyteller, Libby Franck who opened up her home and extensive LP collection to the Folk Revival. Libby also has a collection of drinking songs she'd love to *gift* to anyone who would transfer them to CD or other digital media. Contact me if you are interested in this 30 volume collection. We will be able to do a Judy Collins feature and more with these valuable additions to the WICN library. Thanks Libby. http://www.libbyfranck.com/
Also a thanks is due to another great storyteller and folk enthusiast,Tony Toledo for fine collection of tunes from Island records. Tony has been volunteering at the Me and Thee Coffee house since the Salem Witch Trials ended. We will be featuring music of the British folk revival soon. http://www.tonytoledo.com/
Thanks to Magpie for an mp3 of one of my favorite songs and now our sign off song; "Its a Pleasure to Know You" and great collection of CDs of their work. http://www.magpiemusic.com/
And lastly, thanks to Klonakilty for their mp3s, from their
album Symbiosis used on our Joni Mitchell feature. http://www.klonakilty.com/
Also a thanks is due to another great storyteller and folk enthusiast,Tony Toledo for fine collection of tunes from Island records. Tony has been volunteering at the Me and Thee Coffee house since the Salem Witch Trials ended. We will be featuring music of the British folk revival soon. http://www.tonytoledo.com/
Thanks to Magpie for an mp3 of one of my favorite songs and now our sign off song; "Its a Pleasure to Know You" and great collection of CDs of their work. http://www.magpiemusic.com/
And lastly, thanks to Klonakilty for their mp3s, from their
album Symbiosis used on our Joni Mitchell feature. http://www.klonakilty.com/
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