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A Birth of Folk Music 1

A VF History of Music & Recording

Old Folk (Mostly)

Adjusted to 1962 rather than 1965

Artists recording before 1962 regardless of style

Group & Last Name Index to Full History:

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Tracks are listed in chronological order by year, then alphabetically.

Listings do not reflect proper order by month or day: later oft precedes earlier.

Find on Page = F3. Find on Page = F3. Not on this page? See history tree below.

 

 

Alphabetical

Roy Acuff    Derroll Adams    Almanac Singers    Clarence Ashley    Chet Atkins    Hoyt Axton

Joan Baez    Harry Belafonte
Callahan Brothers    Carter Family    Carter Sisters    Johnny Cash    Chad Mitchell Trio    Paul Clayton    Judy Collins
 
Jimmy Dean    Dorsey Dixon
 
Ramblin' Jack Elliott
 
Tennessee Ernie Ford
 
Art Garfunkel    Davey Graham    Woody Guthrie                              
 
Carolyn Hester    Odetta Holmes    Johnny Horton
 
Burl Ives
 
Kingston Trio    Kris Kristofferson
 
The Limeliters
 
Barry McGuire    Scott McKenzie    Chad Mitchell
 
Fred Neil
 
Paul Robeson    Jimmie Rodgers
 
Pete Seeger   Paul Simon    Smothers Brothers    Staple Singers
 
Vaughan Quartet
 
The Weavers

Chronological

Featured on this page loosely in order of first recording if not record release (as possible).

Names are alphabetical, not chronological, per year:

 

1921 Vaughan Quartet
   
1925 Paul Robeson
   
1927

Carter Family    Jimmie Rodgers

   
1928 Clarence Ashley
   
1934 Callahan Brothers
   
1938 Roy Acuff     Dorsey Dixon
   
1940 Woody Guthrie    Pete Seeger
   
1941 Almanac Singers     Burl Ives
   
1946 Chet Atkins
   
1949 Harry Belafonte    Carter Sisters   Tennessee Ernie Ford    The Weavers
   
1950 Johnny Horton
   
1953 Jimmy Dean    Staple Singers
   
1954 Odetta Holmes
   
1955 Johnny Cash    Ramblin' Jack Elliott
   
1956 Paul Clayton
   
1957 Derroll Adams    Art Garfunkel    Carolyn Hester    Fred Neil    Paul Simon
   
1958 Kingston Trio    Kris Kristofferson
   
1959 Joan Baez    Chad Mitchell Trio
   
1960 The Limeliters    Scott McKenzie
   
1961 Hoyt Axton    Judy Collins    Barry McGuire    Smothers Brothers

 

  Caveats in the employment of this page: 1. It descends in chronological order by the year the artist or band is first found on a commercial record issue (ideally) by year only, alphabetical thereat. One musician above another doesn't necessarily translate to earlier issue unless the year changed. 2. Though release dates are the aim with links to YouTube, some are recording dates and may not be everywhere clearly distinguished. 3. Reissues are used to represent originals without much discussion. 4. Publishing dates may be used as composing dates.
 
  This page is intended to list bands and musicians releasing their first recordings before 1962. To title this page 'Old Folk' isn't thoroughly correct. One, this isn't a delineation by style, but by year only. The year of 1962 is off as well insofar as the division between Old and New doesn't conventionally begin until Bob Dylan went electric in 1965. Since Dylan is the marker and he issued his first recording in 1962, this page is taken through 1961 to include all who first recorded before 1962 irrespective of whether they were better known for old or new. This manner of division is more an approximation to suit organizational purposes than it is technically correct. Folk music is a broad category including country, urban musicians. Folk also reflects on the close musical relationship between the United States, Canada and Great Britain for a century now, ever since early jazz. See folk musicians born elsewhere than the United States including bands which originate elsewhere at Folk 3. Early folk music in the United States would include early blues from Southern regions located elsewhere in these histories. The "country" portion of folk music in the States developed alongside bluegrass with which it merged. Bluegrass is a much smaller more distinctive genre, more emphasizing hillbilly instrumentals, and has remained largely purist so far "country" goes. Country western is distinctive as well. It twangs or it doesn't, etc.. Even as country fed into rock via such as rockabilly and rock returned the favor to such degree as to make them siblings, country western has always been decidedly country western, not rock. As for folk, it is considerably vaster in range so as to encompass other styles such as blues. Like blues, folk was secular host to gospel music until the latter developed into its own genre. Its urban variety folk on the East Coast would address matters such as unions and war. Folk music would eventually merge with rock, the two often come to the same. In dividing folk from country western, since a few artists swung from folk to hillbilly to western I've born in mind Billboard's creation of its Country & Western chart in 1949, discontinuing its folk and hillbilly categories. (The Grand ole Opry in Nashville had been host to western swing prior to that, such as Bob Wills in December 1944. Nor in an age of wide record distribution did it require travel to Texas or California for hillbillies to combine the twain. Be as may, with the exception of blues, as the Grand Ole Opry is of singular importance in the history of American country music it is well to precede this page with references to its history at 1, 2. Members through the years. The Grand Ole Opry now. Social network at Facebook and Twitter. YouTube channel. As for early folk music preceding Dylan in context w country music overall, a nice chronology is offered by Hoffmann/Birkline at SAPM. Around Dylan and later also at SAPM.

 

 
  The vocal Vaughan Quartet wasn't a country bunch of folk musicians. The group populates this page as a gospel group relevant to folk, but more instrumental to the early burgeoning of the white gospel genre as compared to black. The initial Vaughan Quartet had been formed by James Vaughan (b 1864/ d 1941) in 1910 to help sell books for the Vaughan Publishing Company founded in 1902 [*]. Eugene Chadbourne at AllMusic has the first configuration of the VQ consisting of James and three brothers. The James Vaughan Museum has the first touring group consisting of Gorge Sebren (manager), Joe Allen, Ira Foust and James' brother, Charles Vaughan. By the time the Quartet made its initial recordings in 1921 for the fledgling Vaughan Phonograph Record Company [1, 2] its configuration had shifted to uncertainty, albeit James' son, Glenn Kiefer (Kieffer) Vaughan born in Texas in the early 1890s, is likely. James Ray Geoff ('Close Harmony') lists Johnny Wheeler, M.D. McWhorter, Adlai Loudy and Herman Walker. Bob Terrell ('The Music Men') lists Hillman Barnard, Kieffer Vaughan, Walter Seale and Ray Collins. The Tony Russell sessionography lists Kiefer, probably Loudy and possibly Seale for what are thought the Quartet's first recordings in 1921 beginning with 'Couldn't Hear Nobody Pray' and 'Steal Away' issued on Vaughan 300. Among other titles gone down in 1921 was 'Look for Me' issued that year on Vaughan 350 per 45Worlds w Vaughan and Loudy's 'Waiting at the Gate' on Side A. The Vaughan Quartet grew into a cluster of quartets by the same name that toured the States, at one time in the twenties as many as sixteen of them in operation at once. Russell traces the Quartet, which also issued on Victor, last recording a Vaughan release on 4 Dec 1929 toward 'My Record Will Be There' w 'Forever on Thy Hands' on Vaughan 1775. other configurations associated w Vaughan recorded titles in 1930, after which Russell isn't so certain as to the Vaughan Trio in 1932. Russell comments that groups associated w Vaughan recorded after 1942 when his sessionography ends. Those would have followed James' death in 1941. The huge Vaughan gospel enterprise operated out of Lawrenceburg, Tennessee, eighty miles south of Nashville where secular folk made its considerably better known home. References for James Vaughan: 1, 2, 3, 4, 5, 6, 7; 'Close Harmony: A History of Southern Gospel' (Goff) *; 'Encyclopedia of American Gospel Music' (McNeil) *. References for the Vaughan Quartet(s): 1, 2. Sessions: DAHR 1928-30: 1, 2; Russell 1921-30. Discos: 1, 2, 3, 4. See also the Vaughan Quartet Festival *.

Vaughan Quartet   1921

   Look for Me

     Composition: Virgil Oliver Stamps

Vaughan Quartet   1929

   It's Just Like Heaven

     Composition: W. Oliver Cooper

   When All Those Millions Sing

     Composition: O.A. Parris

Vaughan Quartet   1930

   Heaven All the Way for Me

     Composition: O.A. Parris

 

 

Birth of Folk Music: Paul Robeson

Paul Robeson

Source: Ciniwiki

Born in 1898 in Princeton, New Jersey, actor and baritone Paul Robeson, wasn't a country musician, though he well commences this account of American folk music. He began acting and singing at Columbia University while studying law, also playing football on the NFL teams, the Akron Pros and Milwaukee Badgers. His theatrical debut was as Simon in the YWCA production of 'Simon of Cyrene' in 1920. Upon graduating from Columbia, Robeson renounced a career in law due to racism, instead becoming involved in the Harlem Renaissance, known at the time as the New Negro Movement. His first role in silent films was 'Body and Soul' in 1925. He also made his first recordings in April that year, three trials for Victor to fate unknown. Of five titles recorded on 16 July 1925, 'Bye and Bye' saw release on Victor 19743. A session on 27 July 1925 yielded 'Li'l Gal' toward Victor 19824. In the latter twenties he toured Europe with pianist Lawrence Brown. Important roles during this period were in 'Showboat' and 'Othello'. The first talkie in which Robeson starred is thought to be 'The Emperor Jones' in 1933, also thought to be the first film in which a black person was cast in a starring role. Robeson visited the Soviet Union in 1934 upon invitation by Russian film director, Sergei Eisenstein. He came to worldwide attention in 1935 in the movie, 'Sanders of the River'. It was the Spanish Civil War that moved Robeson's political activism beyond black Civil Rights, he traveling to Spain in 1938 to support the Republican International Brigade. Notable in 1939 was his radio broadcast of the song, 'Ballad for Americans'. By World War II Robeson was a major star. But the only hotel that would accommodate him on tour was the Beverly Wilshire. It may have been his narration of 'Native Land', a 1942 documentary concerning trade unions, that brought him to the attention of the FBI, the film labeled communist propaganda [FBI file]. Throughout his career Robeson had been involved in some or other manner with civil, human and political rights. In 1946 he founded the ACAL (American Crusade Against Lynching). Due to his support of union activist, Revels Cayton, about that time, he was called before the Tenney Committee and the Senate Committee on the Judiciary to respond as to his affiliation with the Communist Party (none), risking jail by not answering. He campaigned for Henry Wallace in 1948. The next year he toured Europe, as the FBI wished his dates in the States cancelled. In 1949 he revisited the Soviet Union. It was 1950 that Robeson began experiencing defamation and blacklisting en force as an alleged subversive. NBC cancelled a scheduled appearance on television with Eleanor Roosevelt, and the FBI denied him passport to foreign countries. In 1951 he declared before the United Nations that the federal government's refusal to act against the lynching of black Americans was genocidal. (His earlier meeting with President Truman in 1946 concerning such had gone nowhere.) In 1952 Robeson accepted the International Stalin Prize, awarded by the Soviet Union, in New York. His first concert at the Peace Arch (monument spanning the border between British Columbia and Washington) was also held in 1952, on a flatbed truck. In 1956 Robeson was called before the House Un-American Activities Committee for refusing to sign an affidavit stating he wasn't a Communist. Which result was another revoking of his passport, one exception made in March that year for concerts in Canada. About that time his films and recordings were getting removed from public distribution as the press in the United States vilified him. His response was the book, 'Here I Stand', written with Lloyd L. Brown, published in 1958. His passport was reinstated in June that year, Robeson then commencing a world tour. In 1960 Robeson involved himself with the rights of Australian aborigines while on tour there, demanding their citizenship. In March of 1961 Robeson attempted suicide in the bathroom of a Moscow hotel room during a party, apparently a paranoiac breakdown likely assisted by harassment, government and not, over the years. Admitted to the Barvikha Sanatorium, upon release he was later admitted to the Priory in London, where he is said to have undergone fifty-four electroshock treatments, well reinforced with barbiturates. Friends concerned about his treatment there had him transferred to the Buch Clinic in East Berlin in August 1963, Robeson returning to the States later that year. In 1965 his wife for forty-four years, Essie, died. During the latter years of his life Robeson, a Marxist socialist, remained concerned as to Civil Rights, but the flame had subsided. Complications from a stroke killed Robeson in 1976 in Philadelphia. He began appearing on televised media again in 1978. References encyclopedic: 1, 2, 3, 4, 5, 6, 7. Musical: 1, 2, 3, 4. Theatre (Broadway). Visual media. Disco of titles issued on CD. Discographies w various credits: 1, 2. 'Paul Robeson Collection 1925-1956': 1, 2, 3. Further reading: 1, 2, 3, 4.

Paul Robeson   1925

   Bye and Bye

   Joshua Fit de Battle of Jericho

     Composition: Traditional

   Swing Low, Sweet Chariot

     Composition: See Wikipedia

     First recorded by Fisk Jubilee Singers 1909

Paul Robeson   1933

   Mah Cindy Lou

     Composition: Traditional

Paul Robeson   1936

   Ol' Man River

     Composition: Jerome Kern/Oscar Hammerstein II

      Film: 'Showboat'

Paul Robeson   1937

   Deep Desert

     Composition: Michael Carr/Jimmy Kennedy

      Film: 'Jericho'

Paul Robeson   1940

   Deep River

     Composition: Traditional

     First published by J.B.T. Marsh 1876

       Film: 'The Proud Valley'

Paul Robeson   1944

   National Anthem of the Soviet Union

     Music: Alexander Alexandrov   1944

       Text: Sergey Mikhalkov/Gabriel El-Registan

Paul Robeson   1949

   Warsaw Ghetto Uprising

     Composition: See Wikipedia

       Live in Moscow

Paul Robeson   1958

   Going Home

      Live at Carnegie Hall

     Composition: Antonin Dvorák

Paul Robeson   1959

   The Song of Freedom

      Piano: Alan Booth

     Composition: Smetana 1848

 

 
 

The enormously popular Carter Family are much as to the folk genre as Bill Monroe was to bluegrass: being central to the emergence of the category and setting its tone for years to come. Maybelle's career in particular would make her something of the matriarch of the folk genre. The original Carter Family (first configuration) consisted of Alvin (b 1891/1, 2, 3), Maybelle (b 1909 guitar/ 1, 2, 3, 4, 5, 6, 7) and Sara (b 1898 lead vocal married to Alvin/ 1, 2, 3) Carter, all three born in Virginia. By the time of their first recordings in 1927 such as Eck Robertson, John Carson, Uncle Dave Macon and the Skillet Lickers had already been recording eastern mountain music toward the eventual emergence of the bluegrass genre (Country 1). Vernon Dalhart and Carl Sprague had already recorded songs at the vanguard of country western (Country 3), that to emerge as a genre due largely to country swing (as compared to big band swing in jazz) in Hollywood. In classical, Béla Bartók had premiered 'Concerto #1' in Frankfurt in July of '27. In jazz, Duke Ellington made his first appearances at the Cotton Club in Harlem in December of '27. Rock, of course, didn't yet exist, but early R&B artist, Julia Lee, had issued 'Down Home Syncopated Blues' in 1927. Elsewise in the world 1927 saw Charles Lindbergh fly across the Atlantic and the publication of Herman Hesse's 'Steppenwolf'. Praguefrank's, using Tony Russell's 'Country Music Records 1921-1942' (CMR), shows the Carters putting down their first tracks in Bristol, Tennessee, on August 1 of '27: 'Bury Me Under the Weeping Willow'/'Little Log Cabin by the Sea' (Victor 21074), 'The Poor Orphan Child' (Victor 20877) and 'The Storms Are on the Ocean' (Victor 20937). A session the next day witnessed 'Single Girl, Married Girl' (Victor 20937) and 'The Wandering Boy' (Victor 20877). [See also 1, 2] At that time the Carters were paid $50 per song plus a half cent royalty per copy sold. It was also 1927 when 'Barn Dance' at WSM radio (founded October 1925) in Nashville was renamed 'The Grand Ole Opry'. The original Carters that were the trio of Sara, Alvin and Maybelle, however, weren't associated with the Ole Opry, leaving that to Maybelle and the Carter Sisters in the latter forties: the second generation of the Carter family arose in the latter thirties as five stepsisters, eventually emerging in 1944 as Mother Maybelle & the Carter Sisters (Helen, June and Anita). Though the Carter Family was a folk affair, later association with the Grand Ole Opry in Nashville would find Maybelle and the Carter Sisters amidst bluegrass and country western compatriots as well. Recording extensively (@ 300 songs) at locations in the eastern portion of the States while working in radio as far west as Texas, the original Carter trio nigh singlehandedly created the folk genre with millions of records released via Victor, Montgomery Ward, Bluebird, ARC, Banner, Decca, Conqueror and Okeh. Another major name in the bloom of recorded country folk music was Jimmie Rodgers. Alvin Carter composed 'Why There's a Tear in My Eye'' for a duet by Rodgers and Sara Carter on June 10 of 1931 (Bluebird 6698). Other titles recorded with Rodgers were three unissued tracks on the 11th of 'Jimmie Rodgers Visits the Carter Family' and 'The Carter Family and Jimmie Rodgers in Texas'. Those were recorded again on the 12th to get issued per Victor 23574 and Bluebird 6762. The Carter Family trio dissolved above a decade later in 1943-44. Maybelle, to become known as Mother Maybelle, had already formed the Carter Sisters consisting of her daughters Helen, June and Anita. With young guitarist, Chet Atkins, as accompaniment, they joined the Opry in 1950. A reunion of the original Carter Family trio back in Bristol, TN, on April 20, 1956, came to 'Their Last Recording' ('56). Maybelle and Sara reunited as late as June 15 and 16 of 1966 in Nashville to record 'An Historic Reunion: Sara and Maybelle - The Original Carters'. The next year in July of 1967 they performed at the Newport Folk Festival together. As Alvin (A.P.) had died on November 7 of 1960 in Kingsport, TN, after which the Carter Sisters performed as the Carter Family, Maybelle and Sara accepted the election of the original Carter trio into the Country Music Hall of Fame in 1970. Maybelle died on October 23, 1978, in Hendersonville, Tennessee. Sara died on January 18, 1979, in Lodi, CA, buried in Hilsons, Virginia. The composer in the Carter Family trio was Alvin, writing a large number of original compositions for the group when not arranging traditionals. Among them were 'I'm Thinking Tonight of My Blue Eyes' ('29), 'No Telephone in Heaven' ('29) and 'Hello Stranger' ('37). Other titles composed by Alvin. Other songwriting credits at allmusic, 45worlds and discogs. Sessionography. References encyclopedic: 1, 2, 3, 4. Musical: 1, 2, 3, 4, 5, 6, 7. Nice, full index of lyrics. Per the 2014 documentary, 'The Winding Stream': *.

Carter Family   1927

   Bury Me Under the Weeping Willow Tree

     Composition: A.P. Carter

    Poor Orphan Child

     Composition: A.P. Carter

Carter Family   1929

   The Cannonball

     Composition: Traditional

   Engine 143

     Composition: A.P. Carter

   Wabash Cannonball

     Composition: A.P. Carter

Carter Family   1930

   When the World's On Fire

     Composition: A.P. Carter

Carter Family   1931

   My Old Cottage Home

     Composition: A.P. Carter

Carter Family   1932

   The Church in the Wildwood

     Composition: A.P. Carter

Carter Family   1933

   I Never Will Marry

     Composition: A.P. Carter

Carter Family   1935

   Keep On the Sunny Side

     Composition: A.P. Carter

   Wildwood Flower

     Composition: Traditional  

     Arrangement: A.P. Carter

      See Wikipedia

Carter Family   1936

   Are You Lonesome Tonight

     Composition:

     Roy Turk & Lou Handman

   Lonesome Valley

     Composition:

     A.P. Carter/Carlene Carter/Al Anderson

Carter Family   1937

   My Home's Across the Blue Ridge Mountains

     Composition: A.P. Carter

 

Birth of Folk Music: Carter Family

Carter Family

Source: Radioactive

Birth of Folk Music: Jimmie Rodgers

Jimmie Rodgers

Source: Julia Petit

 

Born in 1897 in Meridian, Mississippi, yodeling Jimmie Rodgers assumes the avant-garde of country folk recording as a contemporary of the Carter Family with whom he would collaborate as well. He's not to be confused with Jimmie Rodgers of later 'Honeycomb' fame in '57. Wikipedia has Rodgers organizing traveling shows by age 13. He nevertheless worked the railroad as a young man, both in Mississippi and New Orleans, until organizing another tent show in 1924 to tour the southeastern States. A storm wrecked his tent, putting him back with the railroad, now in Florida, until 1927 when he headed back to Meridian. Come April that year he began performing at WWNC radio in Ashville, NC. He then formed a band for the weekly 'The Jimmie Rodgers Entertainers' show. Rodgers was paid $100 for his first recording, 'Soldier's Sweetheart' ('Sleep, Baby, Sleep' flip side on Victor 20864) on August 4, 1927, in Bristol, Tennessee. Going by Tony Russell's 'Country Music Records' (CMR), his next session on November 30 that year yielded 'Ben Dewberry's Final Run' (Victor 21245), 'Mother Was a Lady' (Victor 21433) and 'Blue Yodel'/'Away Out on the Mountain' (Victor 21142). 'Blue Yodel' (also called 'T For Texas') sold nigh half a million copies, verily launching Rodgers' career. His first titles in 1928 went down on February 14 and 15 as the Three Southerners with Julian R. Ninde (guitar) and Ellswort C. Cozzens (banjo): 'Dear Old Sunny South by the Sea', 'Blue Yodel No. 3', et al. June and July of 1930 found Rodgers out west in Hollywood in another country atmosphere where country swing was about to become the force to launch the country western genre. While there to put down titles like 'My Blue Eyed Jane' (Victor 23549) and 'The Pullman Porters' (unissued). Alvin Carter composed 'Why There's a Tear in My Eye'' for a duet by Rodgers and Sara Carter on June 10 of 1931 in Louisville, KY (Bluebird 6698). Rodgers joined Mother Maybelle & the Carter Family for three unissued tracks on the 11th for 'Jimmie Rodgers Visits the Carter Family' and 'The Carter Family and Jimmie Rodgers in Texas'. Those were recorded again on the 12th to get issued per Victor 23574 and Bluebird 6762. Unfortunately Rodgers had long since struggled with tuberculosis. He made his final recordings May 17 through May 24 of 1933 in New York City. Sessions began with such as 'Blue Yodel No. 12'/'The Cow Hand's Last Ride' (Victor 24456) and finished on the 24th with 'Years Ago' (Bluebird 5281). Rodgers died two days later on May 26, 1933 [*]. He had composed extensively, from such as 'A Drunkard's Child' and 'Any Old Time' in 1930 to 'Somewhere Down Below the Mason Dixon Line' and 'Sweet Mama Hurry Home Or I'll Be Gone' in '1933. See Rodgers' numerous compositions listed at allmusic and secondhandsongs. See also 45worlds and discogs. References encyclopedic: 1, 2. Musical: 1, 2, 3, 4, 5, 6, 7. Tribute sites.

Jimmie Rodgers   1927  

   Soldier's Sweetheart

     Composition: Jimmie Rodgers

   Blue Yodel (T for Texas)

     Composition: Jimmie Rodgers

     See Wikipedia

Jimmie Rodgers   1929  

   Waiting for a Train

     Composition: Jimmie Rodgers

Jimmie Rodgers   1930  

   Jimmie's Mean Mama Blues

     Composition: Jimmie Rodgers

   Mule Skinner Blues

     'Blue Yodel No. 8'

     Composition: Jimmie Rodgers

immie Rodgers   1931

   Why There's A Tear In My Eye

     Composition: Jimmie Rodgers/Sara Carter

   The Wonderful City

     Composition: Jimmie Rodgers/Sara Carter

immie Rodgers   1933  

   Years Ago

     Final recording   Composition:

     Lou Herscher/Barry Richards/Jimmie Rodgers

 

 
 

Born in 1895 in Bristol, Tennessee, guitarist Clarence Ashley [1, 2, 3, 4, 5] got moved to Shouns, TN, at age five. His grandfather bought him a banjo at age eight on which he learned traditional Appalachian folk songs. Growing up in an environment of lumberjacks and miners as his grandfather ran a boarding house, he joined his first medicine show in 1911. Otherwise performing at places like factories, he was with banjo player, Dwight Bell, to record his first tracks as Thomas Ashley in Richmond, TN, on February 2, 1928. Two titles went unissued: 'Ohio Lovers' and 'Drunkard's Dream'. 'You're a Little Too Small'/'Four Night's Experience' saw release on Gennett 6404. He next joined the Carolina Tar Heels with Dock Walsh on banjo and Gwen Foster as Garley Foster on guitar and harmonica. Tracks from October 11 of '28 to April 4 of '29 witnessed such as 'There's a Man Goin' Around Takin' Names'/'I Don't Like the Blues No How' (Victor 40053) and 'Hand in Hand We Have Walked Along Together'/'The Old Grey Goose' (Victor 40177), et al. Ashley recorded banjo solos in his real name, Clarence, on October 23, 1929, in Johnson City, TN: 'Dark Holler Blues'/'The Coo-Coo Bird' (Columbia 15489-D) and 'little Sadie'/'Naomi Wise' (Columbia 15522-D). More solos followed on April 14 of 1930 in Atlanta, two of six tracks issued: 'The House Carpenter'/'Old John Handy' (Columbia 15654-D). Tony Russell's 'Country Music Records' (CMR) has him next recording as Tom Ashley in a string of configurations lumped together for convenience as the Blue Ridge Mountain Entertainers, from November 30, 1931, to December 2, 1931. Ashley's accompaniment is unknown for the first session of that grouping on November 30, 1931, resulting in 'There will Come a Time' unissued. Among titles released from that date were 'Penitentiary Bound' (Conqueror 8249) and 'Baby All Night Long' (Vocalion 02780). Those were with Clarence Greene at fiddle and Gwen Foster at harmonica. December 1 and 2 saw such as 'Cincinnati Breakdown'/'Honeysuckle Rag' (Banner 32432) and 'Corrina Corrina' (Banner 32427). Come titles with Gwen Foster at harmonica on September 6-8 of 1933 for such as 'Sideline Blues' (Vocalion 02611) and 'Frankie Silvers' (Vocalion 02647). Among those was the first known recording of 'The House Of the Rising Sun' as 'Rising Sun Blues' on September 6 (Vocalion 02576). (In 1928 blues musician, Texas Alexander, recorded a song, 'The Rising Sun', which some mistakenly associate with 'The House of the Rising Sun' even though it is an entirely different song. The confusion may arise of Roy Acuff's version of the song in 1938 being titled 'Rising Sun'. The title was changed altogether to 'Rounder's Luck' by the Callahan Brothers. Ashley himself claimed he learned the song from his maternal grandfather.) Ashley's final track of that period went down with Foster on the 8th unissued: 'My Mother Scolds Me for Flirting'. Ashley wouldn't record again for another 27 years as the Great Depression cast its pall. During those years Ashley worked various jobs including his own trucking business in Mountain City begun in 1937. He also worked as a comedian with the Stanley Brothers and ran a band called the Tennessee Merrymakers. Praguefrank's has him recording again circa September of 1960 for four tracks to be found on 'Old Time Music at Clarence Ashley's' (Folkways FA 2355) in 1961. Those included his first titles with Doc Watson: 'Honey Babe Blues' and 'God's Gonna Ease My Troubling Mind'. Ashley and Watson would hold several sessions together with various collaborators to latter July of 1963 at the Newport Folk Festival. Praguefrank's gives him up at Newport, listing his final recording as 'Amazing Grace' with Jean Ritchie at vocals. Those last tracks were issued in '64 as 'Old Time Music at Newport' by Vanguard 9147 mono and 79147 stereo. Recordings by Ashley with Watson have otherwise been documented per 'Original Folkways Recordings: 1960-1962' issued in '94. Ashley spent the remaining years of his life touring during the folk revival in the sixties from Carnegie Hall in New York City to California to England ('66 and '67). Ashley died on June 2 of 1967 in Winston-Salem, NC, taking his place beside the Carter Family and yodeling Jimmie Rodgers at the avant-garde of country folk recording. Discography of issues w various credits. Per 1994 below, those tracks with Watson in the early sixties were issued on 'The Original Folkways Recordings of Doc Watson and Clarence Ashley 1960 Through 1962'.

Clarence Ashley   1928

   The House Carpenter

     Composition: Traditional

Clarence Ashley   1929

   Dark Holler

Clarence Ashley   1933

   Rising Sun Blues

     Harmonica: Gwen Foster

     Original 'House of the Rising Sun'

     Composition: Traditional   See 1, 2, 3, 4, 5

Clarence Ashley   1961

   God's Gonna Ease My Troublin' Mind

     With Doc Watson

     Composition: Traditional

     Album: 'Old Time Music at Clarence Ashley's Vol 1'

Clarence Ashley   1962

   Shady Grove

     Banjo: Jack Burchett

      Composition: Traditional

     Album: 'Old Time Music at Clarence Ashley's Vol 2'

Clarence Ashley   1994

   The Banks of the Ohio

      Recorded w Doc Watson April 1962

     Composition: See Wikipedia

   Skillet Good and Greasy

      Recorded w Doc Watson circa 1961

     Composition: Dave Macon   1924

 

Birth of Folk Music: Clarence Ashley

Clarence Ashley

Source: Herb Museum

  The Callahan Brothers [1, 2] consisted of Walter (b 1910) and Homer (b 1912) Callahan, a couple of yodelers who also went by Joe and Bill. Hailing from Madison County, NC, they went to New York City in winter of 1934 to put down their debut tracks on January 2. Per Tony Russell's 'Country Music Records', titles issued by Banner were 'She's My Curly Headed Baby'/'Once I Had A Darling Mother' (32955), 'Gonna Quit My Rowdy Ways (33004), 'Saint Louis Blues' (32994)and 'Ashville Blues'/'Mean Mama' (33093). 'I Would If I Could But I Can't' went unissued. [See also *.] Like other early folk musicians they plied their trade from radio station to radio station as far west as Tulsa, Wichita Falls and Dallas until they went as far west as they could to Hollywood in 1945 to make the film, 'Springtime In Texas', with Jimmy Wakely. 'The Billboard' lists them issuing 'St. Louis Blues'/'Limb from the Old Apple Tree' (Cowboy Records 701) in June of '48 as Bob Callahan and His Blue Mountain Boys with the addition of Alma Callahan. Praguefrank's traces them to as late as October 1951 in Dallas for 'This Crazy Crazy Feeling'/'Blue Letters' (Columbia 20881), I've Had My Share Of Sorrow'/'All Over You' (Columbia 20946), 'Blues on My Mind'/'I Have Shifted Gears' (Columbia 21001), and 'You Have Used My Heart'/'Lips That Tell a Lie' (Columbia 21047). Though the yodeling brothers were very popular in the thirties their music alone would not later be enough to sustain them, Joe to return to roots in Ashville and become a grocer, Bill to remain in Dallas to pursue photography. Joe died on September, 1971. Bill continued to September 12, 2002. Discographies w various credits at 45Worlds and Discogs.

Callahan Brothers   1934

   Corn Licker Rag

   Gonna Quit My Rowdy Ways

   Rattlesnake Daddy

     Composition: Homer Callahan

   She's Killing Me

Callahan Brothers   1935

   Rounder's Luck (House of the Rising Sun)

     Composition: Traditional   See 1, 2, 3, 4, 5

Callahan Brothers   1936

   Gonna Quit Drinkin' When I Die

     Composition: Reece Fleming/Respers Townsend

Callahan Brothers   1946

   John Henry

     Composition: Traditional

   Turkey In the Straw

     Composition: Traditional

Callahan Brothers   1951

   Blue Letters

     Composition: Bill & Joe Callahan

 

Birth of Folk Music: Callahan Brothers

Callahan Brothers

Source: Last FM

Birth of Folk Music: Roy Acuff

Roy Acuff

Source: CMT

Born in 1903 in Maynardville, Tennessee, fiddler Roy Acuff ("King of Country Music") began his music career in 1932 by joining a traveling medicine show. In 1934 he settled in Knoxville, formed a band called the Tennessee Crackerjacks with which he began performing on radio in Knoxville, later to become the Crazy Tennesseans, with whom he spread along his initial titles in Chicago on October 2o-23, 1936, his gang consisting of Jess Easterday (guitar), Clell Sumne (Dobro), Red Jones (bass) and Sam Hatcher (harmonica). First up came 'Singing My Way to Glory' ('39 w 'Lonesome Valley'), 'Charming Betsy' ('37 w 'You've Gotta See Mama Every Night'), 'Great Speckled Bird'/'My Mountain Home Sweet Home' (Conqueror 8740 '37) and 'Gonna Raise a Ruckus Tonight' ('37 w 'All Night Long'). Such as 'Freight Train Blues'/'Wabash Cannonball' ('38) went down the next the day. Acuff's first titles to issue went down on October 22: 'Steamboat Whistle Blues'/'New Greenback Dollar' (Vocalion 03255). [See waynecountry.] Later issues by Columbia would credit some of the titles gone down in October by the Tennesseans to the Smoky Mountain Boys although they didn't use that name yet. The Tennesseans held their next sessions on March 22 of 1937 in Birmingham, Alabama, with Hatcher out. Among numerous issued by Vocalion, Conqueror and ARC were 'An Old Three Room Shack' ('39) and 'Sad Memories ('39). Acuff took his Tennesseans to the Grand Ole Opry in Nashville in 1938 where they successfully auditioned after an initial audition failed. He there changed his group's name to the Smoky Mountain Boys. They recorded as such on November 3 of 1938 in Columbia, SC, with Bob Wright contributing on ''Shout, oh Lulu'. Among numerous other tracks issued were 'The Rising Sun'/'Goodbye Brownie (Vocalion 04909 '39) and 'What Would You Do with Gabriel's Trumpet'/'Blue Ridge Sweetheart' (Vocalion 04531 '39). Come the summer of 1939 all had vacated Acuff's band except Easterday, they replaced by Pete Oswald Kirby and Lonnie Wilson on guitars for tracks in Memphis on July 5-6 like 'Haven of Dreams'/'Old Age Pension Check (Vocalion 05244 '39) and 'Eyes Are Watching You'/'Drifting Too Far from the Shore' (Vocalion 05297 '40). In 1940 Acuff took his band to Hollywood. During the early forties Acuff was so popular that when he gave tent shows traffic would congest for miles [Wikipedia]. In 1942 he founded Acuff-Rose Music with Fred Rose, publishing such as Hank Williamss and later, Roy Orbison. Acuff ran for Governor of Tennessee in 1948 as a Republican, and lost with 33% of the vote. He died on November 23, 1992, 89 years of age. Among the numerous with whom he had performed were Dave Macon, Kitty Wells, Nitty Gritty Dirt Band ('Will the Circle Be Unbroken') and George Jones. He had been a Freemason. Acuff composed such as 'Beneath That Lonely Mound of Clay' and 'The Streamlined Cannon Ball' in 1940 to 'All the World Is Lonely Now' and 'No One Will Ever Know' in 1946. Songwriting credits to Acuff's recordings at 1, 2, 3, 4, 5. References encyclopedic: 1, 2, 3, 4. Musical: 1, 2, 3, 4. Acuff in visual media.

Roy Acuff   1938

   Great Speckle Bird

      Later stereo version

     Composition: Roy Acuff

   Rising Sun (House of the Rising Sun)

     Composition: Traditional   See 1, 2, 3, 4, 5

   Wabash Cannonball

      Later stereo version

     Composition: A.P. Carter

Roy Acuff   1942

   Wreck on the Highway

     Composition:

     From Dorsey Dixon's 'I Didn't Hear Nobody Pray'

Roy Acuff   1943

   Smoke on the Water

     Composition: Zeke Clements/Earl Nunn

Roy Acuff   1947

   Freight Train Blues

     Composition: Traditional

 

 
 

Born in Darlington, South Carolina, in 1897, Dorsey Dixon quit school at age twelve to work at a textile mill with his father [Wikipedia]. He was playing violin and guitar by the time he was an adolescent. Brought up among the working poor with a large family of seven children, he stuck with making clothes like his siblings in various mills with the exception of World War I when he worked as a railroad signalman. In 1927 he married another mill worker named Beatrice. Not until 1929, he age 32, did he apply a poem to a melody to write his first composition, 'The School House Fire' (to the hymn 'Life's Railway to Heaven'). Upon starting to compose in earnest his brother, Howard, joined him on guitar (steel guitar on their first recordings). 1934 found them working for WBT radio in Charlotte. [1, 2, 3, 4] They first recorded in Charlotte on February 12 of 1936. Among other titles they documented Dixon's compositions, 'Sales Tax on the Women' b/w 'Intoxicated Rat' (Bluebird 6327) and 'Weave Room Blues' b/w 'Two Little Rosebuds' (Bluebird 6441). 'Weave Room Blues' addressed life at the mills, as did such as 'Spinning Room Blues' gone down on Jun 23 of 1936 and 'Weaver's Life' on February 18, 1937, both with several other issued tracks like vocals by Beatrice: 'Beautiful Stars' and 'I Will Meet My Precious Mother'. The 18th also saw Howard Dixon's first tracks with Frank Gerald on guitar as the Rambling Duet: 'At Twilight Old Pal of Yesterday'/'Call Me Pal of Min' (Montgomery Ward 7856)'. Tony Russell's 'Country Music Records' has that duo recording on four more dates to as late as September 25, 1938, as a trio with Mutt Evans at vocals yielding 'Honey Baby Mine'/'New Trouble' (Bluebird 7895) and 'My Trundle Bed' (Bluebird 8055) [*]. Praguefrank's follows the first portion of Dorsey's career with Howard to as late as September 25, 1938, to lay down such as 'Time for Me to Go'/'After the Ball' (Montgomery Ward 7577) and 'The Story of George Collins'/'The Light of Homer Rogers' (Montgomery Ward 7580). The forties saw Dixon's career come to a grinding halt, he returning to the mills. In 1946 Dixon settled with Roy Acuff out of court concerning 'Wreck on the Highway' as a version of his own 'I Didn't Hear Nobody Pray'. He was granted ownership, one third of current sales (which had come to five thousand dollars) and a percentage of future royalties. He also changed the title of the song from his own to Acuff's, recording it as such on August 8 of 1962 (Testament 3301) and later at the Newport Folk Festival in July of 1963 upon the brief revival of his career per a string of home recordings on August 20, 1961 that would see issue per Bear Family 16817 in 2012. He and Beatrice had gone their separate ways in 1953 and Howard had died on an unknown date in 1960-61 at the mill where he worked. More compositions about factory work followed on August 8 of 1962: 'Babies in the Mill', 'Factory Girl' and 'Hard Times in Here'. Praguefrank's shows Dorsey's last titles going down in January of '64, a string of solos for the Library of Congress, such as 'Everybody Works But Papa' and 'Mommy Will My Doggie Understand' (AFC 1964/019). Several heart attacks that year, however, ended his career. Dixon died of heart failure on April 18, 1968, Plant City, Florida, seventy years of age. Dorsey Dixon at Discogs. Howard Dixon at Discogs. Dixon Brothers at Discogs. All titles below are Dixon's compositions.

Dorsey Dixon   1936

   Intoxicated Rat

   Sales Tax on the Women

   Weave Room Blues

Dorsey Dixon   1938

   I Didn't Hear Nobody Pray

Dorsey Dixon   1962

   Babies in the Mill

 

 

Birth of Folk Music: Woody Guthrie

Woody Guthrie

Source: Wikipedia

Born in 1912 in Oklahoma, Woody Guthrie, [1, 2, 3, 4, 5, 6, 7, 8] best known for his songs concerning the Great Depression and the Dust Bowl. Per Wikipedia Guthrie was 14 years old when his mother was permanently hospitalized with Huntington's disease. Sometime afterward his father was called to Pampa, TX, on real estate business, Guthrie joining him in 1929. Guthrie busked as a teenager and married at age 19 without graduating from high school. Leaving his family behind, he joined the migration to California during the Dust Bowl years in 1937. He there found employment at radio station KFVD in Los Angeles. It was about this time that, though Guthrie wasn't a member of the Communist Party, he began writing for the Communist paper, 'People's World'. (Guthrie was less a communist than simply anti-fascist.) Guthrie left KFVD in 1939, after which he made his way to New York City where his first recordings were taped by Alan Lomax for the Library of Congress (Department of Interior/Radio Broadcasting Division). Titles went down on March 21 of 1940 like 'The Train' ('Lost Train Blues') and 'Railroad Blues', et al [see Wikipedia]. Guthrie held several future sessions with Lomax to as late as July of 1941. His first commercial recordings went down on April 26 and May 3 of 1940 in Camden, New Jersey, toward his album, 'Dust Bowl Ballads' (Smithsonian Folkways '40). Guthrie is said to have composed 'Tom Joad' on that album the night he saw the film, 'The Grapes of Wrath' [*], that from John Steinbeck's novel published the prior year. 'Do Re Mi' is also associated with Steinbeck's 'Grapes of Wrath'. Guthrie and Steinbeck, who knew each other [*], have been linked ever since as the two great story tellers of the Dust Bowl. Guthrie formed the Almanac Singers with Pete Seeger, Lee Hays and Millard Lampell in 1940. Produced by Eric Bernay, the Almanac Singers spread their first tracks in NYC circa March/April of '41 for the May issue of 'Songs for John Doe' (Almanac 102). A May session witnessed 'Talking Union' (Keynote 106). June of '41 saw 'Song for Bridges'/'Babe o' Mine' (Keynote 304), 'Song for Bridges' a tribute to Harry Bridges, president of the International Longshore and Warehouse Union (ILWU). July 7 saw several titles go down for Alan Lomax per 'Deep Sea Chanteys and Whailing Ballads' and 'Sod-Buster Ballads'. Also gone down in '41 were 'Greenland Fishing' and 'The Weaver's Song', not released until 1996. Circa February of '42 saw the recording of 'Dear Mr. President' (Keynote 111) and 'Boomtown Bill'/'Keep That Oil A-Rollin'' (Keynote 5000). 'Anti-fascist Songs of the Almanac Singers' didn't see release until 1996. [See * per above.] To avoid the draft Guthrie joined the Merchant Marine in 1943, the same year he published his autobiography, 'Bound for Glory'. Howsoever, his association with Communism found him rejected from the Marine in 1945, to the result of getting drafted into the Army anyway (during which he saw less action than in the Merchant Marine). He was apparently on leave when in May of 1944 he contributed to 'The Martins and the Coys' alongside such as Sonny Terry, Burl Ives and Pete Seeger. In 1947 Guthrie wrote 'House of Earth', a novel not published until 2013. He had also recorded 'Songs to Grow on for Mother and Child' issued in 1956. About 1953 Guthrie lost the ability to play guitar during an explosion between a campfire and a gasoline container in Florida. Beginning in 1956 Guthrie was hospitalized for five years with Huntington's disease, of which he died on October 3, 1967, in New York City. Perhaps Guthrie's best-known composition was 'This Land Is Your Land' in 1940. In May of 1941 he wrote a string of songs about the Columbia River such as 'Roll On, Columbia, Roll On', 'Pastures of Plenty' and 'Grand Coulee Dam'. He also wrote such as '1913 Massacre' ('45) and 'Brown Eyes' ('62). Other of his compositions at secondhandsongs. Various credits at 45worlds and discogs. Lyrics. Per below, see Pete Seeger for recordings with the Almanacs.

Woody Guthrie   1940

   Jesus Christ

      Composition: Woody Guthrie   1940

   Talking Dust Bowl Blues

      Composition: Woody Guthrie   1940

   Do Re Mi

      Composition: Woody Guthrie   1940

   Hard Travelin'

      Composition: Woody Guthrie   1940

Woody Guthrie   1944

   This Land is Your Land

      Composition: Guthrie   1940   See Wikipedia

   Train Blues

      Composition: Woody Guthrie   1940

   Worried Man Blues

      Composition: Woody Guthrie   1940

 

 
 

As seen on this page, early folk music was a ballad oven, which Pete Seeger combined with political activism. Born in 1919 in New York City, at age twenty he was one of the Vagabond Puppeteers. Seeger was an original member of the Almanac Singers [1, 2, 3, 4] founded in latter 1940 in New York City. 1940 was one of the ugliest years yet produced by humankind. World War II was raging in Europe. Paris had been occupied by German forces on June 14, the same day Auschwitz received its first prisoners. The Manhattan Project had been initiated and the British would be retreating from Dunkirk. With the worst yet to come the next year via Pearl Harbor's bombing, 1940 was also the year Walt Disney released 'Pinocchio', the first US turnpike was built in Pennsylvania and Mountain Dew country soda went on market. In the musical realm Arnold Schoenberg premiered 'Violin Concerto' (op 36) in 1940. Glenn Miller's sweet jazz band issued 'Tuxedo Junction' and the Ink Spots, progenitors of doo wop, had issued 'We Three'. Pete had grown up amidst a musical and well-educated family all around. His father, Charles, had formed the music department at the University of California, Berkeley, in 1912 and would teach at Juilliard. His mother, Constance de Clyver, was a concert violinist and later taught at the Juilliard. Seeger himself had matriculated into Harvard to become a journalist but dropped out in 1938. The next year he was working with a traveling puppet show. Later that year Seeger found employment as an assistant to Alan Lomax, selecting material representative of American music for the Archive of American Folk Song per the Library of Congress. On an unknown date in 1940 Seeger recorded 'Six Songs for Democracy' with Ernst Busch, et al, in address of the Spanish Civil War. Issued by Keynote in July, a few years later Seeger addressed the Spanish Civil War again per the 1944 recording of 'Songs of the Lincoln Brigade'. He was variously accompanied on those by Baldwin Butch Hawes, Bess Lomax Hawes and Tom Glazer [1, 2]. Seeger formed the Almanac Singers with Woody Guthrie, Lee Hays and Millard Lampell in 1940. Produced by Eric Bernay, the Almanac Singers spread their first tracks in NYC circa March/April of '41 for the May issue of 'Songs for John Doe' (Almanac 102). A May session witnessed 'Talking Union' (Keynote 106). June of '41 saw 'Song for Bridges'/'Babe o' Mine' (Keynote 304), 'Song for Bridges' a tribute to Harry Bridges, president of the International Longshore and Warehouse Union (ILWU). July 7 saw several titles go down for Alan Lomax per 'Deep Sea Chanteys and Whailing Ballads' and 'Sod-Buster Ballads'. Also gone down in '41 were 'Greenland Fishing' and 'The Weaver's Song', not released until 1996. Circa February of '42 saw the recording of 'Dear Mr. President' (Keynote 111) and 'Boomtown Bill'/'Keep That Oil A-Rollin'' (Keynote 5000). 'Anti-fascist Songs of the Almanac Singers' didn't see release until 1996. [See * per above.] In 1942 Seeger became a member of the Communist Party [*] (which he left in 1949). Anti-war as Seeger was, he was nevertheless drafted and served in the Army in the Pacific, first as an aircraft mechanic, then as an entertainer. While in the Army Seeger drafted a letter to the American Legion in California denouncing a plan to deport Japanese living in America. That got forwarded to the FBI, launching an investigation of Seeger in 1943 that would last above thirty years toward a dossier of nigh 1800 pages with 90 yet classified [1, 2]. Upon discharge from service Seeger collaborated with Burl Ives and Alan Lomax on March 11 of '44 in NYC for titles like 'Little Man on a Fence' (Stinson 622) and 'Jim Crow' (Asch 346). He was with Guthrie, Ives, et all, on May 11 of '44 for titles that would see issue in 2000 on 'The Martins and the Coys' by Rounder Records. In 1945 Hays, Lomax and Seeger formed People's Songs, an organization dedicated to the promotion of music about labor and the American people. 1948 saw the publication of Seeger's instructional, 'How to Play the Five-String Banjo'. In 1948 Seeger helped form the Weavers. Their first tracks went down in January of 49 with Paul Robeson (narration), Ronnie Gilbert (vocals), Lee Hays (vocals) and Fred Hellerman (vocals/guitar) toward such as 'The Trenton Six' and 'Dig My Grave'. Most of the titles the Weavers put away in '49 didn't see issue until 'Songs for Political Action: Folk Music, Topical Songs and the American Left' per Bear Family BCD 15790 in 1996 and 'Goodnight Irene: The Weavers 1949-1953' per Bear Family BCD 15930 in 2000. Exceptions were Parts 1 and 2 of 'The Peekskill Story' issued in '49 per Charter 502 (People's Songs label). 'Dig My Grave'/'Wasn't That a Time' also saw issue in '49 per Charter 503. In December of '49 the Weavers strung along 'The Hammer Song'/'Banks of Marble' for issue the next year per Hootenanny 101. The Weavers established a six-month residency at the Village Vanguard in latter '49. The next February they began recording titles toward the album, 'Train to the Zoo', issued that year per Children's Record Guild CRG 1001. A string of titles followed in March/April like 'When the Saints Go Marching In' and 'Around the World' that would see issue in 2000 per BCD 15930 above. 'Around the World' was recorded again on May 4 of '50 with 'Tzena Tzena Tzena', issued that year on Decca 27053. 'Tzena Tzena Tzena' was recorded again on May 26 with 'Goodnight Irene' for release on Decca 28272. Come June 30 for 'Old Man Atom'/'Pity the Downtrodden Landlord' (Jubilee 4005). Among the Weavers' various releases were 'The Roving Kind', 'Sixteen Tons' and 'Kumbaya'. Popular as they became, the group dissolved in 1953 due to blacklisting during which radio stations wouldn't play their material. There would be reunions, however, from '55 to as late as latter 1980 at Carnegie Hall. While Seeger was with the Weavers he issued the album, 'Darling Corey'. He would lead or co-lead about eighty more during his career to his latest, 'The Storm King', Volume I in 2013, Volume II posthumously in 2016. Seeger released 'American Folk Songs for Children' in 1953. Another of his notable albums for children was recorded in 2008 with a group of fourth graders called the Riverton Kids: 'Tomorrow's Children' ('10). In 1955 Seeger appeared before the House Un-American Activities Committee. His refusal to testify earned him conviction for contempt of Congress in 1961, overturned the next year upon appeal. Seeger released 'We Shall Overcome' (Carnegie Hall) and 'Live in Australia' in 1963. He was a member of the board at the 1965 Newport Jazz Festival on the day that Bob Dylan disappointed a few folk purists by going electric for the first time with backing by the Paul Butterfield Blues Band, attendance estimated at about 20,000. In 1966 Seeger helped found Hudson River Sloop Clearwater, an organization dedicated to clearing the Hudson River of pollution. Much later his 90th birthday (May 3, 2009) was celebrated at Madison Square Garden to raise funds for Clearwater. More than 60 guest musicians attended including Arlo Guthrie, Keller Williams and Warren Haynes. 2012 saw the issue of 'A More Perfect Union' with guitarist, Lorre Wyatt. The next year Seeger performed at Farm Aid alongside such as Willie Nelson. Others with whom Seeger collaborated over the years include Sonny Terry Memphis Slim, Willie Dixon, Malvina Reynolds, Mike Seeger, Justin Earle and Steve Earle. Seeger died on January 27 of 2014 in New York City [1, 2, 3]. One really can't label spirituality, but Seeger seems to have journeyed from atheism in his younger years toward more pantheistic views. He was a member of the Unitarian Universalist Church. Seeger had composed such as 'Lonesome Traveler' ('51), 'Black and White' ('58) and 'My Rainbow Race' ('71). Other of his compositions at secondhandsongs. Composers he covered at secondhandsongs. Other songwriting credits for Seeger or the Weavers. See also 45worlds 1, 2. References for Seeger encyclopedic: 1, 2, 3. Musical: 1, 2, 3, 4, 5, 6, 7. Seeger in visual media. Per 1940 below, all tracks are Seeger backing Ernst Busch per the album, 'Six Songs for Democracy'.

Pete Seeger  1940

   Los Cuatros Generales

     Composition: Traditional

   Hans Beimler

     Composition: Ernst Busch

   Die Thälmann-Kolonne

     Composition: Paul Dessau

Pete Seeger   Almanac Singers   1941

   Song for John Doe

     Composition: Millard Lampell

   The Strange Death of John Doe

     Composition: Millard Lampell

   Get Thee Behind Me Satan

     Composition:

     Lee Hays/Millard Lampell/Pete Seeger

   I Don't Want Your Millions, Mister

      Composition: Jim Garland

   Roll the Union On

      Composition: John Hancock

Pete Seeger   1944

   El Quinto Regimiento

     Composition: Traditional

Pete Seeger   1964

   What Did You Learn in School?

      Live on 'Tonight In Person'

     Composition: Tom Paxton

Pete Seeger   1968

   Live in Sweden

      Live on Filmed concert

Pete Seeger   2013

   This Land is Your Land

      Live on Filmed live at Farm Aid

      Composition: Woody Guthrie   1940

 

Birth of Folk Music: Pete Seeger

Pete Seeger

Source: Music y Vino

 

Born in 1909 in Illinois, Burl Ives [1, 2, 3, 4, 5, 6, 7], an occasional member of the Almanac Singers (Pete Seeger), first recorded in 1929: 'Behind the Clouds' for Gennett Records, a demo destroyed a few weeks later. Per Wikipedia it was 1927 when Ives both matriculated into Eastern Illinois State Teachers College and became a Freemason. Freemasonry he kept throughout his life. But college he quit in a couple years, to travel as a musician. He was arrested for vagrancy in Utah, said to be jailed for performing a bawdy version of 'Foggy Foggy Dew'. In 1931 he landed a gig at WBOW radio in Terre Haute, Indiana. Ives attempted college a couple more times before he recorded with Will Geer in 1938 at the Coolidge Auditorium of the Library of Congress in Washington D.C., which songs were 'Ballad of Wives and Widows of the Presidents and Dictators', 'The Parson's Daughter', 'Cod Liver Ile' and 'Three Crows'. Praguefrank's begins Ive's commercial sessions circa 1939 possibly in NYC for such as 'The Fox' (Stinson 701 '47) and 'The Foggy Foggy Dew' ('The Wayfaring Stranger' Asch 345/Stinson 345 '44). Other titles from that session like 'Poor Wayfaring Stranger' saw issue on 345 and later in 1962 per 'Spotlight on Burl Ives and the Folk Singers Three' (Stereo Spectrum Records SDLP 156). In 1940 Ives started his own radio program, 'The Wayfaring Stranger'. His recording debut en force occurred with tracks gone down from January to March of 1941 resulting in the album, 'Okeh Presents the Wayfaring Stranger'. It was about that time that Ives became associated with the Almanac Singers. In 1942 he was drafted into the Army, which is how he came to be cast in 1943 film, 'This Is the Army'. Discharged from the service for medical reasons, it is thought that Ives first recorded with Pete Seeger, ten years his younger, in 1943 for an LP titled 'Lonesome Train: A Musical Legend' ('44). The next year he recorded with Seeger and Alan Lomax as one of the Union Boys ('Martins and the Coys' etc.). His civilian acting debut was in 1946, landing a role in 'Smoky'. He published an autobiography, 'The Wayfaring Stranger', in 1948, the same year he recorded 'Blue Tail Fly', then issued his more successful 'Lavender Blue' in 1949 (used in the film, 'So Dear to My Heart'). 'Riders in the Sky' reached #8 on Billboard's Country chart in April. In 1950 Ives got blacklisted as an entertainer due to association with the Almanac Singers. That pressure ceased in 1952 when he cooperated with the House Committee on Un-American Activities (HUAC) and agreed to testify (as to Communism), at some cost to his popularity among other actors and musicians, especially those faced with jail for not testifying (such as Pete Seeger). The latter fifties nevertheless found him starring in several films from 'East of Eden' in '55 to 'Our Man in Havana' in '58. Continuing his movie career into the sixties, Ives placed 'A Little Bitty Tear' at Billboard's #1 spot in Adult Contemporary in December of 1961. 'Funny Way of Laughing' reached #3 in April of 1962. 'Call Me Mr. In-Between' came to #6 in July. His album, 'Burl Ives Chim Chim Cher-ee and Other Children's Choices', won a Grammy in 1964. Among others unmentioned with whom Ives recorded were Woody Guthrie, Josh White, Percy Faith and Grady Martin. He had also appeared in several Broadway productions from the thirties into the forties. Among his greater interests beyond music was the Boy Scouts of America, retaining a lifelong association ever since becoming a Lone Scout (founded 1915) which became the Boy Scouts in 1924. Ives died of oral cancer complications on April 14, 1995 in Anacortes, Washington. Many of Ives' recordings were arrangements of traditionals like 'The Riddle Song' and 'Tam Pierce'. Titles composed by himself include 'Foggy Foggy Dew' and 'Silver and Gold'. Other songs written by Ives at secondhand songs. Composers covered by Ives also at secondhandsongs. Other songwriting credits at 1, 2, 3, 4, 5, 6. Ives in theatre (Broadway). In visual media. 'Burl Ives Collection 1940-1960'. Tribute site.

Burl Ives   1941

   The Cowboy's Lament

     Composition: Traditional

      Album: 'Okeh Presents the Wayfaring Stranger'

   Sweet Betsy From Pike

     Composition: Traditional   See Wikipedia

      Album: 'Okeh Presents the Wayfaring Stranger'

Burl Ives   1944

   The New Martins and the Coys

      With the Union Boys

     Composition: Millard Lampell

   Tam Pierce

     Composition: Traditional

   Wayfaring Stranger

     Composition: Traditional

Burl Ives   1949

   Lavender Blue

     Composition: English traditional

   Ghost Riders In the Sky

     Composition: Stan Jones   1948

Burl Ives   1951

   On Top Of Old Smoky

      With Bing Crosby   Composition: Traditional

   On Top Of Old Smoky

      With Percy Faith   Composition: Traditional

Burl Ives   1957

   The Bird Courting Song

     Composition: D.S. Moore

   The Monkey and the Elephant

     Composition: Shel Silverstein/Baxter Taylor

   True Love Goes On and On

     Composition: Richard Adler/Jerry Ross

Burl Ives   1964

   Blue Tail Fly (Jimmy Crack Corn)

      Live performance

     Composition: Traditional   See Wikipedia

 

Birth of Folk Music: Burl Ives

Burl Ives

Photo: Redferns Music Picture Library

Source: Bing

Birth of Country Western: Chet Atkins

Chet Atkins

Source: NoNaMe

Guitar player Chet Atkins [1, 2, 3, 4, 5, 6, 7] should have recorded 'I've Been Everywhere', as he defies category, playing everything from classical to folk to jazz to pop to what is that? Though largely associated with the Nashville hillbilly sound per the Grand Ole Opry, Atkins was as virtuosic a producer as he was with guitar (ranked as 21st greatest guitarist by 'Rolling Stone'), having promoted a long stream of country western stars from Hank Snow and Porter Wagoner to Skeeter Davis and Waylon Jennings. He also produced Elvis Presley and the Everly Brothers. Atkins was born in 1924 in Luttrell, Tennessee. It's said that Atkins had asthma which required him as a child to sleep sitting upright. Playing a bent guitar would put him to sleep, to become a lifetime habit. Atkins first professional work arrived upon quitting high school, playing fiddle and guitar at WNOX radio in Knoxville. While there he joined a band called the Dixieland Swingsters. Praguefrank's has Atkins making his first demos at WNOX sometime in 1945: 'Why Don't You Leave Me Alone' and 'Empty Slippers'. In 1946 Red Foley joined the Grand Ole Opry, hiring Atkins for support. Praguefrank's shows Atkins backing Foley in New York City on July 31, 1946: 'Till the End of Time' (Decca 46058), 'Atomic Power'/'Have I Told You Lately That I Love You (Decca 46014), 'Foggy River'/'Lay Down Your Soul' (Decca 46024) and 'Old Shep' (Decca‎ 46052). September of 1946 saw 'Guitar Blues' and 'Brown Eyes Cryin' in the Rain' recorded as Chester Atkins per Bullet 617. On August 11 of 1947 arrived Atkins' first session produced by Stephen Sholes of RCA, that coming to titles like 'Standing Room Only'/'Aint'cha Tired of Makin' Me Blue' (RCA Victor 20-2587) and 'Don't Hand Me That Line'/'The Nashville Jump' (RCA Victor 20-3294). Those went down in Chicago w with Atkins' Colorado Mountain Boys consisting of George Barnes (guitar), Harold Siegel (bass), Charles Hurta (fiddle) and August Klein (accordion). Atkins left WNOX in 1949 to join Mother Maybelle & the Carter Sisters at KWTO in Springfield, Missouri. Atkins accompanied them on their first tracks on February 2 of 1949. Per Discogs and 45Worlds: 'The Kneeling Drunkard's Plea' (Victor 21-0029), 'Why Do You Weep Dear Willow?'/'(This Is) Someone's Last Day' (Victor 48-0050) and 'Walk Closer to Me' (Victor 21-0102), all issued in '49. Another session that day saw 'My Darling's Home at Last' (Victor 21-0029) and 'A Picture, a Ring and a Cul' (Victor 21-0102). Come October 12 of '49 in Chicago for titles with Anita Carter, Helen Carter, Kenneth Burns and Henry Haynes (Burns and Haynes = Homer & Jethro): 'Under the Hickory Nut Tree' (RCA Victor 48-0329), 'I Was Bitten by the Same Bug Twice' (RCA Victor 48-0367) and 'The Old Buck Dance'/'One More Chance (RCA Victor 21-0165). On the same day Maybelle & the Carter Sisters strung along 'The Day of Wrath' ('RCA Victor 21-0149), 'Down on My Knees' (RCA Victor 48-0319) and 'Little Orphan Girl'/'God Sent My Little Girl' (RCA Victor 48-0372). The next day (Oct 13 '49) the same crew with Helen out put down 'Boogie Man Boogie' (RCA Victor 48-0367) and 'Main Street Breakdown' (RCA Victor 48-0329). Anita played bass on those as she had the day before. Most sources including NPR have Atkins joining the Grand Ole Opry as part of Mother Maybelle & the Carter Sisters' crew in 1950. Atkins issued his first album in 1953: 'Gallopin; Guitar'. He struck gold with his release of 'Mr. Sandman' reaching #13 on Billboard's Country chart in January 1955. Among examples of Atkins venturing beyond hillbilly music was his appearance at the Newport Jazz Festival in 1960 ('Riot at Newport'). Wikipedia has him performing at the White House for every US President from John Kennedy to George H. W. Bush [*]. Musicvf has Atkins placing 'Yakety Axe' at #4 in July of '65. (The Coasters had issued 'Yakety Yak' in 1958 prior to Boots Randolph's 'Yakety Sax' the same year.) In 1968 Atkins assumed Stephen Sholes' position as Vice President of RCA's country operation in Nashville [1, 2, 3, 4]. Sholes died on April 22, 1968, having groomed Atkins for that position since '57. Wikipedia has Atkins leading or collaborating on nigh eighty albums. Examples of his solo work were issued posthumously in 2003 on 'Solo Sessions', a collection of 28 tracks Atkins had put together himself through his latter years. Atkins died on June 30, 2001, in Nashville, a major name across multiple genres, particularly hillbilly folk and country western recording. Regarded as one of the finest guitarists of the twentieth century, he was elected into the Rock and Roll Hall Fame, the Country Music Hall of Fame and the Musicians Hall of Fame and Museum. Atkins composed titles like 'Country Gentleman' ('53), 'Centipede Boogie' ('61) and 'Bandera' ('67). Other songwriting credits at 1, 2, 3, 4. Composers he covered at secondhandsongs. Atkins in visual media.

Chet Atkins   1946

   Guitar Blues

     Composition: Chet Atkins

Chet Atkins   1955

   Mr. Sandman

      Live performance 1954

     Composition: Pat Ballard

Chet Atkins   1965

   Yakety Axe

      Filmed live at the Grand Ole Opry

     Composition: Boots Randolph/James Rich:

     'Yakety Sax'   1958

     Inspiration: 'Yakety Yak' by the Coasters   1958

Chet Atkins   1968

   Mrs. Robinson

     Composition: Paul Simon

Chet Atkins   1971

   Snowbird

      Live performance 1978

     Composition: Gene MacLellan

Chet Atkins   1978

   Orange Blossom Special

     Live performance    Composition: Ervin Rouse   

   Stars and Stripes Forever

      Live performance

     Composition: John Philip Sousa

     Arrangement: Guy Van Duser

 

 

Birth of Folk Music: Harry Belafonte

Harry Belafonte

Source: Aiyingyin

Born in 1927 in Harlem, Harry Belafonte (so-called Calypso King, calypso a style of music originating in the Caribbean) began singing in nightclubs in New York City to support thespian studies alongside fellow students Marlon Brando, Sydney Poitier, Tony Curtis and Walter Matthau. His first professional performance was at the Royal Roost with saxophonist, Charlie Parker, pianist, Al Haig, bassist, Tom Potter, and drummer, Max Roach. In such as those environments did Belafonte begin recording in 1949 (age 22). Taking Marc Myers' lead and going in his order, Belafonte put down his first couple tracks with the Zoot Sims Quintet: rateyourmusic and soulfulkindamusic have 'The Night Has a Thousand Eyes'/'Smoke Gets in Your Eyes' issued in 1950 on Jubilee 5035. Jazzwax next lists titles with Pete Rugolo's orchestra: 'Whispering' and 'I Still Get a Thrill' which Goldmine has released in 1950 with, respectively, 'Sometimes I Feel Like a Motherless Child' (Capitol F856) and 'A Farewell to Arms' (Capitol F1018). Jazzwax also has Belafonte with Machito in 1949, issued per musicbrainz that year on Roost 501: 'Lean on Me'/'Here's Recognition'. Belafonte recorded the first of several versions of 'Venezuela' in 1950. His Belafonte Singers in 1950 would change to the Islanders as Belafonte began releasing calypso material. Belafonte's early turn to folk from jazz didn't prove all that popular, until the 1956 release of his album, 'Calypso', which was the first to have sold a million copies within one year (and the first to ever sell a million copies in England). Other of Belafonte's titles that sold especially well were 'Mama Look at Babu' ('57), 'Island in the Sun' ('57), 'Mary's Boy Child' ('57) and 'A Strange Song' ('67). Belafonte's last studio album, 'Paradise in Gazankulu', was issued in 1988. He issued his eighth live album, 'An Evening with Harry Belafonte and Friends', in 1997. His last concert was for charity at the Atlanta Opera in October 2003. Belafonte published his memoir, 'My Song', in 2011 [review]. Belafonte had composed titles like 'Hold 'Em Joe' in 1954 and 'Matilda Matilda!' in 1968 as Harry Thomas. Belafonte died in Manhattan on 25 April 2023. Encyclopedic references for Belafonte: 1, 2, 3, 4. Musical: 1, 2. Timeline of major events. Civil rights and politics during early career: 1, 2. In the new millennium 2006 to 2016: 1, 2, 3, 4, 5, 6, 7. Belafonte in theatre (Broadway). In visual media: 1, 2. Discographies w production and songwriting credits: 1, 2, 3. Belafonte at Facebook. Of all the tracks below the last several are live performances.

Harry Belafonte   1949

   Lean On Me

     Composition: Allan Greene

Harry Belafonte   1950

   Annabelle Lee

      With the Belafonte Singers

     Composition: Jack Segal

   The Night Has a Thousand Eyes

      With the Zoot Sims Quintet

     Music: Jerry Brainin

     Lyrics: Buddy Bernier

   Only One Like Me

      With the Belafonte Singers

   Simple, Simple, Simple

      With the Belafonte Singers

   Whispering

      Pete Rugolo Orchestra

     Music: Vincent Rose

     Lyrics: John Schonberger/Richard Coburn

     Published 1920

Harry Belafonte   1953

   Matilda

     Composition: See Wikipedia

Harry Belafonte   1954

   Kalenda Rock

     Composition: Harry Belafonte/Jack Rollins

   The Next Big River

     Composition: Paul Campbell

   Venezuela

     Composition: Traditional

Harry Belafonte   1956

   Day-O (Banana Boat Song)

     Composition: Jamaican traditional mento

   The Jack-Ass Song

     Composition: William Attaway/Lord Burgess

   Suzanne

     Composition: Harry Belafonte/Millard Thomas

Harry Belafonte   1959

   Cu Cu Ru Cu Cu Paloma

     Composition: Tomás Méndez

   Oh, I Got Plenty Of Nothin'

     Composition: George Gershwin   1934

   Turn Around

     Composition:

     Malvina Reynolds/Harry Belafonte/Alan Greene

Harry Belafonte   1961

   Jump In the Line

     Composition: Lord Kitchener   1946

   Sweetheart from Venezuela

     Composition: Fitzroy Alexander

Harry Belafonte   1962

   Crawdad Song

     Composition: Traditional

Harry Belafonte   1966

   Cocoanut Woman

     Composition: Lord Burgess/Harry Belafonte

Harry Belafonte   1968

   Don't Stop the Carnival

   There's a Hole in My Bucket

      With Odetta Holmes

     Arrangement: Harry Belafonte/Odetta Holmes

Harry Belafonte   1988

   We Are the Wave

     Composition:

     Jake Holmes/Richard Cummings/Soul Brothers

Harry Belafonte   1997

   Day-O (Banana Boat Song)

     Composition: Jamaican traditional mento

   Jamaica Farewell

     Composition: Lord Burgess

     From 'Iron Bar', a Jamaican traditional mento

Harry Belafonte   1999

   We Make Love

 

 

Birth of Country Western: Carter Sisters & Maybelle Carter

Carter Sisters with Maybelle Carter

Photo: Getty Images

Source: Getty Images

The Carter Sisters [1, 2], Anita [born 1927/1, 2, 3, 4, 5], June [born 1929/1, 2, 3, 4, 5, 6, 7] and Helen [born 1933/1, 2, 3] were the daughters of Maybelle Carter of Carter Family fame (trio consisting of A.P. Carter, wife Sara and sister Maybelle). They would become the second configuration of the Carter Family in 1960. When the original Carter Family dissolved in 1943-44 Maybelle formed the group, originally consisting of five Carter stepsisters, as Maybelle Carter and the Carter Sisters. Upon the death of Alvin Carter in November 1960 they would call themselves the Carter Family (second configuration). The Carter Sisters' debut radio performance had been on June 1, 1943, for WRNL in Richmond, Virginia. They are thought to have taped their first tracks on February 2 of 1949 backed by Chet Atkins at guitar. Per Discogs and 45Worlds: 'The Kneeling Drunkard's Plea' (Victor 21-0029), 'Why Do You Weep Dear Willow?'/'(This Is) Someone's Last Day' (Victor 48-0050) and 'Walk Closer to Me' (Victor 21-0102), all issued in '49. Praguefrank's has June's initial featuring set on the same date for 'The Baldheaded End of the Broom'/'Root, Hog Or Die' (RCA Victor 58-0158) issued in 1950. On May 17 of '49 June recorded 'She Loves to Cry' (RCA Victor 48-0484 '51) with Henry Haynes (guitar), Kenneth Burns (mandolin) and Charles Greane (bass). Haynes and Burns were Homer & Jethro. That same date saw 'Baby, It's Cold Outside'/'Country Girl' with the same crew. Future tracks with Homer & Jethro followed in October and January of 1950. Both Anita and Helen held an important session on October 12 of 1949 in Chicago with Atkins, Haynes and Burns. Tracks came to 'Under the Hickory Nut Tree' (RCA Victor 48-0329), 'I Was Bitten by the Same Bug Twice' (RCA Victor 48-0367) and 'The Old Buck Dance'/'One More Chance (RCA Victor 21-0165). On the same day Maybelle & the Carter Sisters strung along 'The Day of Wrath' ('RCA Victor 21-0149), 'Down on My Knees' (RCA Victor 48-0319) and 'Little Orphan Girl'/'God Sent My Little Girl' (RCA Victor 48-0372). The next day (Oct 13 '49) the same crew with Helen out put down 'Boogie Man Boogie' (RCA Victor 48-0367) and 'Main Street Breakdown' (RCA Victor 48-0329). Anita played bass on those as she had the day before. Wikipedia has Maybelle and the Carter Sisters getting hired at the Grand Ole Opry in Nashville in June of 1950 with Atkins. Praguefrank's has Anita's first featuring plate going down on August 21 of 1950 for release that year: 'Somebody's Crying'/'Johnnie's Got a Sweetheart' (RCA Victor 48-0387). Come Helen's debut featuring tracks in February of 1951 for 'Counterfeit Kisses'/'Sparrow in the Treetop' (Tennessee 761) that year. August 23 of 1950 witnessed June's first name solo titles go down with her Bashful Rascals: 'Bashful Rascal'/'For Crying Out Loud' (RCA Victor 21-0401). Helen shared a name session with Bob Eaton and his band circa March of 1951 toward 'As Long as You Believe in Me Darling' (Tennessee 779). Praguefrank shows Helen's initial name solo tracks arriving circa April of 1951 for 'I'm All Broke Out with Love'/'There's a Right Way, a Wrong Way' (Tennessee 774). Anita's debut sessions as a name solo artist were on October 25 of 1953 with a crew of Atkins, Harold Bradley (guitar), W. Robinson (steel), Ernie Newton (bass) and John Gordy (piano) for 'Someone Else, Not Me'/'Freight Train Blues' (RCA Victor 48-0426 '50) and 'Just You and I' (RCA Victor 48-0493 '51). 'Careless Love' went unissued until an extensive compilation of Anita issued in 2004 by Bear Family Records called 'Appalachian Angel - Her Recordings 1950-1972 & 1996'. The combination was Maybelle, Atkins and the Grand Ole Opry insured stardom for the Sisters, getting punctuated in the fifties by performances with such as Elvis Presley, Carl Smith (to whom she was married in the fifties) and Ernest Tubb. Bright were their careers through the fifties when another dimension was added by Johnny Cash who had begun performing on Grand Ole Opry radio in 1956. He met June that year, she backing Presley at the time on vocals. Per above, the Carter Sisters had become the Carter Family in 1960. The first to record with Cash were either Anita in Nashville on March 19, 1962, or June on an unknown date in '62 for 'Louisiana Hayride' in Shreveport, Louisiana. Anita is thought to have appeared with Cash on 'A Little at a Time' (Columbia 4-42425). June's title with Cash was 'It Ain't Me Babe' which Praguefrank's has issued per Scena 27078 on an unidentified date. Cash appears to have strung first tracks with Maybelle & the Sisters (Carter Family) on June 7 of 1962. His next titles for June were in support of 'I Pitched My Tent on the Old Camp Ground'/'Sweeter Than the Flowers' (Columbia 4-42864) on June 27, 1963. Cash and June wedded on March 1, 1968, he having proposed to her during a performance at the London Ice House in London, Ontario. Theirs was one of the more blessed marriages in show business. Live performances by them (such as a 1968 compilation below) make their love for one another beamingly apparent. To go by Praguefrank's, their last titles together before getting married were on January 13 of '68 at Folsom Prison, taping 'Jackson'/'I Got a Woman'. Highwaymusic has that issued that year, otherwise on the 2008 compilation, 'At Folsom Prison'. Praguefrank's has Johnny and June's first session after getting married five days later on March 6 in Nashville for 'The Folk Singer' (Columbia 4-44513). Johnny and June remained lifelong partners until she died on May 15 of 2003, Cash following in September. As for Maybelle & the Carter Sisters, christened by Maybelle as the second configuration of the Carter Family per 1960 above, they recorded variously into the latter seventies, during which period they often appeared on 'The Johnny Cash Show'. Discogs has the Carter Family recording to as late as the 1976 issue of 'Country's First Family'. Maybelle died not long afterward on October 23, 1978, in Hendersonville, Tennessee. Helen Carter's death on June 2, 1998, preceded Anita's on July 29, 1999. A third generation of the Carter Family was formed in 2010 by Dale Jett (grandson of Alvin and Sara), John Carter Cash (son of Johnny and June) and his wife, Laura. They issued 'Past and Present' that year. All of the Carter Sisters are guilty of compositions. Anita wrote such as 'Blue Doll' ('57) and '(Love's) Ring of Fire' ('63). Helen wrote 'Poor Old Heartsick Me' ('59). June composed 'Go Away Stranger' ('64). The matriarch of the folk genre, Mother Maybelle, had written such as 'Walk a Little Closer' ('49). A compilation of Mother Maybelle with the Carter Sisters was issued in 1981 by Bear Family Records called 'Maybelle - Anita -June - Helen'. Carter Sisters discos w various credits at 1, 2. Anita Carter: 1, 2. June Carter: 1, 2, 3, 4. Helen Carter: 1, 2, 3.

Carter Sisters   1949

   Baby It's Cold Outside

      June Carter with With Homer & Jethro

     Composition: Frank Loesser   1944

   I Was Bitten By The Same Bug Twice

      Anita & Helen Carter with Chet Atkins

     Composition: Helen Carter

   Under the Hickory Tree

      Anita & Helen Carter with Chet Atkins

     Composition: Alvin Carter/Helen Carter

   Walk a Little Closer

      Mother Maybelle & the Carter Sisters

     Composition: Mother Maybelle

Carter Sisters   1951

   Bluebird Island

      Anita Carter with Hank Snow

     Composition: Hank Snow

   Down The Trail Of Aching Hearts

      Anita Carter with Hank Snow

     Composition: Jimmy Kennedy/Nat Simon

Carter Sisters   1952

   Amazing Grace

      Maybelle Carter & the Carter Sisters with Carl Smith

     Composition: John Newton   1779

   Foggy Mountain Top

      Maybelle Carter & the Carter Sisters

     Composition: Alvin Carter   1929

Carter Sisters   1953

   I Like My Lovin' Overtime

      Helen Carter

Carter Sisters   1955

   I Dreamed of a Hillbilly Heaven

      Anita Carter

     Composition: Eddie Dean/Hal Southern

   Making Believe

      Anita Carter   Composition: Jimmy Work

   The Mask On Your Heart

      Anita Carter

Carter Sisters   1957

   Blue Doll

      Anita Carter   Composition: Anita Carter

Carter Sisters   1963

   A Few Short Years Ago

      Anita Carter   Composition: Harlan Howard

Carter Sisters   1964

   Beautiful Isle O'er the Sea

      Anita & Helen Carter

     Composition: Alvin Carter

   I Never Will Marry

      Anita & Helen Carter

     Composition: Alvin Carter/Sara Carter

   (Stop) Being Mean to Your Baby

      Anita Carter

Carter Sisters   1965

   Carmel By the Sea

      Anita Carter

     Composition: Mel Tillis/Marijohn Wilkin

Carter Sisters   1967

   It's My Life (And I'll Live It)

      Anita Carter   Composition: Cy Coben

   Love Me Now (While I Am Living)

      Anita Carter   Composition: Harlan Howard

Carter Sisters   1968

   June & Johnny Live

      Compilation of filmed stage performances

Carter Sisters   1971

   Dear Mama

      Carter Sisters   Live

Carter Sisters   1979

   Hello Stranger

      Helen Carter   Composition: Alvin Carter

   Medley

      Carter Sisters   Live

   Wildwood Flower

      Helen Carter   Composition: Traditional  

     Arrangement: A.P. Carter

      See Wikipedia

Carter Sisters   1985

   I Never Will Marry

      June Carter   Live

     Composition: Alvin Carter/Sara Carter

Carter Sisters   1991

   Wabash Cannonball

      Carter Sisters   Live

     Composition: Alvin Carter

Carter Sisters   1999

   I Used to Be Somebody

      June Carter   Composition: June Carter

 

 

Birth of Folk Music: Tennessee Ernie Ford

Tennessee Ernie Ford

 

Born Ernest Jennings Ford in 1919 in Bristol, Tennessee, Tennessee Ernie Ford began his career on radio in Bristol as an announcer at WOPI. A bass baritone, Ford studied at the Cincinnati Conservatory of Music in 1939. World War II saw him serving in the Air Force as a 1st lieutenant bombardier in the Pacific theater. After service Ford headed for San Bernardino, CA, to work in radio, soon getting hired at KXLA in Pasadena, contributing vocals on the 'Dinner Bell Roundup' program. Praguefrank's puts Ford in Hollywood for his initial country western sessions on January 21, 1949, with backing by Merle Travis (electric guitar), Eddie Kirk (guitar), Wesley West (steel), Cliffie Stone (bass), Billy Liebert (accordion) and Harold Hensley (fiddle): 'Milk 'Em in the Morning Blues'/'Tennessee Border' (Capitol 15400). Four of Ford's titles visited Billboard's Top Ten in Country in '49: 'Anticipation Blues' (#3), 'Smokey Mountain Boogie' (#8), 'Tennessee Border' (#8) and 'Mule Train' (#1). Ford had made his debut television appearance in 1949 on the 'Hometown Jamboree' show. 1951 saw Ford's 'Shot Gun Boogie' reach Country's #1 tier. He released his 10" album, 'Capitol Presents... Tennessee Ernie Ford', in the UK in 1952. Ford's LP, 'Lusty Land', appeared in '55, the same year 'Sixteen Tons' rose to Billboard's #1 in November. The major portion of Ford's catalog throughout the years was gospel, beginning in 1956 with the LP, 'Hymns', containing such as 'Rock of Ages', 'Sweet Hour of Prayer' and 'The Old Rugged Cross'. Ford began hosting his own television variety program in 1956 as well. Called the 'Ford Show' (named after the auto manufacturer, not Ernie), it broadcasted for a run of five years. In 1962 Ford began hosting the 'Tennessee Ernie Ford Show', which ran until 1965, the year of his last Top Ten title, 'Hickville', at #9. Ford's wife of 46 years, Betty, died in 1989, he marrying again four months later. In 1990 he was inducted into the Country Western Hall of Fame. Ford died the next year on October 17, 1991, in Reston, Virginia, having released above sixty albums. Ford had composed such as 'Milk 'Em in the Mornin' Blues' ('49), 'Shot Gun Boogie' ('50), 'Blackberry Boogie' ('52) and 'I'm Hog-Tied Over You' ('52). Songwriting credits for other of Ford's recordings at 1, 2, 3, 4, 5, 6. References encyclopedic: 1, 2, 3. Musical: 1, 2, 3, 4. Ford in visual media.

Tennessee Ernie Ford   1949

   Milk 'Em in the Morning Blues

     Composition: Tennessee Ford

   Tennessee Border No. 1

     Composition: Jimmy Work

   Mule Train

     Composition:

     Johnny Lange/Hy Heath/Tommy Scott/Fred Glickman

Tennessee Ernie Ford   1955

   Sixteen Tons

     Composition: Merle Travis

Tennessee Ernie Ford   1956

   Ballad of Davy Crockett

     Composition: Tom Blackburn/George Bruns

   Farewell

     Composition:

     Tom Blackburn as Davy Crockett/George Bruns

Tennessee Ernie Ford   1964

   Great Gospel Songs

      Album

 

 
 

Pete Seeger formed the Weavers [1, 2, 3, 4, 5] in 1948 with Ronnie Gilbert, Lee Hays and Fred Hellerman. Hays and Seeger had been original members of the Almanac Singers formed seven years before in 1941. The Weavers took their name from 'Die Weber' ('The Weavers'), an 1892 play by Gerhart Hauptmann. Their first tracks went down in January of 49 with Paul Robeson (narration), Ronnie Gilbert (vocals), Lee Hays (vocals) and Fred Hellerman (vocals/guitar) toward such as 'The Trenton Six' and 'Dig My Grave'. Most of the titles the Weavers put away in '49 didn't see issue until 'Songs for Political Action: Folk Music, Topical Songs and the American Left' per Bear Family BCD 15790 in 1996 and 'Goodnight Irene: The Weavers 1949-1953' per Bear Family BCD 15930 in 2000. Exceptions were Parts 1 and 2 of 'The Peekskill Story' issued in '49 per Charter 502 (People's Songs label). 'Dig My Grave'/'Wasn't That a Time' also saw issue in '49 per Charter 503. In December of '49 the Weavers strung along 'The Hammer Song'/'Banks of Marble' for issue the next year per Hootenanny 101. The Weavers established a six-month residency at the Village Vanguard in latter '49. The next February they began recording titles toward the album, 'Train to the Zoo', issued that year per Children's Record Guild CRG 1001. A string of titles followed in March/April like 'When the Saints Go Marching In' and 'Around the World' that would see issue in 2000 per BCD 15930 above. 'Around the World' was recorded again on May 4 of '50 with 'Tzena Tzena Tzena', issued that year on Decca 27053. 'Tzena Tzena Tzena' was recorded again on May 26 with 'Goodnight Irene' for release on Decca 28272. Come June 30 for 'Old Man Atom'/'Pity the Downtrodden Landlord' (Jubilee 4005). Among the Weavers' various releases were 'The Roving Kind', 'Sixteen Tons' and 'Kumbaya'. Popular as they became, the group dissolved in 1953 due to blacklisting during which radio stations wouldn't play their material. There would be reunions, however, from '55 at Carnegie Hall to as late as latter 1980 at Carnegie Hall. Pete Seeger quit the resurrected Weavers in 1958, replaced by Erik Darling. Darling was replaced by Frank Hamilton in 1962, and Hamilton was replaced by Bernie Krause in 1963 until the group dissolved in 1964. A last version of the Weavers reunited for a performance at Carnegie Hall in 1980. Songwriting credits for the Weavers at allmusic, 45cat and discogs.

The Weavers   1949

   If I Had a Hammer

     Composition: Pete Seeger/Lee Hays

   The Peekskill Story

     Composition: Mario Casetta

The Weavers   1950

   Lonesome Traveler

     Composition: Lee Hays

The Weavers   1951

   Across the Wide Missouri

     Composition: Ervin Drake/Jimmy Shirl

   Kisses Sweeter Than Wine

     Composition:

     Pete Seeger/Lee Hays/Fred Hellerman/Ronnie Gilbert

   On Top of Old Smoky

     Composition: Traditional arranged by Pete Seeger

The Weavers   1952

   Wimoweh (The Lion Sleeps Tonight)

     Composition: Paul Campbell/Solomon Linda

The Weavers   1955

   The Weavers Live at New York's Carnegie Hall

      Album

The Weavers   1957

   Wimoweh (The Lion Sleeps Tonight)

      Live at Carnegie Hall

     Composition: Paul Campbell/Solomon Linda

The Weavers   1963

   Sinner Man

      Live at Carnegie Hall   Composition:

    Hays/Hellerman/Darling/Gilbert

 

Birth of Folk Music: The Weavers

The Weavers

Photo: David Gahr

Source: Moristotle & Co

 

Johnny Horton See Johnny Horton.



 

Birth of Folk Music: Jimmy Dean

Jimmy Dean

Photo: Michael Ochs Archives/Getty Images

Source: The Guardian

 

Born in Plainview, Texas, in 1928, singer, Jimmy Dean [1, 2, 3, 4, 5], had dropped out of high school, served in the Air Force and gotten married before beginning his professional career in 1950. Praguefrank's wants Dean's first session in Washington DC circa September 1952 with his Wildcats for 'Sweet Darling' (4 Star 1654 '54), 'Bumming Around'/Pickin' Sweethearts' (4 Star 1613 '53). Dean rose to national fame in 1961 upon his composition, 'Big Bad John', reaching Billboard's #1 spot in the Hot 100, Adult Contemporary and Country categories. Though a little more in the country western sphere, like Burl Ives and Tennessee Ernie Ford, Dean greatly popularized folk music, though more with contemporary than traditional songs. Five more of his titles breached Billboard's AC Top Ten in 1962: 'Dear Ivan', 'To a Sleeping Beauty', 'The Cajun Queen', 'PT 109' and 'Little Black Book'. From 1963 to '66 he hosted the television program, 'The Jimmy Dean Show'. 'The First Thing Every Morning' reached Billboard's #1 tier in Country in June of '65. 'Stand Beside Me' rose to #10 in '66. In 1969 Dean founded the Jimmy Dean Sausage Company. 'I.O.U.' visited Country's #9 spot in May of '76. Dean published his autobiography, '30 Years of Sausage, 50 Years of Ham', in 2004. He died on June 13 of 2010 [1, 2] about four months prior to posthumous induction into the Country Western Hall of Fame. Production and songwriting credits at 45cat, discogs and australiancharts. Dean in visual media.

Jimmy Dean   1953

   Bumming Around

     Composition: Pete Graves

Jimmy Dean   1962

   Big Bad John

     Composition: Jimmy Dean

   Cajun Queen

     Composition: Wayne Walker

   Little Black Book

     Composition: Don Law/Frank Jones

   P.T. 109

     Composition: Fred Burch/Marijohn Wilkin

   Steel Men

     Composition: David Martin(s)

Jimmy Dean   1965

   Once a Day

     Composition: Don Sebesky

Jimmy Dean   1976

   I.O.U.

     Composition: Jimmy Dean/Larry Markes

 

 

Birth of Folk Music: Staple Singers

Staple Singers

Source: NFF

The Staple Singers [ 1, 2, 3, 4, 5] were initially a gospel group, thus placed on this folk music page, though the group would later merge gospel with R&B and Soul. The five Staples consisted of Roebuck ("Pop" or "Pops" b '14) and his children Cleotha (b '34), Pervis (b '35) and Mavis (b '39) with Yvonne (b '36) filling gaps. They began their professional career in 1948 singing at churches, gospel to become a major portion of their catalog. They gained their first recording contract in 1952 and issued their first plate in 1953: 'These Are They'/'Faith and Grace'. 1958 found the Staple Singers sharing a gospel album with the Caravans titled 'A Gospel Program'. Their own first album, 'Uncloudy Day', was released in 1959, though the song had first made the airwaves in 1956. Come 'Will the Circle Be Unbroken' in 1960 and 'Swing Low' in '61. The Staple Singers experienced their heydays in the seventies, releasing numerous Top Ten titles with three rising to #1: 'I'll Take You There' ('72), 'If You're Ready' ('73) and 'Let's Do It Again' ('75). The last appeared on their 1975 album, 'Let's Do It Again', to became Billboard's #1 in R&B. Both Pop and Mavis also pursued independent careers in the sixties. Mavis placed three titles on Billboard's Top Forty: 'I Have Learned to Do Without You' ('70), 'Endlessly' (#30 '72) and 'Melody Cool' (#36 '91).The group was inducted into the Rock and Roll Hall of Fame in 1999. The composer in the Staple Singers was Roebuck (Pop) when not gleaning compositions from other sources. He wrote such as as 'I Know I Got Religion' ('56), 'Let Me Ride' ('57) and 'I'm Coming Home' ('57). Production and songwriting credits at 45cat, discogs and australiancharts. Other compositions covered. Pops Staples died on December 19, 2000, in Chicago. Daughter, Cleotha, followed on February 21, 2013.

Staple Singers   1953

   Faith and Grace

     Composition: I.L. Johnson

Staple Singers   1955

   Stand By Me

     Composition: Charles Albert Tindley   1905

     Copyright 1925

Staple Singers   1956

   Uncloudy Day

     Composition: Roebuck Staples

Staple Singers   1965

   Freedom Highway

     Composition: Roebuck Staples

   If I Could Hear My Mother Pray Again

     Composition: John Vaughan/James Rowe

Staple Singers   1967

   Why Am I Treated So Bad

     Composition: Roebuck Staples

Staple Singers   1969

   Will the Circle Be Unbroken

     Composition: 1907

     Music: Charles H. Gabriel

     Text: Ada R. Habershon

Staple Singers   1971

   When Will We Be Paid

     Composition: Randall Stewart

Staple Singers   1973

   A Hard Rain's Gonna Fall

     Composition: Bob Dylan   1962

   If You're Ready

     Composition:

     Raymond Jackson/Carl Hampton/Homer Banks

Staple Singers   1975

   Let's Do It Again

     Composition: Curtis Mayfield

Staple Singers   1981

   Touch a Hand, Make a Friend

     Composition: Homer Banks

 

 
  Born in 1930 in Alabama, Odetta Holmes [1, 2, 3, 4] began training in opera at age thirteen. [Wikipedia.] Later reasoning she'd not have a ghost of chance in opera as a black woman, she entered theatre, toured with 'Finian's Rainbow' in 1949, then played nightclubs upon turning to folk music. She was 24 years of age when she first recorded with Larry Mohr whom she'd met in San Francisco. She acted in a number of films and television dramas, 'Cinerama Holiday', in 1955 her first. Holmes released her debut album, 'Odetta Sings Ballads and Blues' in 1956, followed by 'At the Gate of Horn' in 1957. 1970 saw the release of her composition, 'Hit or Miss', on the album, 'Odetta Sings'. Holmes issued above 25 albums to as late as 'Gonna Let It Shine' in 2005. Tracks below for year 1965 are from her album, 'Odetta Sings Dylan'. The bottom several edits are live. Holmes gave her last performance at Hugh's Room in Toronto in October of 2008. She died that December on the 2nd in NYC Discography w various credits at Discogs.

Odetta Holmes   1954

   Old Cotton Fields At Home

      With Larry Mohr

     Composition: Lead Belly   1940

Odetta Holmes   1956

   Glory Glory

     Composition: Odetta Holmes aka Odetta Gordon

   God's Gonna Cut You Down

     Composition: Traditional

Odetta Holmes   1957

   Greensleeves

     Composition: English traditional

Odetta Holmes   1960

   Gospel Plow ('Hold On')

      Live at Carnegie Hall

     Composition: Bob Dylan

Odetta Holmes   1963

   She Moved Through the Fair

     Composition: Irish traditional

Odetta Holmes   1965

   Baby, I'm in the Mood for You

     Composition: Bob Dylan

   Masters of War

     Composition: Bob Dylan

   Tomorrow Is A Long Time

     Composition: Bob Dylan

   With God On Our Side

     Composition: Bob Dylan

Odetta Holmes   1970

   Take Me to the Pilot

     Composition: Elton John/Bernie Taupin

Odetta Holmes   1970

   Hit Or Miss

     Composition: Odetta Holmes

Odetta Holmes   2003

   Jim Crow Blues

     Composition: Lead Belly   1937

Odetta Holmes   2005

   Bourgeois Blues

     Composition: Lead Belly   1937

   House of the Rising Sun

       Composition: Traditional   See 1, 2, 3, 4, 5

Odetta Holmes   2008

   House of the Rising Sun

       Composition: Traditional   See 1, 2, 3, 4, 5

 

Birth of Folk Music: Odetta Holmes

Odetta Holmes

Source: Esprits Nomades

 

Born in Kingsland, Arkansas, in 1932, Johnny Cash [1, 2, 3, 4, 5, 6, 7] was the elder brother of country musician, Tommy Cash, by eight years. He would make his first folk recordings, 'Hey Porter' and 'Cry, Cry, Cry' in 1955. Cash began playing guitar and writing music as age twelve. He sang on the radio in high school, but oined the Air Force in 1950, during which he was stationed in Germany as a Morse Code intercept and radio operator. It was there that Cash put together his first band, the Landsberg Barbarians. He returned to Texas upon discharge in 1954, but soon found himself in Memphis selling appliances. Be as may, he auditioned for Sam Phillips of Sun Records the next year and won his first recording contract. Praguefrank's shows Cash putting down his first titles in September of 1954 [see also *]. Most of those along with later unissued tracks eventually saw later release, some on 'The Man in Black' by Bear Family per BCD 15517 in 1990 (those five CDs to become 9 in 2003 per Bear Family's release of 'Cash Unearthed'), others in 2011 on 'Bootleg Volume II: From Memphis to Hollywood'. Both feature common tracks like 'Wide Open Road' and 'You're My Baby'. It was March 22 of '55 when Cash laid down multiple takes of 'Hey Porter' and 'Folsom River Blues'. 'Hey Porter becme Cash's first record release with a later session in May for multiple takes of 'Cry, Cry, Cry' (Sun 221). Those three versions of 'Folsom Prison Blues' eventually saw release per Bear Family's 'The Man in Black' and 'The Outtakes' (BCD 16325 '07). A couple months later in July Cash recorded his debut Country Top Ten title, 'So Doggone Lonesome' (Sun 232), that reaching Billboard's #4 spot. Cash placed no less than 47 songs on Billboard's Top Ten to as late as '(Ghost) Riders in the Sky' reaching #2 (#1 in Canada). Cash carried folk music to super stardom, issuing 12 #1 titles (US):

   I Walk the Line   1956
   There You Go   1956
   Ballad of a Teenage Queen   1958
   Guess Things Happen That Way   1958
   Don't Take Your Guns to Town   1959
   Ring of Fire   1963
   Folsom Prison Blues   1968
   Daddy Sang Bass   1968
   A Boy Named Sue   1969
   Sunday Mornin' Comin' Down   1970
   Flesh and Blood   1970
   One Piece at a Time   1976

Cash had begun performing on radio at the Grand Ole Opry in 1956. He first met June Carter there, both married to others at the time. Carter was working as a backup vocalist for Elvis Presley. Cash otherwise made his first prison performance on January 1, 1958, at San Quentin. He issued his first album on Sun Records in 1957: 'With His Hot and Blue Guitar'. Wikipedia has Cash leading no less than 77 albums, 11 of those gospel from the latter fifties into the new millennium. Thirteen more were collaborations with such as June Carter or the Highwaymen. His first issue to attain Gold status was 'Ring of Fire: The Best of Johnny Cash' in 1963. 'I Walk the Line' went Gold in '64. Following that was 'Bitter Tears: Ballads of the American Indian' in '64 (Billboard #2 but not gold). Folk music ever associated with political activism of one sort or another, with examples abounding from such as Pete Seeger's interest in the welfare of the laboring man to Jackson Browne's antinuke and environmentalist concerns, the plights of the American Indian were what Cash was drawn to addressing. Other of Cash's Gold releases were 'Hello, I'm Johnny Cash' ('70) and 'The World of Johnny Cash' ('70). Counting collections and posthumous releases the Cash estate would see five more albums go Gold to 'The Legend' in 2005 (posthumous). His initial of ten Platinum albums was 'Johnny Cash's Greatest Hits' in '67 followed by 'Folsom Prison Blues' the next year and 'At San Quentin' in '69. The latest was 'The Legend of Johnny Cash' in 2005 (posthumous). Returning to the sixties, not only did Cash's records smoke off the press but he was a pretty hot potato himself. In 1965 the truck Cash was driving caught fire, burning down 508 acres of the Los Padres National Forest, resulting in a fine of $82,000 plus 1 dollar. Though Cash had been releasing gospel records since the fifties he didn't formally became a Christian, taking an altar call, until 1968, the same year he married June Carter. June would become the principal element of Cash's career and life thereafter. June, of course, was a member of the Carter Sisters, become the second edition in 1960 of Mother Maybelle's original Carter Family. The first of Maybelle's brood of three daughters to record with Cash were either Anita in Nashville on March 19, 1962, or June on an unknown date in '62 for 'Louisiana Hayride' in Shreveport, Louisiana. Anita is thought to have appeared with Cash on 'A Little at a Time' (Columbia 4-42425). June's title with Cash was 'It Ain't Me Babe' which Praguefrank's has issued per Scena 27078 on an unidentified date. Cash appears to have strung first tracks with Maybelle & all three Sisters (Carter Family) on June 7 of 1962. His next titles for June were in support of 'I Pitched My Tent on the Old Camp Ground'/'Sweeter Than the Flowers' (Columbia 4-42864) on June 27, 1963. Cash and June wedded on March 1, 1968, he having proposed to her during a performance at the London Ice House in London, Ontario. Theirs was one of the more blessed marriages in show business. Live performances by them (such as a 1968 compilation below) make their love for one another beamingly apparent. To go by Praguefrank's, their last titles together before getting married were on January 13 of '68 at Folsom Prison, taping 'Jackson'/'I Got a Woman'. Highwaymusic has that issued that year, otherwise on the 2008 compilation, 'At Folsom Prison'. Praguefrank's has Johnny and June's first session after getting married five days later on March 6 in Nashville for 'The Folk Singer' (Columbia 4-44513). Johnny and June remained lifelong partners until she died on May 15 of 2003 (Cash following in September). Their most popular titles per Billboard had been 'Jackson' in '67 and 'If I Were a Carpenter' in 1969. Speaking of '69, from that to 1971 Cash had his own television program, 'The Johnny Cash Show', featuring such as the Statler Brothers, the Carter Family ( Maybelle & the Sisters), Carl Perkins, Bob Dylan and Kris Kristofferson. His first performance at the White House was for Nixon in 1970. In 1971 Cash released the LP, 'Man In Black'. In 1975 he published his autobiography, 'Man in Black', explaining why he always wore black, essentially a grievance against the unfair in general. Cash was inducted into the Country Music Hall of Fame in 1980. His first album with the Highwaymen (consisting of Waylon Jennings, Willie Nelson and Kris Kristofferson) was released in 1985, titled 'Highwaymen'. The next year he issued the LP, 'Class of '55', with Roy Orbison, Jerry Lee Lewis and Carl Perkins. In 1988 he campaigned for Al Gore. Cash recorded 'American Recordings' in 1994 out of his living room. During his career he found time to write a Christian novel, in addition to two autobiographies, and produce an audio version of the King James New Testament. Cash gave his last public performance in Bristol, Virginia, on July 5, 2003. He later died of diabetes complications on September 12, having written more than a thousand songs. Among his earlier were 'There You Go' ('56), 'Train of Love' ('56), 'Get Rhythm' ('56) and 'Old Apache Squaw' ('57). A nice list of others Cash composed at secondhandsongs. Composers Cash covered also at secondhandsongs. Songwriting credits for a few of his recordings with June Carter. See also 45cat and discogs. Compilations: 'The Complete Columbia Album Collection' 1958-86 63X CD Set by CAC 2012. Cash in visual media.

Johnny Cash   1955

   Cry, Cry, Cry

     Composition: Johnny Cash

   Hey Porter

     Composition: Johnny Cash

   Folsom Prison Blues

     Composition: Johnny Cash   1953

Johnny Cash   1956

   I Walk the Line

     Composition: Johnny Cash

Johnny Cash   1965

   Orange Blossom Special

      Composition:  Ervin Rouse

Johnny Cash   1968

   Cocaine Blues

      Composition:  T.J. Red Arnall

      First recorded 1947   See Wikipedia

   June & Johnny Live

      Compilation of filmed stage performances

Johnny Cash   1970

   Sunday Morning Coming Down

      Composition:  Kris Kristofferson

   To Beat the Devil

      Composition:  Kris Kristofferson

Johnny Cash   1971

   Give Me That Old Time Religion

      Live with June Carter

      Composition:

      Traditional published 1873 by the Jubilee Singers

   Man In Black

      Live version

     Composition: Johnny Cash

    Man In Black

      Studio version

     Composition: Johnny Cash

Johnny Cash   1979

   Ghost Riders In the Sky

     Composition: Stan Jones

Johnny Cash   1987

   Sixteen Tons

     Composition: Merle Travis

 

Birth of Folk Music: Johnny Cash

Johnny Cash

Source: Wire to the Ear

Birth of Folk Music: Ramblin' Jack Elliott

Ramblin' Jack Elliott

Source: I Dynamo

Born in Brooklyn in 1931, Rambling Jack Elliott [1, 2, 3, 4, 5] was born in Brooklyn in 1931. Wikipedia has him a Jew (Elliot Charles Adnopoz) whose father thought it would be fitting that he become a surgeon. Jack had different notions and ran away from home at age 14 to become a cowboy with a traveling rodeo. He was returned to his home a few months later, after which he honed at guitar and began busking. Like most musicians Elliott would make not a few more journeys during his lifetime, though he would pick up the name "Ramblin'" due not to his travels but his manner of speaking. He met Woody Guthrie in 1950, the latter to mentor Elliott as they toured to California and Florida. Along the way he would procure Odetta Holmes' first folk club booking in San Francisco. Going by American Music (Wirz), Elliott recorded his first four titles in late '52/early '53 in the apartment of Jac Nolzmann in Greenwich Village, those including Guthrie's composition, 'Pretty Boy Floyd'. They were issued on 'Bad Men and Heroes' (Elektra EKL 16) in 1955 (Electra's discography differing from Wirz'). In 1955 he married June Shelley, a musical partner for the next half decade. That same year both Jack and June got bugs in their pants, forcing them to move to Europe. Per Wikipedia, Elliott was in England to record 'Woody Guthrie's Blues' (Topic T 5) issued in the UK in '55 per Discogs and Wirz. Latter 1955 witnessed 'Talking Miner Blues'/'Pretty Boy Floyd' recorded in London for release in '56. Wife, June, contributed banjo to 'Rocky Mountain Belle' on Elliott's next album, 'Jack Elliot Sings' in '57. Elliott's first titles with Derroll Adams were produced in London for issue on 'Rambling Boys' in 1957 as well. Come Guthrie's assistance on 'New York Town' included on 'Jack Takes the Floor' in 1958. (That album contained Elliott's first version of 'Cocaine' composed by Reverend Gary Davis, easy to confuse with 'Cocaine Blues' by T.J. Red Arnall recorded by such as Johnny Cash on 'At Folsom Prison' in 1971. Arnall's version was an interpretation of the traditional, 'Little Sadie'.) Elliott's website has him returning to the States in 1961, there to meet Bob Dylan while visiting Guthrie in the hospital in New Jersey. In 1968 Elliott contributed to 'Joe Hill' on Phil Ochs' 'Tape from California'. In 1975 he joined such as Joan Baez, Roger McGuinn and Bob Neuwirth in the concert caravan of Dylan's 'Rolling Thunder Revue'. Elliott's 1995 release, 'South Coast', gained a Grammy for Best Traditional Folk Album. Elliott is yet active in his latter seventies as this is written. Per his website he's issued forty albums, his most recent in 2009, 'A Stranger Here', reaching Billboard's #5 spot for Blues Albums. Elliott had composed such as 'Guabi Guabi' ('64), 'Sowing on the Mountain' ('64), 'Rocky Mountain Belle' ('65), 'Rusty Jigs and Sandy Sam' ('65) and 'Thank God for Rednecks, Cowboys, Freedom Lovin' People and the NRA' ('83). Catalog of issues w various credits at Discogs.

Ramblin' Jack Elliott   1957

   Danville Girl

      Banjo: Derroll Adams    Album: 'Rambling Boys'

     Composition: Traditional

   Talking Blues

      Banjo: Derroll Adams    Album: 'Jack Elliott Sings'

     Composition: Traditional

Ramblin' Jack Elliott   1960

   1913 Massacre

     Composition: Woody Guthrie 1941

      Album: 'Jack Elliott Sings the Songs of Woody Guthrie'

   Pretty Boy Floyd

     Composition: Woody Guthrie

Ramblin' Jack Elliott   1969

   If I Were a Carpenter

      Live performance

     Composition: Tim Hardin

Ramblin' Jack Elliott   1987

   Pretty Boy Floyd

      Live performance

     Composition: Woody Guthrie

Ramblin' Jack Elliott   1995

   Cocaine Blues

      First version: 'Cocaine'   1958

     From 'Coco Blues' by Reverend Gary Davis   1957

 

 
 

Born in New Bedford, Massachusetts in 1931, folk singer, Paul Clayton [1, 2, 3, 4, 5, 6], began playing guitar as a teenager and acquired his master degree in folklore from the University of Virginia. While a student at the latter he was in a trio called the Dixie Mountain Boys with Dave Sadler and Bill Clifton, making his first unissued recordings on an unidentified date in 1952, such as 'Beautiful Mable Clare' and 'Bury Me Beneath the Willow'. On another unidentified date that year he and Clifton recorded at Radio WINA in Charlottesville, VA: 'John Henry' and 'Roll on the Ground'. Of sixteen titles in all that year, American Music (Wirz) has twelve getting issued in 1975 on 'Bill Clifton & Paul Clayton: A Bluegrass Session 1952' (Folk Variety 12004). Those also saw issue per Bear Family 15001. On an unknown date in 1954 Clayton recorded a string of whaling songs in his kitchen that he had researched at the New Bedford Whaling Museum [*], such as 'Blow Ye Winds' and 'Rolling Home'. Those got issued on 'Whaling Songs & Ballads' (Stinson SLP 69). Date of issue varies widely between sources from '54 to '58. Discogs and Goldmine prefer '58. Going by Praguefrank's, Clayton held nine issued sessions through 1956 which resulted in four albums released that year per Goldmine: 'Bay State Ballads' (Folkways 2106), 'Folk Songs and Ballads of Virginia' (Folkways 2110), 'Folk Ballads of the English Speaking World' (Folkways 2310) and 'Whaling and Sailing Songs from the Days of Moby Dick' (Tradition 1005). Recording extensively through the latter fifties, 1960 saw the issue of Clayton's composition, 'Who's Gonna Buy You Ribbons (When I'm Gone)'. Clayton met Bob Dylan in 1961 in New York City and became friends, regardless that each their publishing companies would sue each other concerning Dylan's alleged plagiarism of one of Clayton's songs, which Clayton had derived from an earlier song that was public domain. (The songs concerned were Clayton's 'Who's Gonna Buy You Ribbons' and Dylan's 'Don't Think Twice'. The earlier song was 'Who's Gonna Buy You Chickens'.) That was corporate business not affecting their friendship. Clayton played dulcimer as well, such as on his 1962 LP, 'Dulcimer Songs and Solos'. Clayton is thought to have released 17 albums to his final in 1965, 'Folk Singer!'. On March 30 of 1967 Clayton committed suicide in his bathtub with an electric heater [Wikipedia]. Discographies for Clayton w various credits at 1, 2. Further reading: 'Paul Clayton and the Folksong Revival' by Bob Coltman on Scarecrow Press 2008. The vast majority of Clayton's recordings were to the purpose of documenting traditional songs of obscure authorship, noted below by absence of credits. All tracks for 1956 are from Clayton's album, 'Whaling and Sailing Songs from the Days of Moby Dick'.

Paul Clayton   1952

   Bury Me Beneath the Willow

     Not issued until 1975

Paul Clayton   1956

   The Girls Around Cape Horn

   Go Down You Blood Red Roses

   Lady Franklin's Lament

     Composition: Traditional   See Wikipedia

   Johnny's Gone to Hilo

   The Maid of Amsterdam

     Composition: Traditional   See Wikipedia

   Old Stormalong

   'Round the Corner

   Sally Brown

   Spanish Ladies

   The Turkish Revelee

Paul Clayton   1960

   Who's Gonna to Buy You Ribbons

     Composition: Paul Clayton

Paul Clayton   1960

   Shady Grove

     Dulcimer solo

     Composition: Appalachian traditional

Paul Clayton   1965

   Wild Mountain Thyme

     Composition: Scottish traditional

 

Birth of Folk Music: Paul Clayton

Paul Clayton

Photo: David Gahr

Source: bdla

 

 

At age fifteen Tommy Makem (b '40) made his first trip from Ireland to the United States with his mother, Sarah [*], and a set of bagpipes. They there met Liam Clancy [1, 2] and his mother, Joan, through field recorder, Diane Hamilton, financier of Tradition Records founded by Paddy Clancy [1, 2] of the Clancy Brothers [1, 2] which would later include Bobby Clancy [1, 2], Tom Clancy [1, 2] and Finbarr Clancy [1, 2]. Makem, Clancy and both their mothers were included on tracks issued in 1956 on 'The Lark in the Morning' per Tradition TLP 1004. Makem soloed on 'The Cobbler'. He and his mother sang the duet, 'The Little Beggarman'. Makem then featured w the Clancy Brothers (Liam, Paddy, Tom) on the LP, 'The Rising of the Moon' also issued in 1956. They followed that in '59 w 'Come Fill Your Glass With Us', the same year Makem and Paddy first performed at the Newport Folk Festival. Makem and the Clamcy's were joined by Bruce Langhorne on guitar and Pete Seeger at banjo in 1961 on 'A Spontaneous Performance Recording' (Columbia 8448, et al). Makem also issued 'Songs of Tommy Makem' in '61 (Tradition TLP 1044). Makem left the Clancy Brothers in 1969 to pursue a solo career. In 1975 he began partnering with Liam Clancy again, touring and recording several albums as Makem & Clancy [1, 2, 3] until they parted ways again in 1988. Rateyourmusic has Makem on nearly twenty albums with the Clancys in one combination or another to 'Reunion' in 1984. In 1997 Thomas Dunne Books published Makem's, 'Tommy Makem's Secret Ireland'. Wikipedia shows an incomplete list of nearly twenty albums by Makem to 'The Song Tradition' in 1998. He contributed to Barra MacNeils' 'The Christmas Album II' as recently as 2006. Makem died on August 1, 2007, in Dover, New Hampshire, of lung cancer [1, 2, 3]. He had composed titles such as 'The Town of Rostrevor' ('77), 'The Boys of Killybegs' ('80) and 'Gentle Annie' ('83). Songwriting credits to other recordings by Makem: 1, 2, 3, 4. See also 1, 2, 3, 4. References: 1, 2, 3, 4, 5. Irish Music Daily: 1, 2. Timelines: 1, 2. Makem in visula media. Makem's son, Rory [*], currently performs w the Irish trio, Makem & Spain, consisting of Mickey and Liam Spain [*].

Tommy Makem   1956

   The Cobbler

      Solo   Composition: Christopher Kirkwood

   The Little Beggarman

      Duet with mother, Sarah

     Composition: Irish traditional

Tommy Makem   Clancy Brothers   1959

   Come Fill Your Glass with Us

      Duet w mother, Sarah

Tommy Makem   Clancy Brothers   1961

   The Old Orange Flute

      Composition: Irish traditional

   The Whistling Gypsy Rover

      Composition: Traditional   See Wikipedia

   The Work of the Weavers

      Composition: Irish traditional

Tommy Makem   Clancy Brothers   1962

   The Cobbler

      Composition: Irish traditional

Tommy Makem   Clancy Brothers   1965

   The Wild Rover

      Live performance

      Composition: Traditional   See Wikipedia

 

Birth of Folk Music: Tommy Makem

Tommy Makem

Source: Bio

 

Born in 1925 in Portland, Oregon, banjo player, Derroll Adams [1, 2], joined the Army at age 16 the year Japan bombed Pearl Harbor in 1941 and ended up a Navy diver [*]. Returning to Portland upon termination of active duty, Adams studied art at the Reed College Museum Art School. He kicked about the West Coast doing odd jobs like driving trucks for Max Factor when he wrote his first composition, 'Portland Town', in 1953. Adams' musical ability eventually found him in a circle gravitating about actor, Will Geer, in Los Angeles. It was at Geer's home that Adams met and first performed with Ramblin' Jack Elliott. Adams' website has him following Elliott and June Shelley (they married) to England in 1957, arriving in Southampton on February 14. If so, then Praguefrank's discography should read '57 rather than '56 for Adams' first tracks with Elliott gone down in London. Titles like 'Rich and Rambling Boys' saw issue in the UK per most sources excepting Discogs in 1957 on 'The Rambling Boys' (Topic 10 T 14). Tracks from that session would also end up on 'Roll On Buddy' (Topic 12 T 105) in 1964. Elliott had performed a couple solos like 'Buffalo Skinners'. Adams recorded the solo, 'Stern Old Bachelor'. Adams and Elliott next toured the Continent. Praguefrank's collects sessions from June to September of '57 into one in Milan yielding five plates (S137, S139, S142, S144, S149) for Signal issued in Italy on unknown dates. Titles also got issued in 1959 on 'Jack Elliot & Derrol Adams Sing the Western' per Hi-Fi Records EPM 10147 with their names spelled wrong on the cover, as well as 1966 on 'Folkland Songs' (Joker 3023). Upon Elliott's return to the United States in 1961 Adams remained in England, there to shuffle about with such as Paul Simon, Bob Dylan and Donovan. 1967 saw the release of Adams' album, 'Portland Town', after which he married Danny Levy, they to move to Antwerp, Belgium. Touring about Europe, Adams revisited the States for the first and last time in 1976 on tour with Donovan. Adams performed at the Tender Folk Festival in Denmark for the first time that year as well. Several more appearances at Tender occurred over the years before his last public performance in August of 1999 at Tender. Adams died in Antwerp, Belgium, on February 6, 2000. Adams had interpreted numerous traditionals like '1814' and 'Wildwood Flower', and composed such as 'Love Song' and 'The Valley'. Songwriting credits for Adams' recordings. See also Discogs. Adams in visual media.

Derroll Adams   1957

   Roll On Buddy

      Guitar: Ramblin' Jack Elliott

     Composition: Traditional

      Album: 'Rambling Boys'

Derroll Adams   1974

   Roll On Babe

     Composition: Derroll Adams

Derroll Adams   1976

   24 Hours a Day

     Composition: Derroll Adams

Derroll Adams   1977

   The Rock

     Composition: Derroll Adams

Derroll Adams   1978

   Oregon

     Composition: Tucker Zimmerman

Derroll Adams   1984

   The Sky

     Composition: Derroll Adams

 

Birth of Folk Music: Derroll Adams

Derroll Adams

Source: Discogs

 

Born in 1941 in New York City, Art Garfunkel [1, 2, 3, 4] first recorded with Paul Simon in 1957 when they were pursuing doo wop as Tom and Jerry (see Doo Wop). They later formed Simon & Garfunkel, one of the most powerful partnerships in the history of American music. Garfunkel released his first solo apart from Tom and Jerry in 1959, 'Beat Love'. Garfunkel earned a bachelor's degree in math in 1962. He won his MA in 1967 from Columbia University. Garfunkel appeared in a number of films, his first in 1970 with 'Catch-22', followed in 1971 with 'Carnal Knowledge'. Garfunkel's first LP upon the demise of the Simon & Garfunkel partnership in 1970 was 'Angel Care' in 1973. That proved a Billboard Top Ten album along with his next, 'Breakaway', in 1975. The single topped Billboard's AC chart. The album, 'Watermark', came on strong in '77. 'Bright Eyes' rose to #1 in the UK in 1979. 'Since I Don't Have You' rose to #5 on Billboard's AC the same year. 'A Heart in New York' rose to #10 on the AC in '81. Garfunkel's musical interests along the popular vein, his popularity declined into the eighties, there not so much the audience for that as the folk rock he'd earlier produced as Simon & Garfunkel. 'So Much in Love' nevertheless climbed aboard the AC at #11 in 1988. In 1989 Garfunkel published 'Still Water', a collection of prose poetry. The first of several reunions with Simon was in 1972 at Madison Square Garden to raise funds for Presidential candidate, George McGovern. Their most recent per this writing was in 2010 at the New Orleans Jazz Festival. Having issued well above ten albums, Garfunkel's latest was 'Some Enchanted Evening' in 2007. Songwriting credits for Garfunkel's recordings. Discos w various credits at 1, 2. Garfunkel in visual media.

Art Garfunkel   1959

   Beat Love

      As Artie Garr

     Composition: Artie Garr

Art Garfunkel   1973

   Traveling Boy

     Composition: Paul Williams/Roger Nichols

Art Garfunkel   1975

   I Only Have Eyes For You

     Composition: Harry Warren/Al Dubin   1934

Art Garfunkel   1977

   Crying In My Sleep

      Live performance

     Composition: Jimmy Webb

Art Garfunkel   2007

   Some Enchanted Evening

     Composition: Richard Rodgers/Oscar Hammerstein II

     Album: 'Some Enchanted Evening'

 

Birth of Folk Music: Art Garfunkel

Art Garfunkel

Photo: George Napolitano

Film Magic/Getty Images

Source: AnthroScape

Birth of Folk Music: Carolyn Hester

Carolyn Hester

Source: My Space/Carolyn Hester
Born in 1937 in Waco, Texas, guitarist/singer, Carolyn Hester [1, 2, 3], left directly for New York City upon graduating from high school in 1955. Intent upon a career in acting and music, it was upon visiting her parents back in Lubbock, TX, in 1957 that she recorded her first album in Clovis, New Mexico, Buddy Holly joining her on tracks A1 and A6 of 'Scarlet Ribbons'. (Hester and Holly recorded several other tracks together but the tapes have since been lost: 'Christmas in Killarney', 'Hurry Santa, Hurry'', 'Take Your Time' and 'A Little While Ago'.) Hester ran her operation in Greenwich Village in the sixties. She began that decade by resisting an opportunity to form a trio with Paul Stookey and Peter Yarrow in 1961. Thus Peter, Paul and Mary was formed with Mary Travers instead. [Wikipedia.] Hester otherwise issued her first eponymously titled album that year, 'Carolyn Hester', recorded for Tradition Records in Greenwich because Joan Baez was asking too much for a fairly unknown singer at the time [*]. A second followed the next year, to which Bob Dylan contributed harmonica before issuing his debut LP, 'Bob Dylan', that year. Hester exchanged Greenwich Village for Los Angeles in 1966 upon marrying producer, David Blume. They founded Outpost Records together and opened the Cafe Danssa dance club. She then released a couple albums with the Carolyn Hester Coalition ('The Carolyn Hester Coalition' in '68 and 'Magazine' in '70). Hester released another eponymously titled LP in 1973, then didn't show up on vinyl again until the early eighties on 'Music Medicine' ('82) and 'Warriors of the Rainbow' ('86). Those were compiled in 1996 on 'Texas Songbird'. Hester then took another recording hiatus until 'From These Hills' in 1996. Hester has since traveled internationally. In the new millennium she has toured with her daughters, Amy and Karla Blume, they issuing 'We Dream Forever' in 2010. Per this writing they maintain an active tour schedule at Hester's website. Hester's composing consisted largely of arranging traditionals like 'Pobre de Mi' ('62) and 'Dear Companion' ('63). She also wrote such as 'Stay Not Late' ('64), 'Three Young Men' ('65) and 'I'm Looking for You' ('71). Other songwriting credits at 1, 2, 3. Hester in visual media. Per 1961 below, tracks are from Hester's second album, 'Carolyn Hester', the first of three so titled, the last in '73.

Carolyn Hester   1957

   Wreck of the Old '97

      With Buddy Holly

     Composition: Henry Whitter/Henry Clay Work   1923

      LP: 'Scarlet Ribbons'

Carolyn Hester   1961

   Blackjack Oak

     Composition: Stephen Vincent Benét/Walter Schumann

   Summertime

     Composition: George Gershwin/Ira Gershwin

   Virgin Mary

     Composition: Traditional

   The Water Is Wide

     Composition: Scottish traditional

     Published by Cecil Sharp in 1906

Carolyn Hester   1962

   Dink's Song

     Composition: Traditional

      LP: 'Carolyn Hester'

    I'll Fly Away

     Composition: Albert Brumley   1929

      LP: 'Carolyn Hester'

Carolyn Hester   1963

   I Want Jesus

     Composition: Milton Okun

      LP: 'This Live I'm Living'

   Once I Had a Sweetheart

     Composition: Traditional

      Filmed live   Date unconfirmed

   The Praties They Grow Small

     Composition: Irish traditional

      Filmed live   Date unconfirmed

Carolyn Hester   1964

   That's My Song

     Composition: Barbara Tomsco/George Tomsco

      LP: 'That's My Song'

Carolyn Hester   1965

   Captain, My Captain

     Lyrics: Walt Whitman   1865

      LP: 'Carolyn Hester at Town Hall'

Carolyn Hester   1968

   Be Your Baby

     Composition: Carolyn Hester/Dave Blume

      LP: 'The Carolyn Hester Coalition'

   The Journey

     Composition:

     Carolyn Hester/Dave Blume/Thomas Moore

      LP: 'The Carolyn Hester Coalition'

   Magic Man

     Composition: Dave Blume/Steve Wolfe

      LP: 'The Carolyn Hester Coalition'

Carolyn Hester   1970

   Rise Like a Phoenix

      LP: 'Magazine'

     Composition: Carolyn Hester/Dave Blume

      The Carolyn Hester Coalition

Carolyn Hester   1982

   Music Medicine

     Composition: Carolyn Hester

      LP: 'Music Medicine'

Carolyn Hester   1986

   Warriors of the Rainbow

     Composition: Carolyn Hester

      LP: 'Warriors of the Rainbow'

 

 
  Born in Cleveland in 1936, Fred Neil [1, 2, 3, 4, 5, 6] was raised in Saint Patersburg, Florida, the son of a Wurlitzer jukebox salesman. Claims that he ventured to Memphis in 1955 to work at Sun Studios are disputed, having him in the Navy after high school instead [1, 2, 3]. Neil's website has him arriving to New York City in March of 1958 to compose for Southern Music, a publisher with offices at the Briill Building on Broadway and 49th, also beginning to work as a session player. That contradicts the May 1957 release date per 45cat of Paul Anka's 'Diana' (Paramount 9831) recorded in NYC on which Neil backed Anka on guitar. Neil also put down his debut name titles in 1957 at an unknown location to be issued by Look Records based in Nashville, his compositions, 'You Ain't Treatin' Me Right'/'Don't Put the Blame on Me' (Look 1002). He released 'Heartbreak Bound'/'Trav'lin Man' (Paramount 9935) the next year. He supported Buddy Holly on the demo of 'Dream Lover' in 1959, though not the issued version. Southern Music was paying him $40 a week to write such as 'Candy Man' with Beverly Ross for Roy Orbison (Monument 447 July '61). He began partnering in a duo with Vince Martin in 1961. Sometime in 1963 Neil appeared on a compilation of folk songs called, 'Hootenanny Live at the Bitter End'. In August that year he issued 'Long Black Veil'/'Bottom of the Glass' (Capitol 5017) with the Nashville Street Singers. In 1964 he appeared on two more similar albums titled, 'A Rootin" Tootin' Hootenanny' and 'World of Folk Music'. Neil released his first LP in 1965 with Vince Martin: 'All Tear Down the Walls'. He released the album, 'Everybody's Talkin', in 1966. Harry Nilsson's issue of Neil's composition, 'Everybody's Talkin'', in 1969 performed considerably better upon reaching Billboard's #2 spot on the AC. Praguefrank's shows Neil's last sessions to issue on July 10 of 1970 at the Elephant in Woodstock and October 29, 1970, in Hollywood for tracks released on 'Other Side of This Life' (Capitol 657) in 1971. He was backed at the Elephant by Les McCann (piano), Vince Martin, Monte Dunn, David Crosby and Stephen Stills. Neil then returned to Florida to found the Dolphin Research Project in Coconut Grove, dedicated to dolphin welfare worldwide. As the Dolphin Project became his main concern he drew into musical obscurity. His last recordings per his website were in July of 1978 in New Jersey with a band called Stuff, reworking unissued titles he'd recorded in Miami the year before like 'Everyday' and 'Bicycle Path'. Those went unissued as well. Neil died of natural causes on July 7 of 2001 in Summerland Key, Florida. His last public performance had been in 1981 in Coconut Grove per Wikipedia, 1986 per Neil's website. Neil's powers were in general more in composition than performance, he responsible for numerous titles like 'Travelin' Man' ('58), 'Listen Kitten' ('59) and 'Badi-Da' ('69). His compositions also documented at 1, 2, 3, 4. He composed or arranged all titles below except as noted. Neil in visual media.

Fred Neil   1957

   Don't Put the Blame on Me

  You Ain't Treatin' Me Right

Fred Neil   1965

   I'm a Drifter

     Compositions: Travis Edmonson

   I Know You Rider/Weary Blues

     Composition: Vince Martin/Neil

   Linin' Track

     Composition: Traditional

   Red Flowers

       Album: 'Tear Down the Walls'

   Tear Down the Walls

      Album: 'Tear Down the Walls'

   Bleecker & MacDougal

      Album

   Wild Child In a World of Trouble

Fred Neil   1966

   The Dolphins

      Album: 'Everybody's Talkin''

Fred Neil   1971

   You Don't Miss Water

      Original issue on Neil's 'Other Side of This Life'

      With Gram Parsons

     Composition: Traditional

 

Birth of Folk Music: Fred Neil

Fred Neil

Source: Emoções de Roberto Carlos

Birth of Folk Music: Paul Simon

Paul Simon

Source: Lacoccinelle

Born in 1941 in Newark New Jersey, Paul Simon [1, 2, 3, 4, 5] first recorded in 1957 as Jerry Landis, the other member of the doo wop pair, Tom and Jerry, formed with Art Garfunkel (see Doo Wop). Of the enormously popular pair, Simon and Garfunkel, that followed, Simon was more the rocker, whose career continued for decades upon the termination of his partnership with Garfunkel in 1970. That duo's last album, 'Bridge Over Troubled Water', had seen record shops in January 1970. It won the 1971 Album of the Year Grammy Award. Simon, however, had issued his first titles more than a decade earlier as True Taylor in 1958: 'True Or False' (below) with 'Teenage Love' flip side. Simon was with Garfunkel when he issued his debut solo LP in 1965: 'The Paul Simon Songbook'. in 1966 Paul joined his father, Louis, a bass player, in a duo for 'Tia Juana Blues'. Upon parting with Garfunkel he issued 'Paul Simon' in 1972, that to go Platinum as would his next three LPs, 'There Goes Rhymin' Simon' in '73 (containing 'Kodachrome') and 'Still Crazy After All These Years' in '75. The latter won another Album of the Year Grammy Award in 1976. His live LP in '74, 'Paul Simon in Concert: Live Rhymin'', would go Gold. Simon's 'Late in the Evening' saw issue on his album, 'One-Trick Pony', released in 1980 to go Gold. Both 'Graceland' ('86) and 'The Rhythm of the Saints' ('90) went Platinum. 'Graceland' won Simon his third Album of the Year Grammy Award in 1987. Simon's career went fallow a bit in the nineties, but he experienced a surge in the new millennium, four albums going Silver if not Gold: 'You're the One' ('00), 'Surprise' ('06), 'So Beautiful or So What' ('11) and 'Stranger to Stranger' ('16). Several compilations have gone Gold if not Platinum as well. Of the nine titles Simon placed on Billboard's Adult Contemporary Top Ten two topped the chart: 'Loves Me Like Rock' ('73) and '50 Ways to Leave Your Lover' ('75). Between Garfunkel and Simon, Simon was by and large the composer of the pair with titles like 'The Sounds of Silence' in '64 and 'Bridge Over Troubled Water' in '70. Other of Simon's compositions listed at 1, 2, 3, 4, 5, 6, 7. Garfunkel and Simon held several reunions over the years, the first in 1972 at Madison Square Garden to raise funds for Presidential candidate, George McGovern. Their most recent per this writing was in 2010 at the New Orleans Jazz Festival. Simon in visual media. Internet presence: 1, 2, 3.

Paul Simon   1958

   True Or False

      As True Taylor

     Composition: Lou Simon (Paul's father)

Paul Simon   1959

   Anna Belle

      As Jerry Landis

     Composition: Jerry Landis

   I Wish I Weren't In Love

      As Jerry Landis with the Crew-Cuts

     Composition: Jerry Landis

Paul Simon   1964

   The Sun Is Burning

      Live performance

     Composition: Ian Campbell

Paul Simon   1973

   Kodachrome

     Composition: Paul Simon

Paul Simon   1975

   American Tune

      Live performance

     Composition: Paul Simon

Paul Simon   1980

   Late in the Evening

     Composition: Paul Simon

Paul Simon   1992

   Late in the Evening

      Live performance

     Composition: Paul Simon

Paul Simon   2007

   Diamonds On the Soles of Her Shoes

      Live performance with Ladysmith Black Mambazo

     Composition: Paul Simon

Paul Simon   2011

   The Afterlife

       Live performance

      Composition: Paul Simon

 

 

Birth of Folk Music: Kingston Trio

Kingston Trio

Source: OK Music

Dave Guard (b 1934) was a member of the Kingston Trio [1, 2, 3] with Bob Shane (b 1934) and Nick Reynolds (b 1933). Per WayBackAttack and Wikipedia, Guard (banjo/guitar) and Shane (ukulele/guitar) had been classmates playing music together at Punahou School in Honolulu, Hawaii. Graduating in 1952, they both traveled to California to matriculate into Mento College. The pair met Reynolds (guitar/percussion) at Mento in 1956 whence they formed their first trio, the Calypsonians. Upon graduation Guard, continued his education at Stanford, graduating in 1957 with a degree in economics. Shane had headed back to Hawaii to work with family and commence a musical career. Reynolds and Guard experimented with a quartet before Shane's return to the States in spring of '57, this time toward the formation of the Kingston Trio. Praguefrank's has them recording a rehearsal on an unknown date in 1957 at the Purple Onion in San Francisco, those to see release in 2010 on 'Above the Purple Onion'. Their first sessions to issue were held February 5 to 7 of 1958 toward their first album released that year titled 'The Kingston Trio'. That contained traditionals arranged by Guard [45cat] like 'Three Jolly Coachmen' and 'Tom Dooley', rising to Billboard's top tier Album category largely on the strength of 'Tom Dooley'. In 1959 they issued a couple of live albums, '...From the Hungry i' and 'Stereo Concert', the former of which rose to Billboard's #2 spot. Their next studio album ensued in 1959 called 'The Kingston Trio at Large', also ascending to Billboard's #1 tier. Wikipedia has fourteen of the Kingston Trio's LPs nesting in the Top Ten to as late as 'The Kingston Trio #16' (#4) and 'Sunny Side!' (#7) in 1963. Three of those had enough yeast to rise to Billboard's #1: 'Here We Go Again!' ('59), 'Sold Out' ('60) and 'String Along' ('60). 1961 saw Guard leaving the trio per a dispute over copyrights, replaced by John Stewart that year. Stewart (guitar/banjo) had previously composed for the Trio. Praguefrank's wants Guard's last titles with the Trio on April 21 of 1961 toward the 2010 issue of 'Live at Santa Monica Civic Auditorium' (Collector's Choice CCM 853). Stewart's first tracks with the Trio went down on August 15 toward the '61 issue of 'Close Up' (Capitol Records ‎EAP 3 1642). Praguefrank's has the Kingston Trio together to as late as a performance at the Hungry i in San Francisco on June 17 of 1967 for titles toward the 2007 issue of 'The Final Concert' (Collector's Choice CCM 807). That included such as 'Where Have All the Flowers Gone' and 'Scotch & Soda'. Guard had moved on to form the Whiskyhill Singers and moved to Sydney, Australia. He reunited with Shane and Reynolds in 1981 for a PBS performance. Later returning to the States, he died lymphoma in Rollinsford, New Hampshire on March 22, 1991. Shane went on to form the New Kingston Trio and acquired the Kingston Trio name in 1976. Reynolds moved to Portland, dropping away from the music industry. He died in his hometown of San Diego on October 1, 2008. Stewart moved forward to a successful career as a composer (such as 'Daydream Believer') and issued about forty albums including 'Gold' in 1979. He died in his hometown of San Diego on January 19, 2008. Other than 'Tom Dooley' visiting Billboard's #1 in '58, the Kingston Trio carried 'Where Have All the Flowers Gone' to #4 on Billboard's AC in January 1962. January of '63 saw 'Greenback Dollar' sit at #6. Their last Top Ten title had 'Reverend Mr. Black' in April of '63 at #8 on the Hot 100. Compositional credits to recordings by the Kingston Trio at 1, 2, 3. Later configurations of the Kingston Trio have continued to this day. including members of the New Kingston Trio, Bob Zorn and George Grove, Roger Gambill, Bob Haworth and Rick Dougherty. The Kingston Trio website presently has Reynold's son, Josh, with Mike Marvin and Tim Gorelangton. Compilations: 'The Best of the Kingston Trio' by Capitol 1962. Tracks below include two live performances with Mary Travers of Peter, Paul and Mary.

Kingston Trio   1958

   Tom Dooley

      Composition:

      Traditional arranged by Dave Guard

Kingston Trio   1959

   Greenback Dollar

      Composition: Hoyt Axton/Ken Ramsey

Kingston Trio   1963

   Reverend Mr. Black

      Composition:

      Billy Edd Wheeler/Mike Stoller/Jerry Leiber

Kingston Trio   1982

   Leaving On a Jet Plane

       Live with Mary Travers

       Composition: John Denver

   Where Have All the Flowers Gone

        Live with Mary Travers

      Composition: Pete Seeger

 

 
 

Born in 1936 way down in Brownsville, Texas, actor, Kris Kristofferson [1, 2, 3], was a boxer at Oxford on a Rhodes scholarship when he began writing music. He also recorded his first compositions issued in 1958 while at Oxford in a duo with Tony Lynds: 'Ramblin' Man'/'Blue Melody' (Manor 1001)[1, 2]. That experiment petered out, Kristofferson to graduate with a degree in English literature. Come the U.S. Army in which was a captain, helicopter pilot and Ranger. He was in the Army when he formed his first band in 1965. After military service Kristofferson flew helicopters commercially, particularly a route from Louisiana to Nashville [1, 2]. He came upon difficulty keeping things together and ended up a custodian for Columbia Studios in Nashville while attempting to sell songs. While there he was too cautious of being fired to approach Bob Dylan. But he confronted no grief in later delivering some tapes to Johnny Cash's residence by helicopter. Cash not needing to be at home for that to gain his attention. Kristofferson next recorded in 1967 for Epic Records: 'Golden Idol' and 'Killing Time' (Epic 5-10225). His debut album, 'Kristofferson', was released in 1970. He was dating Janis Joplin at the time of her death in 1971. In 1973 he began his film career, appearing in such as 'Blume in Love' and 'Pat Garrett and Billy the Kid' [1, 2]. He also married Rita Coolidge in 1973 (divorced 1980), they releasing 'Full Moon' together the same year. In '76 he and Barbra Streisand issued the soundtrack, 'A Star Is Born'. In 1982 he collaborated with Brenda Lee, Willie Nelson and Dolly Parton on 'The Winning Hnad'. He joined Nelson, Waylon Jennings and Johnny Cash to release 'The Highwayman' as the Highway Men in 1985. They released 'The Highwayman II' in 1992. A decade later in 2002 they let loose 'The Road Goes On Forever'. In 2004 Kristofferson was inducted into the Country Music Hall of Fame. Wikipedia has Kristofferson issuing 18 studio and three live albums to as late as 'The Cedar Creek Sessions' in 2016. Kristofferson's best-known singles were his compositions 'Loving Her Was Easier (Than Anything I'll Ever Do Again)' in '71 and 'Why Me' in '73. Some of his compositions did considerably better performed by others than himself, one example being 'Me and Bobby McGhee' written with Fred Foster to appear on 'Kristofferson' in '69. Two years later Janis Joplin carried that to Billboard's #1 spot. Other of Kristofferson's compositions which performed well for those who covered them were:

   'For the Good Times'
      Ray Price   1970
   'Once More with Feeling'
      Jerry Lee Lewis   1970
      Written w Shel Silverstein
   'Sunday Morning Coming Down'
      Johnny Cash   1970
      First issued by Ray Price in 1969
   'Help Me Make It Through the Night'
      Sammy Smith   1971
   'I'd Rather Be Sorry'
      Ray Price   1971
      First issued by Romy Spain in 1967

In 1974 Ronnie Milsap issued Kristofferson's 'Please Don't Tell Me How the Story Ends'. Kristofferson's title, 'One Day at a Time', was interpreted by multiple artists to large success: Don Gibson in '74, Marilyn Sellars (UK) in '74, Lena Martell in '79 and Christy Lane in '81. [Musicvf.] Songwriting credits for Kristofferson's recordings at 1, 2, 3, 4. Among Kristofferson's multiple awards were induction into the Nashville Songwriters Hall of Fame in 1977 and the Songwriters Hall of Fame in 1985. It was the Country Music Hall of Fame in 2004. Kristofferson has eight children via three marriages. Having lived in Malibu, CA, Kris also resided in Maui, Hawaii, where he died on 28 September 2024 at age 88. Kristofferson in visual media. He wrote all titles below but as noted.

Kris Kristofferson   1958

   Ramblin' Man

       With Tony Lynds

Kris Kristofferson   1967

   Golden Idol/Killing Time

Kris Kristofferson   1970

   Casey's Last Ride

Kris Kristofferson   1972

   Whiskey, Whisky

       Live with Rita Coolidge

      Composition: Tom Ghent

Kris Kristofferson   1973

   Why Me Lord

 

Birth of Folk Music: Kris Kristopherson

Kris Kristofferson

Source: Country Hound

Birth of Folk Music: Joan Baez

Joan Baez

Photo: Baron Wolman

Source: Madame Pickwick

Born to Quakers in 1941 in Staten Island, Joan Baez got transferred to California to graduate from high school in Palo Alto in 1958. Come June that year she recorded a string of live demos in San Francisco with titles like 'Island in the Sun' and 'Water Boy'. Those would get issued in 1964 by Fantasy Records on 'In San Francisco' without her knowledge, she having them pulled, though would later consent to future releases. Baez followed her family to Belmont, Massachusetts, later that summer, her father acquiring a post at MIT. She there began her career singing folk songs in coffeehouses in Boston and Cambridge, performing regularly at Club 47. Meeting Bill Wood in 1959, she held her first interview on radio WHRB's 'Balladeers' program. Wood then joined her with Ted Alevizos to record 'Folksingers 'Round Harvard Square' in May of 1959. She joined Wood at the Newport Folk Festival that July, performing there solo in 1960. [*.] That same month she recorded 'Joan Baez' with Fred Hellerman in NYC. Baez' best known singles were 'The Night They Drove Old Dixie Down' ('71), 'Let It Be' ('71) and her own composition, 'Diamonds and Rust' ('75). Simon & Schuster published her memoir, 'And a Voice to Sing With' in 1987. Baez had used her music to address a variety of political issues including civil rights, pacifism, human rights, gay rights and poverty. She'd made it apparent as a high school student that she was up to the responsibility of taking a lone stand per research versus authority with its facts wrong [*]. Baez performed at the White House for the Obamas in 2010 and gave a brief concert for Occupy Wall Street protestors in 2011. She celebrated her 75th birthday at the Beacon Theatre in NYC on January 27, 2016, that released on '75th Birthday Celebration' that year. She had issued 'Diamantes' in 2015. Jackson Browne nominated her into the Rock and Rock Hall of Fame per April 2017. As this is written 'Whistle Down the Wind', recorded in Los Angeles, is planned for release in 2018 along with a world tour. Baez had composed titles like 'Sweet Sir Galahad' ('69) and 'A Song for David' '(70). Other songwriting credits at 45cat, discogs, wikipedia and secondhandsongs. References encyclopedic: 1, 2, 3, 4. Musical: 1, 2. Discography. Baez in visual media. Internet presence: 1, 2, 3. Further reading: 1, 2.

Joan Baez   1958

   Island in the Sun

       First recording

       Demo not issued until 1964

      Composition: Harry Belafonte/Lord Burgess

Joan Baez   1959

   Banks of the Ohio

      Composition: Traditional murder ballad

        Album: 'Folksingers 'Round Harvard Square'

Joan Baez   1960

   Joan Baez

       Album

Joan Baez   1965

   There But For Fortune

        Live version

      Composition: Phil Ochs

   There But For Fortune

       Studio version

      Composition: Phil Ochs

Joan Baez   1969

   The Night They Drove Old Dixie Down

      Composition: Robbie Robertson

Joan Baez   1994

   Where Have All the Flowers Gone

      Composition: Pete Seeger

 

 

Birth of Folk Music: Chad Mitchell Trio

Chad Mitchell Trio

Source: Rusty Cans

 

The original Chad Mitchell Trio [1, 2] was formed at the Roman Catholic Gonzaga University in Spokane, Washington, in 1959 originally composed of Chadbourne Mitchell (b 1936), Mike Kobluk (b 1937) and Mike Pugh. That configuration made its first recordings on a trip to New York City in 1959 resulting in such as 'Pretty Saro'/'The Ballad of Herbie Spear' (Colpix 154 '63), 'Paddy West'/'The Devil Road' (Colpix 157 '63). Other titles would get released on 'In Concert - Everybody's Listening' (Colpix 463) in 1964, an album shared on side B with the Gatemen. Such as 'Tina' and 'Chevaliers' found their way onto 'The Chad Mitchell Trio' in 1964. The earliest plates issued from those sessions were 'Sally Ann'/'Vaya Con Dios' (Colpix 133) and 'Walkin' on the Green Grass'/'Up on the Mountain' (Colpix 136) in 1959. [Dates per 45cat and discogs.] During that period with Pugh The Mitchell Trio appeared on 'The Pat Boone Show' on Thanksgiving of '59. They were recorded at Carnegie Hall accompanied by Dennis Collins at guitar during a concert by Harry Belafonte in May of '60, 'Vaichazkem', 'I Do Adore Her' and 'The Ballad of Sigmund Freud' getting released that year on 'Belafonte Returns to Carnegie Hall'. Upon Pugh's return to college that summer Kubluk and Mitchell remained in New York City to replace him with Joe Frazier (b 1937) after an audition process of above 150 vocalists. [Wikipedia.] That new configuration was first recorded per Praguefrank's on August 21 of '61 at Brooklyn College accompanied by Jim McGuinn on guitar and banjo to result in the album, 'Mighty Day on Campus' in 1961, followed the next year with 'At the Bitter End'. After releasing eight albums Chad Mitchell was replaced by John Denver in 1965, though the group retained the Chad Mitchell Trio name. Mitchell's final session had been in December of '64 to result in 'Typical American Boys'. Denver appeared on their next album recorded in August of 1965, 'That's The Way It's Gonna Be'. Mitchell went on to a solo career begun in 1966 with the issue of the LP, 'Himself'. Praguefrank's wants the configuration of Kobluk, Frazier and Denver to the Mitchell Trio's last session in 1967 with Bob Hefferan (guitar), Paul Prestopino (guitar/banjo since 1962) and Bill Lee (bass since 1965), issued that year on 'Alive' (Reprise 6258). Other sources prefer that Trio to consist of Kobluk, Denver and David Boise (featured on 'Coal Tattoo') [1, 2, 3,]. With Boise replacing Frazier, William Johnson then replaced Kobluk. But Denver wanted to explore other territory and the Trio got parked in a field. Mitchell, Kobluk, Frazier and Denver held a reunion on November 14, 1987, for PBS resulting in 'Mighty Day - The Chad Mitchell Trio Reunion' per Folk Era FE-1422-CD in 1994. A reunion in 1995 in Alexandria, VA, resulted in the relatively obscure 'An Evening with The Chad Mitchell Trio and Friends - Live at The Birchmere' (Medium Rare Records MR002). Also performing on that were Carolyn Hester, the Limeliters and Christine Lavin. Denver died on October 12, 1997. There was another reunion in 2005 in Minneapolis. Paul Prestopino recorded 'The George Bush Society' in 2008 as the Chad Mitchell Trio with Bob Hefferan and Eugene Jablonsky. Frazier passed beyond on March 28, 2014. While with the Chad Mitchell Trio Mitchell had composed such as 'Green Grow the Lilacs' ('63), 'The Bonny Streets of Fyve-Io' ('64) and 'Tell Old Bill' ('64). Discos w composition and production credits at 1, 2, 3. Chad Mitchell Trio in visual media.

Chad Mitchell Trio   1961

   Lizzie Borden

      Composition: Michael Brown

Chad Mitchell Trio   1962

   Blues Around My Head

      Composition: Bob Camp/Bob Gibson

   The John Birch Society

      Composition: Michael Brown

Chad Mitchell Trio   1987

   Last Night I Had the Strangest Dream

       Live reunion with John Denver

      Composition: Ed McCurdy

 

 
  British guitarist Davey Graham (originally Davy) [1, 2, 3, 4, 5, 6, 7, 8] was first recorded in 1959 by the BBC for a television series titled 'Monitior'. We're cheating a bit to list Graham per his first recording instead of record release in the menu at top toward making his name easier to find. His first record release wasn't actually until early 1962 on an EP (extended play) titled '3/4 AD' (Topic 70) containing 'Angi', 'Davy's Train Blues' and '3/4 AD'. 'Angi' and 'Davy's Train Blues' were guitar solos composed by Graham. Folk Blues has Alexis Korner contributing guitar to their mutual composition, '3/4 AD'. Prior to all that Graham had left school in 1958 at age eighteen to busk his way through places like Paris, Italy, Greece and Tangiers, Morocco. That adventure was fairly descriptive of his career to come as a highly regarded performer of multiple styles, particularly the popularization of what is often called Celtic tuning or, DADGAD (standard guitar tuning being EADGBE), which he devised to better play the oud with Moroccan musicians [1, 2, 3, 4] A good example of such tuning is 'She Moved Through the Bizarre' ('She Moved Through the Fair') in 1967 below. Rock guitarist, Jimmy Page, was also fond of DADGAD tuning. Graham released his first LP, 'The Guitar Player', in 1963, that containing his composition, 'Blues for Betty'. He issued 'Folk, Blues and Beyond' in 1965 containing his composition, 'Maajun (A Taste of Tangier)'. 1966 witnessed 'Midnight Man' with his composition, 'No Preacher Blues'. That was followed by 'Large as Life and Twice as Natural' i 1968 containing several compositions such as 'Tristano'. Rateyourmusic has Graham issuing 14 albums to as late as 'Broken Biscuits' in 2007. Among those was his notable 'The Complete Guitarist' in 1977 on which he studied multiple styles including blues, Celtic [*] and classical. Graham died on December 15, 2008 of lung cancer [1, 2]. Four years later in '12 Les Cousins issued 'Anthology 1961-2007 Lost Tapes' in the UK on LC016. That saw release in Netherlands on Music On Vinyl MOVLP486. Other composers Graham has covered: 1, 2, 3. Discography w various credits. References specific to Graham, guitar and DADGAD tuning: 1, 2, 3, 4, 5, 6..

Davey Graham   1959

   Cry Me a River

       Video

      Composition: Arthur Hamilton

Davey Graham   1962

   3/4 AD

      Composition: Davey Graham/Alexis Korner

    Anji

      Composition: Davey Graham

Davey Graham   1963

   Guitar Blues

       Live performance

Davey Graham   1964

   Folk, Blues and Beyond

       Album

Davey Graham   1965

   My Babe

      Composition: Willie Dixon

Davey Graham   1967

   Blue Raga

      Composition: Davey Graham

   She Moved Thru' the Bizarre

      Composition: Irish traditional

      First published 1909 by Boosey & Hawkes

Davey Graham   1969

   Buhaina Chant

      Composition: Art Blakey

      Album: 'Hat'

   Bulgarian Dance

      Composition: Albert Lancaster Lloyd

       Album: 'Hat'

Davey Graham   1981

   All of Me

       Live performance

   City and Suburban Blues

       Live performance

Davey Graham   1999

   Fakir

      Composition: Lalo Schifrin

       Album: 'Fire In the Soul'

Davey Graham   2000

   Grooveyard

      Composition: Carl Perkins

       Live performance

 

Birth of Folk Music: Davey Graham

Davey Graham

Source: Rate Your Music

  Born Philip Wallach Blondheim in 1939 in Jacksonville, FL, Scott McKenzie [1, 2] had known John Phillips (Mamas and Papas) as a child. In high school he and Tim Rose sang in a group called the Singing Strings. McKenzie connected with Phillips again in a doo wop band called the Abstracts, which changed its name to the Smoothies [*], issuing a couple of plates for Decca in 1960: 'Softly'/'Joanie' and 'Ride Ride Ride'/'Lonely Boy, Pretty Girl'. While with the Smoothies in NYC Phillip Blondheim became Scott McKenzie at a party where his name had become an issue needing correction. We don't know what makes Scott McKenzie better than Phillip Bondheim. Nor would we tell you if we did, being a little sensitive about people who look like dogs, as McKenzie apparently did at the time [1, 2]. In 1961 McKenzie and Phillips formed the Journeymen. Praguefrank's commences Journeymen sessions with one in Hollywood on an unknown date in early '61 for 'Hush Storm'/'Cap-E-Co' (Amy 821). Their first certain date that year was on March 21 resulting in 'Ride Ride Ride' and '500 Miles'. Those with titles recorded in multiple sessions into April resulted in the 1961 LP, 'The Journeymen'. 'Jack the Sailor' was an exception, ending up on a 1962 album with titles from a June 1962 session, 'Coming Attraction - Live!. The Journeymen released 'New Directions in Folk Music' in 1963 before disbanding in 1964, prompting McKenzie to launch a solo career (rather than join the Mamas and Papas as was his invitation). McKenzie held his initial solo session in NYC on September 9, 1964, for 'Look in Your Eyes'/'All I Want Is You' (Capitol 5348). 'Lonely Little Girl' went unissued. June 16 of '65 saw 'There Stands the Glass'/'Wipe the Tears' (Capitol 5500). Autumn of '56 in Hollywood witnessed 'No, No, No, No, No'/'I Want To Be Alone' for issue on Epic 5-10124. The former title also got issued on McKenzie's debut album, 'The Voice of Scott McKenzie', in 1967, that also containing such as 'San Francisco (Be Sure to Wear Flowers in Your Hair)' and Chapters I and II of 'What's the Difference'. McKenzie's single of 'San Francisco' in 1967 would sell more than seven million copies around the world. 'San Francisco' is about all for which McKenzie is known, but the song became something of an anthem for so-called countercultural "hippie" youth on the West Coast, most neither so aware nor sophisticated as the term would imply, though of the "hippie" youth movement cannabis began its comeback as powerful medicine after three decades of demonization by the U.S. government. (Per Wikipedia, the term "hip" entered the English dictionary per Oxford's in 1904, "hep" a later jive version. "Hippy" was seen in literature as early as 1959, getting shifted to "hippie" in 1963-64. See also *.) McKenzie's second and final album, 'Stained Glass Morning', was issued in 1970. McKenzie disappeared into obscurity after that. Bruce Eder at allmusic has him joining John Phillips at the Bitter End in New York City in 1984, after which he assumed Denny Doherty's position in the Mamas and Papas to as late as 1998. McKenzie died in retirement from the music industry on August 18 of 2012 at his home in Los Angeles. Among McKenzie's compositions were 'What's the Difference' and Anne Murray's 'Hey! What About Me'. Production and songwriting credits to some of McKenzie's recordings at 1, 2, 3. McKenzie in visual media.

Scott McKenzie   1960

  Softly

       With the Smoothies

      Composition: John Phillips

Scott McKenzie   1961

  500 Miles

       With the Journeymen

      Composition: Hedy West

  Kumbaya

       With the Journeymen

      Composition: First published/recorded 1926

Scott McKenzie   1964

  Run Maggie Run

      With the Journeymen

Scott McKenzie   1965

  Look In Your Eyes

      Composition: Mike Hurst

  San Francisco

      Composition: John Phillips

Scott McKenzie   2005

  We've Been Asking Questions

        Live performance

      Composition: John Phillips

 

Birth of Folk Music: Scott McKenzie

Scott McKenzie

Photo: Michael Ochs Archives/Getty Images

Source: Arquivo Do Morto-Vivo

 

 

Born in Duncan, Oklahoma, in 1938, upon discharge from the Navy Hoyt Axton [1, 2, 3, 4] began singing folk tunes in San Francisco nightclubs. As his career progressed he took a strong lean toward country western, Axton equally documentable under that genre. Hoytsmusic and Praguefrank's begin their accounts of Axton with a session in 1961 in Nashville resulting in 'Drinking Gourd'/'Georgia Hoss Soldier' (Briar 100) issued in June of '61 per 45Cat. Praguefrank has Axton's next possible session in 1962 in Hollywood for 'Grizzly Bear' and 'Gypsy Woman' issued in '63 per Horizon Records H-2. Axton released his first album, 'The Balladeer', in 1962, performed live at the Troubadour in Hollywood. That was followed in 1963 by 'Greenback Dollar' and 'Thunder n Lightnin''. Axton also made the first of many television appearances in 1963, beginning with 'The Story of a Folksinger'. Axton placed two titles in the Country Top Ten in 1974: 'When the Morning Comes' and 'Boney Fingers'. He and his wife were arrested in 1997 for possession of more than a pound of marijuana, fined and given deferred sentences. Axton died of heart attack in Victor, Montana, on October 26, 1999. He had issued 'Jeremiah Was a Bullfrog' in 1995, about his 25th album. Axton's mother was Mae Boren Axton, a Nashville music promoter largely responsible for getting Elvis Presley signed to RCA. She'd co-written Presley's 1956 'Heartbreak Hotel' with Tommy Durbin. She also co-wrote Axton's 'Georgia Hoss Soldier' per above in '61. Axton himself had been a prolific songwriter, composing such as 'Speed Trap' ('66), 'Never Been to Spain' ('71), 'Less Than the Song' ('72), 'Lion in the Winter' ('75), 'Evangelina' ('76) and 'James Dean and the Junkman' ('82). Some of his compositions were recorded by rock bands including Steppenwolf ('The Pusher' '67, 'Snowblind Friend' '70) and Three Dog Night ('Joy to the World' '70). Composing credits for some of Axton's recordings at 45cat, discogs and allmusic. Axton in visual media.

Hoyt Axton   1962

   Darlin'

Hoyt Axton   1963

   Balladeer

   Greenback Dollar

      Composition: Hoyt Axton

   Thunder n Lightnin'

      Composition: Hoyt Axton

Hoyt Axton   1971

   Lightning Bar Blues

      Composition: Hoyt Axton

Hoyt Axton   1974

   Boney Fingers

      With Renee Armand

      Composition: Allan McDougall/Hoyt Axton

   Geronimo's Cadillac

      Composition:

      Michael Martin Murphey/Charles John Quarto

Hoyt Axton   1975

   Roll Your Own

      With Arlo Guthrie

     Composition: Allan McDougall/Hoyt Axton

      Album: 'Southbound'

Hoyt Axton   1980

   Della and the Dealer

      Live performance

     Composition: Hoyt Axton

   Mountain Right

      Composition: Donna Roberts Axton/Al Johnson

Hoyt Axton   1990

   We Could Have Been Sweethearts

      Album: 'Spin the Wheel'

     Composition: Hoyt Axton

 

Birth of Folk Music: Hoyt Axton

Hoyt Axton

Photo: Jeremiah Records

Source: Texas Escapes

Birth of Folk Music: Judy Collins

Judy Collins

Source: Entertainment Spokane!

 

Judy Collins [1, 2, 3, 4], born in Seattle, grew up in Denver (Colorado often mentioned in her songs). Collins was a piano prodigy, playing classical music as a child, until she turned to guitar and folk music at about age sixteen. She released her first album, 'A Maid of Constant Sorrow', in 1961 at age twenty-two. She debuted at Carnegie Hall the following year. Wikipedia has Collins releasing 45 albums, including seven live, to as late as 'Everybody Knows' in 2017 with Stephen Stills. Stills had first recorded w Collins in 1968, backing her on the album, 'Who Knows Where the Time Goes'. So far as charts are concerned Collins maintained a fairly strong presence from 'Both Sides, Now' at #3 on Billboard's AC in 1968 to 'Send in the Clowns' at #8 in 1975. "Amazing Grace' had also planted itself in the Top Ten at #5 in 1970. Collins' composition, 'Since You've Asked' saw light in 1967. Her novel, 'Shameless' saw bookstore shelves in '87. She's also written two memoirs. Collins performed at the inauguration of President Clinton in 1993. She continues to perform internationally as this is written, maintaining a tour schedule at her website. She has most recently been performing in collaboration with Stills [1, 2, 3]. Among Collins' own compositions were such as 'Albatross' ('67) and 'The Life You Dream' ('81). See 45cat and discogs for production and songwriting credits. Lyrics. Collins in visual media. At Facebook and Twitter.

Judy Collins   1961

   I Know Where I'm Going/John Riley

   A Maid of Constant Sorrow

   O' Daddy Be Gay

   The Rising of the Moon

Judy Collins   1969

   Someday Soon

      Composition: Ian Tyson

   Chelsea Morning

      Composition: Joni Mitchell

Judy Collins   1970

   Amazing Grace

      Composition: John Newton   1779

Judy Collins   1976

   Houses

      With Boston Pops Orchestra

      Composition: Judy Collins

Judy Collins   2002

   Thirsty Boots

      With Arlo Guthrie, Eric Anderson, Tom Rush

      Composition: Eric Andersen

 

 

Birth of Folk Music: Barry McGuire

Barry McGuire

Source: Ultramundo

 

Born in Oklahoma City in 1935, then raised in California, Barry McGuire [1, 2, 3, 4, 5, 6] joined the Navy at age sixteen. Discovered he wasn't old enough for military service, he was discharged, at which point he became a commercial fisherman, then a journeyman pipe fitter. He began singing in bars and released his first single, 'The Tree'/'Theme from 'The Tree'' in 1961 (ERA 3148, Mosac1001). [Per most sources including Discogs and Goldmine. 45Cat has ERA 3148 issued in August 1965 and 'Billboard' refers to it as a title to watch in September of '65.] McGuire soon thereafter formed a duo with Barry Kane at the Ice House in Pasadena, they issuing 'Here and Now!' in 1962 as Barry & Barry. He and Kane then joined the New Christy Minstrels in 1962 at the Troubadour in Hollywood. While with the Minstrels McGuire released 'The Barry McGuire Album' in 1963. McGuire left the Minstrels in 1965, the same year his 'Eve of Destruction' issued, the single on that reaching Billboard's balcony seat at #1. In 1971 McGuire became a Born Again Christian, resulting in the 1973 album, 'Seeds'. McGuire thus became a central figure in a subgenre of gospel called Jesus music (basically gospel folk rock). In 1990 he coauthored the novel, 'In the Midst of Wolves', with Logan White. A writer at Wikipedia has compiled a partial list of 26 McGuire albums to as late as 'Eve of Destruction' in 2000. He recorded 'Trippin' the Sixties' in June of 2007 w Terry Talbot in Fresno, CA. Discographies for McGuire w composition and production credits at 1. 2. McGuire in visual media.

Barry McGuire   1961

   The Tree

      Composition: McGuire/Ray Stanley

Barry McGuire   1963

   Greenback Dollar

      With the New Christy Minstrels

      Composition: Hoyt Axton/Ken Ramsey

   Green Green

      Live with the New Christy Minstrels on Hootenanny

      Composition: McGuire/Randy Sparks

   This Train

      Live with the New Christy Minstrels on Hootenanny

Barry McGuire   1965

   Eve of Destruction

      Live on Hullabaloo

      Composition: Phil Flip Sloan   1964

Barry McGuire   1977

   Communion Song

      Composition: McGuire

Barry McGuire   1979

   Inside Out

      Live album

Barry McGuire   2008

   If I Were a Carpenter

      Live performance

      Composition: Tim Hardin   1966

Barry McGuire   2011

   Eve of Destruction

      Live performance

      Composition: Phil Flip Sloan   1964

 

 

 

This history delineates Old Folk from New Folk at 1962 (arrival of acoustic Bob Dylan) for organizational reasons, rather than the proper year of 1965 (Dylan goes electric).  This is further simplified chronologically, meaning all artists who recorded before 1962 are on this page regardless of an old or new style.

 

 

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