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.
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 | |
| 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 |
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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. |
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| 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.
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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 Composition: Virgil Oliver Stamps Vaughan Quartet 1929 Composition: W. Oliver Cooper Composition: O.A. Parris Vaughan Quartet 1930 Composition: O.A. Parris
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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 Joshua Fit de Battle of Jericho Composition: Traditional Composition: See Wikipedia First recorded by Fisk Jubilee Singers 1909 Paul Robeson 1933
Composition:
Traditional Paul Robeson 1936
Composition:
Film: 'Showboat' Paul Robeson 1937
Composition:
Film: 'Jericho' Paul Robeson 1940
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 Composition: See Wikipedia Live in Moscow Paul Robeson 1958
Live at Carnegie Hall
Composition:
Antonin Dvorák Paul Robeson 1959 Piano: Alan Booth Composition: Smetana 1848
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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 Composition: A.P. Carter Carter Family 1929 Composition: Traditional Composition: A.P. Carter Composition: A.P. Carter Carter Family 1930 Composition: A.P. Carter Carter Family 1931 Composition: A.P. Carter Carter Family 1932 Composition: A.P. Carter Carter Family 1933 Composition: A.P. Carter Carter Family 1935 Composition: A.P. Carter Composition: Traditional Arrangement: A.P. Carter See Wikipedia Carter Family 1936 Composition: Roy Turk & Lou Handman Composition: A.P. Carter/Carlene Carter/Al Anderson Carter Family 1937 My Home's Across the Blue Ridge Mountains Composition: A.P. Carter
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Carter Family Source: Radioactive |
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Jimmie Rodgers Source: Julia Petit
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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 Composition: Jimmie Rodgers Composition: Jimmie Rodgers See Wikipedia Jimmie Rodgers 1929 Composition: Jimmie Rodgers Jimmie Rodgers 1930 Composition: Jimmie Rodgers 'Blue Yodel No. 8' Composition: Jimmie Rodgers immie Rodgers 1931 Composition: Jimmie Rodgers/Sara Carter Composition: Jimmie Rodgers/Sara Carter immie Rodgers 1933 Final recording Composition: Lou Herscher/Barry Richards/Jimmie Rodgers
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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 Composition: Traditional Clarence Ashley 1929 Clarence Ashley 1933 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 Banjo: Jack Burchett Composition: Traditional Album: 'Old Time Music at Clarence Ashley's Vol 2' Clarence Ashley 1994 Recorded w Doc Watson April 1962 Composition: See Wikipedia Recorded w Doc Watson circa 1961 Composition: Dave Macon 1924
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Clarence Ashley Source: Herb Museum |
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| 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 Composition: Homer Callahan 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 Composition: Traditional Composition: Traditional Callahan Brothers 1951 Composition: Bill & Joe Callahan
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Callahan Brothers Source: Last FM |
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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 Later stereo version Composition: Roy Acuff Rising Sun (House of the Rising Sun) Composition: Traditional See 1, 2, 3, 4, 5 Later stereo version Composition: A.P. Carter Roy Acuff 1942 Composition: From Dorsey Dixon's 'I Didn't Hear Nobody Pray' Roy Acuff 1943 Composition: Zeke Clements/Earl Nunn Roy Acuff 1947 Composition: Traditional
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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 Dorsey Dixon 1938 Dorsey Dixon 1962
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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 Composition: Woody Guthrie 1940 Composition: Woody Guthrie 1940 Composition: Woody Guthrie 1940 Composition: Woody Guthrie 1940 Woody Guthrie 1944 Composition: Guthrie 1940 See Wikipedia Composition: Woody Guthrie 1940 Composition: Woody Guthrie 1940
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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 Composition: Traditional Composition: Ernst Busch Composition: Paul Dessau Pete Seeger Almanac Singers 1941 Composition: Millard Lampell Composition: Millard Lampell Composition: Lee Hays/Millard Lampell/Pete Seeger I Don't Want Your Millions, Mister Composition: Jim Garland Composition: John Hancock Pete Seeger 1944 Composition: Traditional Pete Seeger 1964 Live on 'Tonight In Person' Composition: Tom Paxton Pete Seeger 1968 Live on Filmed concert Pete Seeger 2013 Live on Filmed live at Farm Aid Composition: Woody Guthrie 1940
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Pete Seeger Source: Music y Vino |
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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 Composition: Traditional Album: 'Okeh Presents the Wayfaring Stranger' Composition: Traditional See Wikipedia Album: 'Okeh Presents the Wayfaring Stranger' Burl Ives 1944 With the Union Boys Composition: Millard LampellComposition: Traditional Composition: Traditional Burl Ives 1949 Composition: English traditional Composition: Stan Jones 1948 Burl Ives 1951 With Bing Crosby Composition: Traditional With Percy Faith Composition: Traditional Burl Ives 1957 Composition: D.S. Moore Composition: Shel Silverstein/Baxter Taylor Composition: Richard Adler/Jerry Ross Burl Ives 1964 Blue Tail Fly (Jimmy Crack Corn) Live performance Composition: Traditional See Wikipedia
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Burl Ives Photo: Redferns Music Picture Library Source: Bing |
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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 Composition: Chet Atkins Chet Atkins 1955 Live performance 1954 Composition: Pat Ballard Chet Atkins 1965 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 Composition: Paul Simon Chet Atkins 1971 Live performance 1978 Composition: Gene MacLellan Chet Atkins 1978 Live performance Composition: Ervin Rouse Live performance Composition: John Philip Sousa Arrangement: Guy Van Duser
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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 Composition: Allan Greene Harry Belafonte 1950 With the Belafonte Singers Composition: Jack Segal With the Zoot Sims Quintet Music: Jerry Brainin Lyrics: Buddy Bernier With the Belafonte Singers With the Belafonte Singers Pete Rugolo Orchestra Music: Vincent RoseLyrics: John Schonberger/Richard CoburnPublished 1920 Harry Belafonte 1953 Composition: See Wikipedia Harry Belafonte 1954 Composition: Harry Belafonte/Jack Rollins Composition: Paul Campbell Composition: Traditional Harry Belafonte 1956 Composition: Jamaican traditional mento Composition: William Attaway/Lord Burgess Composition: Harry Belafonte/Millard Thomas Harry Belafonte 1959 Composition: Tomás Méndez Composition: George Gershwin 1934 Composition: Malvina Reynolds/Harry Belafonte/Alan Greene Harry Belafonte 1961 Composition: Lord Kitchener 1946 Composition: Fitzroy Alexander Harry Belafonte 1962 Composition: Traditional Harry Belafonte 1966 Composition: Lord Burgess/Harry Belafonte Harry Belafonte 1968 With Odetta Holmes Arrangement: Harry Belafonte/Odetta Holmes Harry Belafonte 1988 Composition: Jake Holmes/Richard Cummings/Soul Brothers Harry Belafonte 1997 Composition: Jamaican traditional mento Composition: Lord Burgess From 'Iron Bar', a Jamaican traditional mento Harry Belafonte 1999
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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 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 Anita & Helen Carter with Chet Atkins Composition: Alvin Carter/Helen Carter Mother Maybelle & the Carter Sisters Composition: Mother Maybelle Carter Sisters 1951 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 Maybelle Carter & the Carter Sisters with Carl Smith Composition: John Newton 1779 Maybelle Carter & the Carter Sisters Composition: Alvin Carter 1929 Carter Sisters 1953 Helen Carter Carter Sisters 1955 I Dreamed of a Hillbilly Heaven Anita Carter Composition: Eddie Dean/Hal Southern Anita Carter Composition: Jimmy Work Anita Carter Carter Sisters 1957 Anita Carter Composition: Anita Carter Carter Sisters 1963 Anita Carter Composition: Harlan Howard Carter Sisters 1964 Anita & Helen Carter Composition: Alvin Carter Anita & Helen Carter Composition: Alvin Carter/Sara Carter (Stop) Being Mean to Your Baby Anita Carter Carter Sisters 1965 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 Compilation of filmed stage performances Carter Sisters 1971 Carter Sisters Live Carter Sisters 1979 Helen Carter Composition: Alvin Carter Carter Sisters Live Helen Carter Composition: Traditional Arrangement: A.P. Carter See Wikipedia Carter Sisters 1985 June Carter Live Composition: Alvin Carter/Sara Carter Carter Sisters 1991 Carter Sisters Live Composition: Alvin Carter Carter Sisters 1999 June Carter Composition: June Carter
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Tennessee Ernie Ford
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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 Composition: Tennessee Ford Composition: Jimmy Work Composition: Johnny Lange/Hy Heath/Tommy Scott/Fred Glickman Tennessee Ernie Ford 1955 Composition: Merle Travis Tennessee Ernie Ford 1956 Composition: Tom Blackburn/George Bruns Composition: Tom Blackburn as Davy Crockett/George Bruns Tennessee Ernie Ford 1964 Album
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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 Composition: Pete Seeger/Lee Hays Composition: Mario Casetta The Weavers 1950 Composition: Lee Hays The Weavers 1951 Composition: Ervin Drake/Jimmy Shirl Composition: Pete Seeger/Lee Hays/Fred Hellerman/Ronnie Gilbert 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 LindaThe Weavers 1963 Live at Carnegie Hall Composition: Hays/Hellerman/Darling/Gilbert
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The Weavers Photo: David Gahr Source: Moristotle & Co |
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Jimmy Dean Photo: Michael Ochs Archives/Getty Images Source: The Guardian
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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 Composition: Pete Graves Jimmy Dean 1962 Composition: Jimmy Dean Composition: Wayne Walker Composition: Don Law/Frank Jones Composition: Fred Burch/Marijohn Wilkin Composition: David Martin(s) Jimmy Dean 1965 Composition: Don Sebesky Jimmy Dean 1976 Composition: Jimmy Dean/Larry Markes
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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 Composition: I.L. JohnsonStaple Singers 1955 Composition: Charles Albert Tindley 1905 Copyright 1925 Staple Singers 1956 Composition: Roebuck Staples Staple Singers 1965 Composition: Roebuck Staples If I Could Hear My Mother Pray Again Composition: John Vaughan/James Rowe Staple Singers 1967 Composition: Roebuck Staples Staple Singers 1969 Composition: 1907 Music: Charles H. Gabriel Text: Ada R. Habershon Staple Singers 1971 Composition: Randall Stewart Staple Singers 1973 Composition: Bob Dylan 1962 Composition: Raymond Jackson/Carl Hampton/Homer Banks Staple Singers 1975 Composition: Curtis Mayfield Staple Singers 1981 Composition: Homer Banks
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| 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 With Larry Mohr Composition: Lead Belly 1940 Odetta Holmes 1956 Composition: Odetta Holmes aka Odetta Gordon Composition: Traditional Odetta Holmes 1957 Composition: English traditional Odetta Holmes 1960 Live at Carnegie Hall Composition: Bob Dylan Odetta Holmes 1963 Composition: Irish traditional Odetta Holmes 1965 Composition: Bob Dylan Composition: Bob Dylan Composition: Bob Dylan Composition: Bob Dylan Odetta Holmes 1970 Composition: Elton John/Bernie Taupin Odetta Holmes 1970 Composition: Odetta Holmes Odetta Holmes 2003 Composition: Lead Belly 1937 Odetta Holmes 2005 Composition: Lead Belly 1937 Composition: Traditional See 1, 2, 3, 4, 5 Odetta Holmes 2008 Composition: Traditional See 1, 2, 3, 4, 5
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Odetta Holmes Source: Esprits Nomades |
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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 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 Composition: Johnny Cash Composition: Johnny Cash Composition: Johnny Cash 1953 Johnny Cash 1956 Composition: Johnny Cash Johnny Cash 1965 Composition: Ervin Rouse Johnny Cash 1968 Composition: T.J. Red Arnall First recorded 1947 See Wikipedia Compilation of filmed stage performances Johnny Cash 1970 Composition: Kris Kristofferson Composition: Kris Kristofferson Johnny Cash 1971 Give Me That Old Time Religion Live with June Carter Composition: Traditional published 1873 by the Jubilee Singers Live version Composition: Johnny Cash Studio version Composition: Johnny Cash Johnny Cash 1979 Composition: Stan Jones Johnny Cash 1987 Composition: Merle Travis
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Johnny Cash Source: Wire to the Ear |
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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 Banjo: Derroll Adams Album: 'Rambling Boys' Composition: Traditional Banjo: Derroll Adams Album: 'Jack Elliott Sings' Composition: Traditional Ramblin' Jack Elliott 1960 Composition: Woody Guthrie 1941 Album: 'Jack Elliott Sings the Songs of Woody Guthrie' Composition: Woody Guthrie Ramblin' Jack Elliott 1969 Live performance Composition: Tim Hardin Ramblin' Jack Elliott 1987 Live performance Composition: Woody Guthrie Ramblin' Jack Elliott 1995 First version: 'Cocaine' 1958 From 'Coco Blues' by Reverend Gary Davis 1957
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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 Not issued until 1975 Paul Clayton 1956 Composition: Traditional See Wikipedia Composition: Traditional See Wikipedia Paul Clayton 1960 Who's Gonna to Buy You Ribbons Composition: Paul Clayton Paul Clayton 1960 Dulcimer solo Composition: Appalachian traditionalPaul Clayton 1965 Composition: Scottish traditional
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Paul Clayton Photo: David Gahr Source: bdla
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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 Solo Composition: Christopher Kirkwood Duet with mother, Sarah Composition: Irish traditional Tommy Makem Clancy Brothers 1959 Duet w mother, Sarah Tommy Makem Clancy Brothers 1961 Composition: Irish traditional Composition: Traditional See Wikipedia Composition: Irish traditional Tommy Makem Clancy Brothers 1962 Composition: Irish traditional Tommy Makem Clancy Brothers 1965 Live performance Composition: Traditional See Wikipedia
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Tommy Makem Source: Bio |
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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 Guitar: Ramblin' Jack Elliott Composition: Traditional Album: 'Rambling Boys' Derroll Adams 1974 Composition: Derroll Adams Derroll Adams 1976 Composition: Derroll Adams Derroll Adams 1977 Composition: Derroll Adams Derroll Adams 1978 Composition: Tucker Zimmerman Derroll Adams 1984 Composition: Derroll Adams
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Derroll Adams Source: Discogs |
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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 As Artie Garr Composition: Artie Garr Art Garfunkel 1973 Composition: Paul Williams/Roger Nichols Art Garfunkel 1975 Composition: Harry Warren/Al Dubin 1934 Art Garfunkel 1977 Live performance Composition: Jimmy Webb Art Garfunkel 2007 Composition: Richard Rodgers/Oscar Hammerstein IIAlbum: 'Some Enchanted Evening'
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Art Garfunkel Photo: George Napolitano Film Magic/Getty Images Source: AnthroScape |
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 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 With Buddy Holly Composition: Henry Whitter/Henry Clay Work 1923LP: 'Scarlet Ribbons' Carolyn Hester 1961 Composition: Stephen Vincent Benét/Walter SchumannComposition: George Gershwin/Ira GershwinComposition: Traditional Composition: Scottish traditional Published by Cecil Sharp in 1906 Carolyn Hester 1962 Composition: Traditional LP: 'Carolyn Hester' Composition: Albert Brumley 1929LP: 'Carolyn Hester' Carolyn Hester 1963 Composition: Milton Okun LP: 'This Live I'm Living' Composition: Traditional Filmed live Date unconfirmed Composition: Irish traditional Filmed live Date unconfirmed Carolyn Hester 1964 Composition: Barbara Tomsco/George TomscoLP: 'That's My Song' Carolyn Hester 1965 Lyrics: Walt Whitman 1865 LP: 'Carolyn Hester at Town Hall' Carolyn Hester 1968 Composition: Carolyn Hester/Dave BlumeLP: 'The Carolyn Hester Coalition' Composition: Carolyn Hester/Dave Blume/Thomas Moore LP: 'The Carolyn Hester Coalition' Composition: Dave Blume/Steve WolfeLP: 'The Carolyn Hester Coalition' Carolyn Hester 1970 LP: 'Magazine' Composition: Carolyn Hester/Dave Blume The Carolyn Hester Coalition Carolyn Hester 1982 Composition: Carolyn HesterLP: 'Music Medicine' Carolyn Hester 1986 Composition: Carolyn Hester LP: 'Warriors of the Rainbow'
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| 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 Fred Neil 1965 Compositions: Travis Edmonson Composition: Vince Martin/Neil Composition: Traditional Album: 'Tear Down the Walls' Album: 'Tear Down the Walls' Album Wild Child In a World of Trouble Fred Neil 1966 Album: 'Everybody's Talkin'' Fred Neil 1971 Original issue on Neil's 'Other Side of This Life' With Gram Parsons Composition: Traditional
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Fred Neil Source: Emoções de Roberto Carlos |
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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 As True Taylor Composition: Lou Simon (Paul's father) Paul Simon 1959 As Jerry Landis Composition: Jerry Landis As Jerry Landis with the Crew-Cuts Composition: Jerry Landis Paul Simon 1964 Live performance Composition: Ian Campbell Paul Simon 1973 Composition: Paul Simon Paul Simon 1975 Live performance Composition: Paul Simon Paul Simon 1980 Composition: Paul Simon Paul Simon 1992 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 Live performance Composition: Paul Simon
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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 Composition: Traditional arranged by Dave Guard Kingston Trio 1959 Composition: Hoyt Axton/Ken Ramsey Kingston Trio 1963 Composition: Billy Edd Wheeler/Mike Stoller/Jerry Leiber Kingston Trio 1982 Live with Mary Travers Composition: John Denver Where Have All the Flowers Gone Live with Mary Travers Composition: Pete Seeger
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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' 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. Living in Malibu, CA, as of this writing, he yet actively tours. Kristofferson in visual media. He wrote all titles below but as noted. Kris Kristofferson 1958 With Tony LyndsKris Kristofferson 1967 Kris Kristofferson 1970 Kris Kristofferson 1972 Live with Rita Coolidge Composition: Tom Ghent Kris Kristofferson 1973
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Kris Kristofferson Source: Country Hound |
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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 First recording Demo not issued until 1964 Composition: Harry Belafonte/Lord BurgessJoan Baez 1959 Composition: Traditional murder ballad Album: 'Folksingers 'Round Harvard Square' Joan Baez 1960 Album Joan Baez 1965 Live version Composition: Phil Ochs 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
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Chad Mitchell Trio Source: Rusty Cans
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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 Composition: Michael Brown Chad Mitchell Trio 1962 Composition: Bob Camp/Bob Gibson Composition: Michael Brown Chad Mitchell Trio 1987 Last Night I Had the Strangest Dream Live reunion with John Denver Composition: Ed McCurdy
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| 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 Video Composition: Arthur HamiltonDavey Graham 1962 Composition: Davey Graham/Alexis Korner Composition: Davey Graham Davey Graham 1963 Live performance Davey Graham 1964 Album Davey Graham 1965 Composition: Willie Dixon Davey Graham 1967 Composition: Davey Graham Composition: Irish traditional First published 1909 by Boosey & Hawkes Davey Graham 1969 Composition: Art Blakey Album: 'Hat' Composition: Albert Lancaster Lloyd Album: 'Hat' Davey Graham 1981 Live performance Live performance Davey Graham 1999 Composition: Lalo Schifrin Album: 'Fire In the Soul' Davey Graham 2000 Composition: Carl Perkins Live performance
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Davey Graham Source: Rate Your Music |
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| 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 With the Smoothies Composition: John Phillips Scott McKenzie 1961 With the Journeymen Composition: Hedy West With the Journeymen Composition: First published/recorded 1926 Scott McKenzie 1964 With the Journeymen Scott McKenzie 1965 Composition: Mike Hurst Composition: John Phillips Scott McKenzie 2005 Live performance Composition: John Phillips
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Scott McKenzie Photo: Michael Ochs Archives/Getty Images Source: Arquivo Do Morto-Vivo
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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 Hoyt Axton 1963 Composition: Hoyt Axton Composition: Hoyt Axton Hoyt Axton 1971 Composition: Hoyt Axton Hoyt Axton 1974 With Renee Armand Composition: Allan McDougall/Hoyt AxtonComposition: Michael Martin Murphey/Charles John Quarto Hoyt Axton 1975 With Arlo Guthrie Composition: Allan McDougall/Hoyt Axton Album: 'Southbound' Hoyt Axton 1980 Live performance Composition: Hoyt Axton Composition: Donna Roberts Axton/Al Johnson Hoyt Axton 1990 We Could Have Been Sweethearts Album: 'Spin the Wheel' Composition: Hoyt Axton
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Hoyt Axton Photo: Jeremiah Records Source: Texas Escapes |
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Judy Collins Source: Entertainment Spokane!
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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 Judy Collins 1969 Composition: Ian Tyson Composition: Joni Mitchell Judy Collins 1970 Composition: John Newton 1779 Judy Collins 1976 With Boston Pops Orchestra Composition: Judy CollinsJudy Collins 2002 With Arlo Guthrie, Eric Anderson, Tom Rush Composition: Eric Andersen
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Barry McGuire
Source:
Ultramundo
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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 Composition: McGuire/Ray Stanley Barry McGuire 1963 With the New Christy Minstrels Composition: Hoyt Axton/Ken Ramsey Live with the New Christy Minstrels on Hootenanny Composition: McGuire/Randy SparksLive with the New Christy Minstrels on Hootenanny Barry McGuire 1965 Live on Hullabaloo Composition: Phil Flip Sloan 1964Barry McGuire 1977 Composition: McGuire Barry McGuire 1979 Live album Barry McGuire 2008 Live performance Composition: Tim Hardin 1966Barry McGuire 2011 Live performance Composition: Phil Flip Sloan 1964
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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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Blues
Early Blues 2: Vocal - Other Instruments
Modern Blues 2: Vocal - Other Instruments
Classical
Country
Jazz
Early Jazz 1: Ragtime - Bands - Horn
Early Jazz 2: Ragtime - Other Instrumentation
Modern 4: Guitar - Other String
Modern 5: Percussion - Other Orchestration
Modern 7: Latin Jazz - Latin Recording
Modern 8: United States 1960 - 1970
Modern 9: International 1960 - 1970
Latin
Latin Recording 2: The Caribbean
Latin Recording 3: South America
Rock & Roll
Total War - Sixties American Rock
Musician Indexes
Classical - Medieval to Renaissance
Classical - Baroque to Classical
Classical - Romantic to Modern
Jazz Early - Ragtime - Swing Jazz
Jazz Modern - Percussion - Song - Other
Boogie Woogie - Doo Wop - R&B - Rock & Roll - Soul
Sixties American Rock - Popular
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