"You're Having My Baby" by Paul Anka????
Probably talking about work songs or the songs of Joe Hill who was in the labor movement
I was joking ... a play on words
Ok. My new girlfriend:
Most probably. You just have to remember
But don't try to lay no boogie-woogie on the king of rock & roll
Good interview with Pete Seeger. I first heard Bob Dylan 's song played by Rosanne Cash
Ok. My new girlfriend:
You have good taste.
A few months ago I even made a forum topic: Tracy
Roots... defininely.
Ok. My new girlfriend:
You have good taste.
A few months ago I even made a forum topic: Tracy
Ok. I've just read your Topic on Tom Dooley. It's true everyone have their own preferences when it comes to music. But I was just reading about something else new for me . . . . Wait for it . . . .
https://www.countrythangdaily.com/red-river-valley-murphy/
The Red River Valley is one of the best-known folk songs in the Prairie provinces. The fame of the song became widely known in America. The song was a Texas adaptation of an 1896 popular song, “In the Bright Mohawk Valley”. Later research by Canadian folklorist Edith Fowke indicates that it was known in some five Canadian provinces before 1896. Probably, the time of its composition was during the Red River rebellion of 1870.
http://www.mhs.mb.ca/docs/mb_history/72/redrivervalley.shtml
“Red River Valley” was first recorded as “Cowboy Love Song” in 1925 by Carl T. Sprague, one of the first cowboy singers from Texas. The biggest hit of the cowboy version was the 1927 version by Hugh Cross and Riley Puckett. In both recordings of the song, the lyrical associations are about the Red River Valley that marks the border between Arkansas and Texas.
A song named “Bright Mohawk Valley” with the same tune was published as sheet music on Tin Pan Alley in 1896 with James J. Kerrigan as the writer, but the song was thought to have been adapted for a New York audience. The earliest known written manuscript of the lyrics to “Red River Valley” were found in Iowa bearing the notation of the year 1879.
Although it is not widely known, there are two significant Red River valleys on the American Continent: The Red River Valley of the South and the Red River Valley of the North. And it is to this Red River Valley of the North that the origins of “Red River Valley” lead. The famed Canadian folklorist, Edith Fowke, gave mostly anecdotal evidence that the song was known in at least five Canadian provinces prior to 1896 and speculated that the song was composed at the time of the Wolseley Expedition of 1870 in Manitoba. She claimed that the song was well known on the Canadian prairies and held the form of a story about a Métis girl lamenting the departure of her Anglo lover, a soldier who came west to suppress the Red River Rebellion. The text for Fowke’s version of the song was published in “Western Folklore” in 1964 and was discovered in the papers of a former Canadian Mounted Police officer, Col. Gilbert Sanders. Fowke has written, “This is probably the best known folk song on the Canadian prairies. Later research indicates that it was known in at least five Canadian Provinces before 1896 and was probably composed during the Red River Rebellion of 1870.” Here are the lyrics discovered by Edith Fowke:
The Red River Valley
From this valley they say you are going,
I shall miss your bright eyes and sweet smile,
For alas you take with the sunshine
That has brightened my pathway awhile.
Chorus:
Come and sit by my side if you love me,
Do not hasten to bid me adieu.
But remember the Red River Valley
And the girl who has loved you so true.
For this long, long time I have waited
For the words that you never would say,
But now my last hope has vanished
When they tell me you’re going away.
When you go to your home by the ocean
May you never forget the sweet hours
That we spent in the Red River Valley
Or the vows we exchanged mid the bowers.
Will you think of the valley you’re leaving?
Oh, how lonely and dreary ’twill be!
Will you think of the fond heart you’re breaking
And be true to your promise to me.
The dark maiden’s prayer for her lover
To the spirit that rules o’er the world
His pathway with sunshine may cover
Leave his grief to the Red River girl.
There could never be such a longing
In the heart of a white maiden’s breast
As dwells in the heart you are breaking
With love for the boy who came west.
The Red River Valley of the North has a long and storied past in the history of the settlement of North America. The river is one of the few north-flowing streams on the American continent and it originates at the confluence of the Bois de Sioux and Otter Tail rivers in the southern border of North Dakota and Minnesota and it flows northward over 900 kilometres as the border between the two states into Manitoba before finally emptying into Lake Winnipeg whose waters eventually flow into Hudson Bay and the Arctic Ocean.
This is the first version I've found that I like:
From the notes of this clip
(Dates Back to Circa 1870
1896 - Sheet Music for "In The Bright Mohawk Valley
Written by James J. Kerrigan
1925 Carl Sprague "Cowboy Love Song"
1925 Bascom and Blackwell Lunsford as "Sherman valley"
1926 Kelly Harrell "Bright Sherman Valley"
1927 Hugh Cross and Riley Puckett as "Red River Valley"
1929 Bradley Kincaid as "Red River Valley"
1929 Jules Verne Allen "Cowboy's Love Song"
1936 Gene Autry as "Red River Valley"
Recorded Circa 1953...
Born David Largus McEnery in San Antonio TX (1914 - 2002).
If I had a hammer
Lemon tree
and nearly everything recorded by Peter Paul and Mary
are absolute shockers.
Wow Suzy Bogguss and with the harmonica
If I had a hammer
Lemon tree
and nearly everything recorded by Peter Paul and Mary
are absolute shockers.
Pardon my tangent here... sometimes I feel helpless to control that aspect.
The Hammer Song was written by Pete Seeger and Lee Hayes. I you, or anyone, took the time to watch that cip in #42, "Seeger Escapes Jail Time," you'll find it's funny and informative. Seeger talks about being before the HUAC and they kept asking his about a song and did he sing that song at such and such a place. Seeger felt no American should be forced to answer these questions and, of principle, refuse to answer. However he offered to sing the song. It was another Lee Hayes song, "Wasn't That a Time." I have a blog titled "Wasn't That a Time?" that discusses all this and more.
Peter, Paul and Mary did a cover version:
Seeger calls it a great song...it's certainly a powerful one.
Important distinctions include :
First political folk vs contemporary folk
Political Folk follows in the footsteps of the legendary Woody Guthrie, whose highly polemical folk songs inspired a generation of tough-minded, activist singer/songwriters including Bob Dylan and Phil Ochs; simply, protest music follows the aesthetic traditions of folk, but with lyrics which take a definite, usually left-wing, political stance.
Contemporary Folk refers to post-Bob Dylan folk singer/songwriters of the 70s and beyond. Prior to Dylan, most folk performers interpreted classic folk songs or wrote broad-based, topical songs. After Dylan, folk singers changed their approach. Not only did their music open up, accepting certain pop/rock production techniques and instrumentation, but their songs became increasingly introspective, concentrating on the personal instead of the social. In the decades to follow, contemporary folk singers sometimes crossed over into the pop mainstream, but their sound stayed rooted in folk traditions and they tended to frequent their own circles, releasing albums on independent labels and playing folk clubs and coffee houses.
Second between Folk and country (I first posted this ( below) on Aug 13, 2015
The term country folk is sometimes used to describe early country music, particularly before the development of the Country and Western industry based in Nashville from the 1950s. The term took on a new meaning when it was used more specifically from the 1960s to describe the hybridization of American folk music with country music. Particularly in the early 1960s, folk musicians had been reinterpreting country songs and several country versions of folk songs, including those of Bob Dylan, had become part of the country music repertoire.In 1966 Dylan went to Nashville to record Blonde on Blonde, using notable local musicians like Charlie McCoy. The result has been judged to sound more folk than country, but Dylan's subsequent albums, John Wesley Harding (1967) and Nashville Skyline (1969), the last of which contained "Girl from the North Country", a duet with Johnny Cash, were a sustained mix of folk sensibilities and structures with country instrumentation and sounds.
A number of folk artists now followed Dylan in "going country", including Buffy Sainte-Marie, who produced I'm Gonna Be a Country Girl Again in 1968, and Ian and Sylvia's Nashville (1968), while folk-rock artists like the Byrds followed Dylan towards Nashville to create the parallel genre of country rock. The sound was picked up by a number of major figures of the 1970s who straddled the folk and country genres, most successfully Emmylou Harris and John Denver. More recently it has been pursued by performers including Kathy Mattea, Rosanne Cash and Mary Chapin Carpenter
country funk also exists 
So a third distinction
https://www.youtube.com/watch?v=mQkX8quhqiI&list=PLfROxrV9dPzrNU5CqN0RAg-vDDuWFGsXD
And finally folk vs Roots. Blues is Roots music too. This is somekind of a random Lomax recording I had in my notes
Also what Bob Dylan and the band did when they where on amphetamines deserves an honorable mention.
Bob Dylan and the Band. The tours were marked by Dylan's reportedly copious use of amphetamines. Some, though not all, of the Hawks joined in the excesses.[16] Most of the concerts were met with heckling and disapproval from folk music purists.
If I had a hammer
Lemon tree
and nearly everything recorded by Peter Paul and Mary
are absolute shockers.
Tangent #2. Peter, Paul and Mary's first huge hit was, of course, "If I Had a Hammer." But their first single was "Lemmon Tree." It did marginally well. It was written by Will Holt. The only other Will Holt song I know was recorded by the frequently-mentioned-on -this-thread group, the Kingston Trio, called "Raspberries, Strawberries," which, like "Tom Doolie" starts off with a little narrative: "A young man goes to Paris, as every young man should. There's something in the air of Paris that does a young man good."
Later in their career, Noel Stookey (Paul) wouldn't play "Lemon Tree" anymore since he felt the line "Don' put your faith in love" violated his born-again Christian beliefs.
This thread makes me likes music more, even genres that have gems waiting to be rediscovered. Arlo of course is Woody's son and he's very talkative but the Black Mountain Rag sounds good here
"Contemporary Folk refers to post-Bob Dylan folk singer/songwriters of the 70s and beyond. Prior to Dylan, most folk performers interpreted classic folk songs or wrote broad-based, topical songs. After Dylan, folk singers changed their approach. Not only did their music open up, accepting certain pop/rock production techniques and instrumentation, but their songs became increasingly introspective, concentrating on the personal instead of the social."
I don't buy into that hook, line and sinker. Like @anselan in #4, these are approximations. Folk-Rock may be a sub-species of Folk, but it's not "contemporary folk." It's something else. Paul Simon is possibly my favorite -well, one of my favorite- artists from that period (and even today)- but I would never call his a folk singer. Joni Mitchell is a folk singer. Bob Dylan was a folk singer, as were John Phillips or John Sebastian, but morphed into something different. Elvis singing "Don't Think Twice" doesn't make Elvis a folk singer and more than Bob Dylan singing "Tangled Up In Blue" makes it a folk song. Once something loses it's identity, it's no longer the same thing. "Contemporary Folk" is legerdemain to me, trying to make something into what it's not.
This thread makes me likes music more, even genres that have gems waiting to be rediscovered. Arlo of course is Woody's son and he's very talkative but the Black Mountain Rag sounds good here
There's some nice picking in that song. I wish I could play the banjo.
Talking about ''socially conscious tracks,'' Arlo Guthrie again
CLEVELAND, Ohio -- It’s been a decade since Arlo Guthrie released a new recording. So, when he did, not surprisingly, he wanted it to be something that counted.
The veteran singer-songwriter and son of folk icon Woody Guthrie certainly did that with his new version of Stephen Foster’s “Hard Times Come Again No More,” which Guthrie released on July 31 with a companion video. The timely, socially conscious track is collaboration with pianist Jim Wilson, and the recording features a gospel choir, guest vocalist Vanessa Bryan and Grammy Award-winning bassist Stanley Clarke, among others.
Pete Seeger was hot. Here having fun with among others Talking Head's David Byrne