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As noted by critic Bruce Eder in the All Music Guide, the popularity of the commercialized version of folk music represented by these groups emboldened record companies to sign, record, and promote artists with more traditionalist and political sensibilities.[17]. American Folklife Center. The Whistling Caruso Ani DiFranco. His lectures and other publications attempted to define a musical tradition that was rural in origin, oral in transmission and communal in nature. [16] The focus on collecting performed songs also disregarded the complex, but important, relationship between printed and oral forms, particularly the role of broadside ballads, which were sometimes records of existing songs and sometimes the origin or transmission point for others. Few were rural workers, but those who could be said to belong to the urbanized middle class were unlikely to include entrepreneurs, landlords, stockbrokers or senior civil servants. The arrival and sometimes mainstream success of acts such as Kate Rusby, Nancy Kerr, Kathryn Tickell, Spiers and Boden, Seth Lakeman, Eliza Carthy, Runrig and Capercaillie, all largely concerned with acoustic performance of traditional material, marked a radical turnaround in the fortunes of the tradition. [33], In the 2000s bands and artists appeared who function as cross-over acts between the indie rock and folk scenes. This playlist contains 76 songs* Contents . Artists like the Carter Family, Robert Johnson, Blind Lemon Jefferson, Clarence Ashley, Buell Kazee, Uncle Dave Macon, Mississippi John Hurt, and the Stanley Brothers, as well as Jimmie Rodgers, the Reverend Gary Davis, and Bill Monroe came to have something more than a regional or ethnic reputation. p. 542. Classic editor History Comments (1) Share. In 1960 the label became independent and was financially secure after the release of The Iron Muse in 1963. for info about and interest in THE FOLK REVIVAL, broadcast every Thursday night from 7-11 PM et from WICN, member-supported Worcester Public Radio, at 90.5 FM in central Mass. Find 2000s folk tracks, artists, and albums. : collected from memory, tradition and ancient authors (1776). Lie Awake My Love Follows You Andrew Bird. (The Anthology was re-released on CD in 1997, and Smith was belatedly presented with a Grammy Award for his achievement in 1991.)[19]. After Bob Dylan began to record with a rocking rhythm section and electric instruments in 1965 (see Electric Dylan controversy), many other still-young folk artists followed suit. [12] By the mid-1960s there were probably over 300 folk clubs in Britain, providing an important circuit for acts that performed traditional songs and tunes acoustically, where some could sustain a living by playing to a small but committed audience. S. Broughton, M. Ellingham, R. Trillo, O. Duane, V. Dowell. Small record labels, such as Yazoo Records, grew up to distribute reissued older recordings and to make new recordings of the survivors among these artists. [2], In Scotland the earliest printed collection of secular music was by publisher John Forbes in Aberdeen in 1662 as Songs and Fancies: to Thre, Foure, or Five Partes, both Apt for Voices and Viols. [27], A significant factor in the early growth of the revival was the output of Topic Records, founded as an offshoot of the Workers' Music Association in 1939. Pete Seeger and Lee Hays were called to testify before the House Un-American Activities Committee in 1955. Hold On Alison Krauss & Union Station. Please consider donating to Newport Festivals Foundation, which in the last year has provided financial relief to over 400 musicians impacted by the pandemic and over 100 grants for music education programs across the country. [2] It was rapidly adopted and developed in the surrounding Celtic cultures of Brittany, where it was pioneered by Alan Stivell and bands such as Malicorne; in Ireland by groups such as Horslips; and also in Scotland, Wales and the Isle of Man and Cornwall, to produce Celtic rock and its derivatives. [2] Many progressive folk performers continued to retain a traditional element in their music, including Jansch and Renbourn who, with Jacqui McShee, Danny Thompson, and Terry Cox, formed Pentangle in 1967. Pete Seeger and The Weavers were also influential, until the British Invasion of … Library of Congress. The Weavers' career ended abruptly when they were dropped from Decca's catalog because Pete Seeger had been listed in the publication Red Channels as a probable subversive. Het kent daardoor zeer veel uiteenlopende gezichten, al worden in het Westen meestal … Belafonte had hits with Jamaican calypso material as well as the folk song-like sentimental ballad "Scarlet Ribbons" (composed in 1949). He was hospitalized with Huntington's disease by the time the folk revival had begun, but Dylan, Baez, Phil Ochs, and other would visit him in the hospital and sing his songs to him. Ethnic folk music from other countries also had a boom during the American folk revival. Their music often uses traditional instruments beside electronic music. [17] This is thought to have created difficulties, since subtleties of performance have been lost and collectors often adjusted notation to fit their own, often classical, views of music or to fit their own preconceptions.[1]. [2] These clubs usually met in urban locations, but the songs sung in them often harked back to a rural pre-industrial past. This was followed by a string of Weaver hit singles that sold millions, including ""So Long It's Been Good to Know You" ("Dusty Old Dust") (by Woody Guthrie) and "Kisses Sweeter Than Wine". [5] Awareness that older forms of song were being abandoned prompted renewed interest in collecting folk songs during the 1830s and 40s, including the work of William B. Sandys' Christmas Carols Ancient and Modern (1833), William Chappell, A Collection of National English Airs (1838) and Robert Bell's Ancient Poems, Ballads and Songs of the Peasantry of England (1846).[6]. Here on WERA-LP Arlington, VA 96.7 FM … Woody Guthrie 1912-1967 Dylan and most folk-revivalists began by singing his songs. The expanding market in LP records increased the availability of folk-music field recordings originally made by John and Alan Lomax, Kenneth S. Goldstein, and other collectors during the New Deal era of the 1930s and 40s. The Kingston Trio, a group originating on the West Coast, were directly inspired by the Weavers in their style and presentation and covered some of the Weavers' material, which was predominantly traditional. Two singers of the 1950s who sang folk material but crossed over into the mainstream were Odetta and Harry Belafonte, both of whom sang Lead Belly and Josh White material. Started by a husband and wife duo, Well Folk revival believes in sharing how to take care of ourselves and live a chemical free life. Alabama Shakes. This connection between the English folk revival and the English Musical Renaissance movement has been heavily emphasized in historical accounts of English art music throughout the 20th century (for example, see Frank Howes, The English Musical Renaissance (1966)). "So Long It's Been Good to Know You" ("Dusty Old Dust"), National Academy of Recording Arts and Sciences, Grammy Award for Best Ethnic or Traditional Folk Recording, List of North American folk music traditions, "The Biggest #1 Pop Songs in U.S. Dylan, Bob; Bono, "The Bono Vox Interview," Hot Press, 8 July 1984. Folk-song collecting continued after World War I, but the nationalist impulse had subsided and with the tradition disappearing there were fewer singers available as sources. Harry Belafonte was also present on that occasion, along with Odetta, whom Martin Luther King introduced as "the queen of folk music", when she sang "Oh, Freedom" (Odetta Sings Folk Songs was one of 1963's best-selling folk albums). [2] This led in part to progressive folk music, which attempted to elevate folk music through greater musicianship, or compositional and arrangement skills. Folk Music Revival. A roots revival (folk revival) is a trend which includes young performers popularizing the traditional musical styles of their ancestors. Folk Horror 2000s. The Weavers' first big hit, the flipside of Lead Belly's "Good Night Irene", and a top seller in its own right, was in Hebrew ("Tzena, Tzena, Tzena") and they, and later Joan Baez, who was of Spanish descent, occasionally included Spanish-language material in their repertoires, as well as songs from Africa, India, and elsewhere. View reviews, ratings, news & more regarding your favorite band. al. TV Shows. She did not try to imitate the singing style of her source material, however, but used a rich soprano with vibrato. The British folk revival incorporates a number of movements for the collection, preservation and performance of folk music in the United Kingdom and related territories and countries, which had origins as early as the 18th century. Living representatives of some of the varied regional and ethnic traditions, including younger performers like Southern-traditional singer Jean Ritchie, who had first begun recording in the 1940s, also enjoyed a resurgence of popularity through enthusiasts' widening discovery of this music and appeared regularly at folk festivals. [7], there are English musicians in London and in the large provincial towns who might achieve good results if they would spend their autumnal holidays in some rural district of the country, associate with the villagers, and listen to their songs.[8]. Ron Eyerman and Scott Baretta speculate that: [I]t is interesting to consider that had it not been for the explicit political sympathies of the Weavers and other folk singers or, another way of looking at it, the hysterical anti-communism of the Cold War, folk music would very likely have entered mainstream American culture in even greater force in the early 1950s, perhaps making the second wave of the revival nearly a decade later [i.e., in the 1960s] redundant. The Select Scottish Airs collected by George Thomson and published between 1799 and 1818 included contributions from Burns and Walter Scott. Often associated with political dissent, folk music now blended, to some degree, with the so-called beatnik scene; and dedicated singers of folk songs (as well as folk-influenced original material) traveled through what was called "the coffee-house circuit" across the U.S. and Canada, home also to cool jazz and recitations of highly personal beatnik poetry. Michael Brocken provides a historical narrative of the folk revival from the 1940s up until the 1990s, beginning with the emergence of the revival from within and around the left-wing movements of the 1940s and 1950s. Folk music, which often carried the stigma of left-wing associations during the 1950s Red Scare, was driven underground and carried along by a handful of artists releasing records. [5] New forms of media such as the phonograph and sound film meant that from the 1920s American music began to be increasingly important and even dominant in popular British culture, leading to a further sharp decline in traditional music. [2] It also took a more charitable view of the ‘morally dubious’ elements of traditional folk than the first revival, with Lloyd recording an entire album of erotic folk songs, The Bird in the Bush (1966). In the late 1990s, with the resurgence of traditional folk, spearheaded by children of the revival such as Eliza Carthy, Topic gained both commercial and critical success.[28]. The commercially oriented folk-music revival as it existed in coffee houses, concert halls, radio, and TV was predominantly an English-language phenomenon, though many of the major pop-folk groups, such as the Kingston Trio, Peter, Paul and Mary, The Chad Mitchell Trio, The Limeliters, The Brothers Four, The Highwaymen, and others, featured songs in Spanish (often from Mexico), Polynesian languages, Russian, French, and other languages in their recordings and performances. [6], The media blackout of performers with alleged communist sympathies or ties was so effective that Israel Young, a chronicler of the 60s Folk Revival, and was drawn into the movement through an interest in folk dancing, communicated to Ron Eyerman that he himself was unaware for many years of the movement's 1930s and early '40s antecedents in left-wing political activism.[7]. [32] It has been influential in those parts of the world with close cultural connections to Britain, such as the US and Canada, and gave rise to the subgenre of medieval folk rock and the fusion genres of folk punk and folk metal. The American folk music revival began during the 1940s and peaked in popularity in the mid-1960s. Folk is de benaming voor een muziekstijl gebaseerd op de oorspronkelijk van generatie op generatie overgedragen volkseigen of regionale muziek, bestaande uit verhalende liederen voor elke gemoedstoestand en gelegenheid: liefde, blijdschap, verdriet, bruiloft, werk, overspel, ziekte, dood, enzovoorts. [2] The society was also responsible for sponsoring a BBC Home Service radio program, As I Roved Out, based on field recordings made by Peter Kennedy and Seamus Ennis from 1952 to 1958, which probably did more than any other single factor to introduce the general population to British and Irish folk music in the period. [12] One of the major effects of the folk song revival was the creation of a distinctive English form of classical music, known as the English "national" or "pastoral" school. The second revival in Britain followed a similar movement in America, to which it was connected by individuals such as Alan Lomax, who had moved to Britain in the era of McCarthyism and who worked in England and Scotland. The first British revival concentrated on transcribing, and later recording, songs by remaining performers. Several individuals emerged in England who had learnt the old songs in the oral tradition from their communities and therefore preserved the authentic versions. Folk Revival The great folksong revival of the 1940s through 1960s made rural white and African American artists and their music favorites of audiences everywhere. In many ways this was the adoption of abandoned popular music by the middle classes. In Scotland the key figures were Hamish Henderson and Calum McLean who collected songs and popularised acts including Jeannie Robertson, John Strachan, Flora MacNeil and Jimmy MacBeath. During the 1950s, the growing folk-music crowd that had developed in the United States began to buy records by older, traditional musicians from the Southeastern hill country and from urban inner-cities. Enter the 2000s, with the internet and file sharing firmly in-place — the scene saw a massive explosion with several bands who started as indie artists achieving mainstream success and notoriety. These groups also sang many English-language songs of foreign origin. Dylan's record enjoyed some popularity among Greenwich Village folk-music enthusiasts, but he was "discovered" by an immensely larger audience when a pop-folk-music group, Peter, Paul & Mary had a hit with a cover of his song "Blowin' in the Wind". [35], Traditional folk resurgence 1990 – present. Movies. The repertoires of Theodore Bikel, Marais and Miranda, and Martha Schlamme also included Hebrew and Jewish material, as well as Afrikaans. Luister naar Folk Blues Revival van Lightnin Hopkins op Deezer. This second revival of The Twilight Zone (1959) presents tales … For other uses, see, Archivists, collectors, and re-issued recordings. [2] Although many acts such as Martin Carthy and the Watersons continued to perform successfully, there were very few significant new acts pursuing traditional forms in the 1980s. This all began to change with a new generation in the 1990s, often children of major figures in the second revival. Related Material – Woody Guthrie Sound Recordings at the American Folklife Center. [2] Spearheaded by Lonnie Donegan’s hit "Rock Island Line" (1956) it dovetailed with the growth of café youth culture, where skiffle bands with acoustic guitars, and improvised instruments such as washboards and tea chest bass, played to teenage audiences. In my mind, they are to STM what the Bothy Band was to ITM. [31], British folk rock developed in Britain during the mid- to late 1960s by the bands Fairport Convention and Pentangle, which built on elements of American folk rock, and on the British folk revival. In 1952, Folkways Records released the Anthology of American Folk Music, compiled by anthropologist and experimental film maker Harry Smith. ). Social and cultural changes in British society in the early modern era, often seen as creating greater divisions between different social groups, led from the mid-17th century to the beginnings of a process of rediscovery of many aspects of popular culture, including festivals, folklore, dance and folk song. No discussion regarding a STM folk revival can take place without mention of Jock Tamson’s Bairns. The Best Folk Pop Albums of the 2000s. With Forest Whitaker, June B. Wilde, Chris Shields, Tangi Miller. [2] Sharp produced the five volume Folk Songs from Somerset from 1904–09 and founded the English Folk Dance Society in 1911, an indication of his parallel interest in dance music. Rubeck, Jack; Shaw, Allan; Blake, Ben et al. It is particularly associated with two movements, usually referred to as the first and second revivals, respectively in the late 19th to early 20th centuries and the mid-20th century. While key figures associated with the American folksong revival, such as Pete Seeger, Joan Baez, Alan Lomax, and Moses Asch, were white, the music traditions on which they drew were frequently African American as well as Anglo-American. Artists such as Ewan MacColl and Peggy Seeger refused to confine themselves to rural or even early industrial songs, but wrote or brought burning political issues into their repertoire. [25] Beside the many later jazz, blues, pop and rock musicians that started performing in skiffle bands were a number of future folk performers, including Martin Carthy and John Renbourn. The fusing of various styles of American music with British folk also helped to create a distinctive form of fingerstyle guitar playing known as ‘folk baroque’, pioneered by Davy Graham, Martin Carthy, John Renbourn and Bert Jansch. She was one of the singers, along with Seeger, Josh White, Peter, Paul and Mary and Bob Dylan, who appeared at Martin Luther King's 1963 March on Washington and sang "We Shall Overcome", a song that had been introduced by People's Songs. "This Land is Your Land: Rural Music & the Depression", "This Land is Your land, This Land is My Land: Folk Music, Communism, and the Red Scare as a Part of the American Landscape",, "Legendary Village folk artist remembered". Created by Rod Serling. Radio stations refused to play their records and concert venues canceled their engagements. The Weavers had a big hit in 1950 with the single of Lead Belly's "Goodnight, Irene". The Kingston Trio's popularity would be followed by that of Joan Baez, whose debut album Joan Baez, reached the top ten in late 1960 and remained on the Billboard charts for over two years. The most successful ethnic performers of the revival were the Greenwich Village folksingers, The Clancy Brothers and Tommy Makem, whom Billboard Magazine listed as the eleventh best-selling folk musicians in the United States. The British folk revival incorporates a number of movements for the collection, preservation and performance of folk music in the United Kingdom and related territories and countries, which had origins as early as the 18th century. D. Else, J. Attwooll, C. Beech, L. Clapton, O. Berry, and F. Davenport, Findlay Napier and the Bar Room Mountaineers, "Larner, Samuel James [Sam] (1878–1965), fisherman and folk-singer", 10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-57088/version/0, "Cox, Harry Fred (1885–1971), farmworker and singer", 10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-57087, "Pardon, Walter William (1914–1996), carpenter and folk-singer", 10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-63074;jsessionid=21db0c6bbead4be6dad92b730f79d373, "Findlay Napier likes the sound of nu-folk",, Creative Commons Attribution-ShareAlike License, This page was last edited on 9 September 2020, at 00:12. Baez, unlike the Kingston Trio, was openly political, and, as the civil rights movement gathered steam, aligned herself with Pete Seeger, Guthrie and others. [12] It uses traditional music, and compositions in a traditional style, played on a combination of rock and traditional instruments. [2][3][4] The folk revival more generally as a popular and commercial phenomenon begins with the career of The Weavers, formed in November 1948 by Pete Seeger, Lee Hays, Fred Hellerman, and Ronnie Gilbert of People's Songs, of which Seeger had been president and Hays executive secretary. Its roots went earlier, and performers like Josh White, Burl Ives, Woody Guthrie, Lead Belly, Big Bill Broonzy, Richard Dyer-Bennet, Oscar Brand, Jean Ritchie, John Jacob Niles, Susan Reed, Paul Robeson and Cisco Houston had enjoyed a limited general popularity in the 1930s and 1940s. Rate your favorite albums to have your say in this list of the top user rated albums. As a result of the financial success of high-profile commercial folk artists, record companies began to produce and distribute records by a new generation of folk revival and singer-songwriters—Phil Ochs, Tom Paxton, Eric von Schmidt, Buffy Sainte-Marie, Dave Van Ronk, Judy Collins, Tom Rush, Fred Neil, Gordon Lightfoot, Billy Ed Wheeler, John Denver, Arlo Guthrie, Harry Chapin, John Hartford, and others, among them. These individuals, such as Sam Larner[19], Harry Cox[20], Walter Pardon[21], and Frank Hinchliffe[22], released albums of their own and were revered by folk revivalists. [12] In 1932 the Folk-Song Society and the English Folk Dance Society merged to become the English Folk Dance and Song Society (EFDSS). Well Folk offers classes, a YL team, and teaches ancestral roots of living through food, body care, and home environment. Description: The Folk Revival takes listeners on a journey through our musical roots, from Lomax to the latest. Newport Folk Festival has announced a weekend of webcasts called Folk On Revival Weekend, with Roger Waters, Jason Isbell, Mavis Staples, and more. The revival turned up a tremendous wealth and diversity of music and put it out through radio shows and record stores. An important catalyst for the rapid expansion of this movement around the turn of the 20th century was the work of German expatriate musicologist, Carl Engel, who provocatively claimed, in a collection of essays published in 1879, that it seemed to him: rather singular that England should not possess any printed collection of its national songs with the airs as they are sung at the present day; while almost every other European nation possesses several comprehensive works of this kind. [10], There was a strong nationalist element in the motivation for collecting folk song. She was a folk singer who began her career in 1959 at the Newport Folk Festival. Ethnic folk music from other countries also had a boom during the American folk revival. [5] On its flip side was "Tzena, Tzena, Tzena", an Israeli dance song that concurrently reached number two on the charts. Her popularity (and that of the folk revival itself) would place Baez on the cover of Time Magazine in November 1962. In the early and mid-1950s, acoustic-guitar-accompanied folk songs were mostly heard in coffee houses, private parties, open-air concerts, and sing-alongs, hootenannies, and at college-campus concerts. Cunningham, Agnes "Sis", and Gordon Friesen. Some of this, particularly the Incredible String Band, has been seen as developing into the further subgenre of psych or psychedelic folk and had a considerable impact on progressive and psychedelic rock. Houston’s Folk Family Revival is releasing its third record, “Electric Darlin,” a stark contrast to the group’s previous work; it’s far more honky-tonk, down and dirty. [29], There was a brief flowering of British progressive folk in the late 1960s and early 1970s, with groups such as the Third Ear Band and Quintessence following the eastern Indian musical and more abstract work by group such as Comus, Dando Shaft, The Trees, Spirogyra, Forest, and Jan Dukes De Grey, but commercial success was elusive for these bands and most had broken off, or moved in very different directions, by about 1973. [18] British folk song might have become a purely academic interest had it not been for a second wave of revival with a very different emphasis. The first included increased interest in and study of traditional folk music, the second was a part of the birth of contemporary folk music. New LP compilations of commercial 78-rpm race and hillbilly studio recordings stretching back to the 1920s and 1930s were published by major record labels. "Israel Young, who was deeply involved in the New York folk scene from 1945 onward, recounts (through personal correspondence) that he remained largely unaware of the role of the old left on the folk scene in the first decade of his activism", quoted in Ron Eyerman and Scott Barretta, op. The word "revival" is particularly appropriate when talking about the literal revival of bellows pipes beginning around 1979-1980. Smithsonian Folkways is home to a significant collection of folk music recordings with a storied history as a participant in documenting and supporting the growth of American folk. [24], The second revival built on the work of the first, exploiting many of its resources. The huge commercial success of the Kingston Trio, whose recordings between 1958 and 1961 earned more than $25 million for Capitol records[15] or about $195 million in 2014 dollars[16] spawned a host of groups that were similar in some respects like the Brothers Four, Peter, Paul and Mary, The Limeliters, The Chad Mitchell Trio, The New Christy Minstrels, and more. The revival brought forward styles of American folk music that had, in earlier times, contributed to the development of country and western, jazz, and rock and roll music. [2] Kidson and Broadwood were important in the foundation of the Folk Song Society in 1898. Of course many other elder statesmen of earlier folk music revivals were still performing at the end of the 50s and after. The folk revival of the 1960s is often the starting point of fascination with the style for many contemporary folk fans. Critics of the approach pursued by MacColl/Seeger and their adherents The Critics Group saw their view of the industrialised working class and "urban" songs in general as romantic as Sharp had been about agricultural workers. [28] In the 1970s Topic released a series of albums by ground-breaking artists including Nic Jones, Dick Gaughan, The Battlefield Band, as well as major figures on the folk scene including Martin Carthy. [2], The expansion of the revival scene has been attributed to the short-lived British skiffle craze of 1956–58. [2] Although collectors, from Grainger in 1905 onwards, experimented with new recording technology, it was generally rejected and there was a concentration on transcribing folk song in Britain, in contrast to America, where in a parallel movement John Avery Lomax made extensive recordings for the Library of Congress from 1933. [24] The Clancy Brothers and Tommy Makem also sparked a folk-music boom in Ireland in the mid-1960s, illustrating the world-wide effects of the American folk-music revival.[25][26][27][28][29]. [2] By the 1980s the genre was in steep decline in popularity, but has survived and revived in significance as part of a more general folk resurgence since the 1990s. Thanks to radio and recorded music, artists and fans in New York could develop an interest … Themed shows are particular favorites (traditional songs, old songs by new artists, folk love songs, folk songs of the Spirit, a history of folk groups, humorous/satirical folk songs, protest songs, Top 40 folk, western songs, women of the Folk Revival, etc. This was how many urban white American audiences of the 1950s and 60s first heard country blues and especially Delta blues that had been recorded by Mississippi folk artists 30 or 40 years before. Through the luminary young singer-songwriters of the 1960s, the American folk-music revival has influenced songwriting and musical styles throughout the world. A former employee of People's Songs, Harvey Matusow, himself a former Communist Party member, had informed the FBI that the Weavers were Communists, too, although Matusow later recanted and admitted he had lied. Curious Minds favourite Dr. Mike Daley returns with this dynamic, six-part history of the urban folk revival of the 1950s and 60s. "Last Clancy brother Liam is buried, but clan leaves impression on Irish music". [12] Unlike the first revival, which wholly concerned itself with traditional music, the second revival was a part of the birth of non-traditional contemporary folk music. One big effect of the '60s folk revival—thanks in no small part to Bob Dylan—was that it marked the beginning of folk singers, on a large scale, writing their own material. Traditionally sung and played within communities, that is, not created or produced for popular consumption, American folk music became embedded in mainstream tradition, creating some combination of folk and pop music, during the mid-20th Century "folk music revival." [13], Similar developments could be seen in Scotland in the work of Sir Alexander Mackenzie, who celebrated his native Scotland in three Scottish Rhapsodies for orchestra (1880–81, 1911), and in various concerted works for piano or violin and orchestra composed during the 1880s and 1890s. This started in London where MacColl began the Ballads and Blues Club in 1953. [30] The most successful of these was Ralph McTell, whose "Streets of London" reached number 2 in the UK Single Charts in 1974, and whose music is clearly folk, but without and much reliance on tradition, virtuosity, or much evidence of attempts at fusion with other genres. 2000's Folk Rock. At one point, The Kingston Trio had four records at the same time among the Top 10 selling albums for five consecutive weeks in November and December 1959 according to Billboard Magazine's "Top LPs" chart, a record unmatched for more than 50 years[9][10][11][12][13][14] and noted at the time by a cover story in Life Magazine.

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