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From the rollicking welcome of A Festive Song to the defiant battle cry of Watchword of Labour, Songs Of Freedom accomplishes the difficult task of making contemporary music out of old revolutionary songs. In these arrangements, the inspired performance of a rocking band updates the timeless lyrics of James Connolly into timely manifestos for todays young rebels. As Connolly himself repeatedly urged, nothing can replace the power of music to raise the fighting spirit of the oppressed. The music ranges from traditional Irish airs to American rhythm and blues. 60 minutes
This step-by-step instruction book explains everything required to master the basics of tin whistle playing. This easy, straightforward approach to playing the penny whistle has countless diagrams and symbols and comes complete with a wide selection of simple tunes and traditional songs from around the globe. Contents: A Bunch of Thyme * A Donegal Mazurka * An Buachaill Caol Dubh * Andersons * Blind Mary * Come Back Paddy Reilly * Going to the Well for Water * Im Bim Babaro * Kathleen Hehir * Munster Buttermilk * Pilib an Cheoil * Saratoga Hornpipe * Still I Love Him * Sweeney's Dream * The Bag of Spuds * The Bantry Girls' Lament * The Blacksmith's Reel * The Boy in the Boat * The Boy in the Gap * The Cliffs of Dooneen * The Derry Air * The Old Shandy Bohereen * The Poor Irish Boy * The Star of the County Down * The Three Sea Captains * The Versevienna * The Wet December.
This book, based on the Clarendon Lectures for 2016, is about the use made by poets and novelists of street songs and cries. Karlin begins with the London street-vendor's cry of 'Cherry-ripe!', as it occurs in poems from the sixteenth to the twentieth century: the 'Cries of London' (and Paris) exemplify the fascination of this urban art to writers of every period. Focusing on nineteenth and early twentieth century writers, the book traces the theme in works by William Wordsworth, Elizabeth Barrett Browning, Robert Browning, Walt Whitman, George Gissing, James Joyce, Virginia Woolf, and Marcel Proust. As well as street-cries, these writers incorporate ballads, folk songs, religious and political songs, and songs of their own invention into crucial scenes, and the singers themselves range from a one-legged beggar in Dublin to a famous painter in fifteenth-century Florence. The book concludes with the beautiful and unlikely 'song' of a knife-grinder's wheel. Throughout the book Karlin emphasizes the rich complexity of his subject. The street singer may be figured as an urban Orpheus, enchanting the crowd and possessed of magical powers of healing and redemption; but the barbaric din of the modern city is never far away, and the poet who identifies with Orpheus may also dread his fate. And the fugitive, transient nature of song offers writers a challenge to their more structured art. Overheard in fragments, teasing, ungraspable, the street song may be 'captured' by a literary work but is never, finally, tamed.
Steeleye Span have been at the forefront of British folk-rock for almost half a century. Formed in 1969 by Ashley Hutchings after his departure from Fairport Convention, the genre's founding fathers, and named after a character in an old Lincolnshire song, they began as a traditional folk group but gradually moved more into folk-rock territory. They dismayed some fans but acquired many others, with their disdain for the more purist elements, and a love of mixing original material with traditional songs, ambitious musical arrangements, multi-part harmonies, collaborations with pop producer and arranger Mike Batt and writer Terry Pratchett, and even occasional guest appearances on their records from Peter Sellers and David Bowie. This biography looks in detail at the music, the many personnel changes with vocalist Maddy Prior an almost constant presence throughout their long history, the highs and lows, and periods of commercial success - notably with the hit singles `All Around my Hat' and `Gaudete' - which have made them a well-respected staple of the British music scene for so long.
Started by the National Life and Accident Insurance Company in 1925, WSM became one of the most influential and exceptional radio stations in the history of broadcasting and country music. WSM gave Nashville the moniker \u201cMusic City USA\u201d as well as a rich tradition of music, news, and broad-based entertainment. With the rise of country music broadcasting and recording between the 1920s and \u201850s, WSM, Nashville, and country music became inseparable, stemming from WSM\u2019s launch of the Grand Ole Opry, popular daily shows like Noontime Neighbors, and early morning artist-driven shows such as Hank Williams on Mother\u2019s Best Flour. Sparked by public outcry following a proposal to pull country music and the Opry from WSM-AM in 2002, Craig Havighurst scoured new and existing sources to document the station\u2019s profound effect on the character and self-image of Nashville. Introducing the reader to colorful artists and businessmen from the station\u2019s history, including Owen Bradley, Minnie Pearl, Jim Denny, Edwin Craig, and Dinah Shore, the volume invites the reader to reflect on the status of Nashville, radio, and country music in American culture.
In Fuzz to Folk Ian Green chronicles his life so far; from Nation Service call-up to regular Army Service, to 30 years as a policeman and finally to founder of Greentrax, Scotland's leading traditional music label. Green has played a significant role in the resurgence and vitality of traditional and folk music in Scotland. His inspirational autobiography includes details of his involvement in the careers of Brian McNeill, Dick Gaughan, the McCalmans, Eric Bogle and many others. With Green's unique insight, Fuzz to Folk is an authority on the Scottish folk scene, and a fascinating glimpse into the life of the policeman on the street.
Other people locked themselves away and hid from their demons. Townes flung open his door and said 'Come on in.' So writes Harold Eggers Townes Van Zandt's longtime road manager and producer in EMy Years with Townes Van Zandt: Music Genius and RageE a a gripping memoir revealing the inner core of an enigmatic troubadour whose deeply poetic music was a source of inspiration and healing for millions but was for himself a torment struggling for dominance among myriad personal demons.THTownes Van Zandt often stated that his main musical mission was to write the perfect song that would save someone's life. However his life was a work in progress he was constantly struggling to shape and comprehend. Eggers says of his close friend and business partner that like the master song craftsman he was he was never truly satisfied with the final product but always kept giving it one more shot one extra tweak one last effort. THA vivid firsthand account exploring the source of the singer's prodigious talent widespread influence and relentless path toward self-destruction EMy Years with Townes Van ZandtE presents the truth of that all-consuming artistic journey told by a close friend watching it unfold.
Eight Miles High documents the evolution of the folk-rock movement from mid-1966 through the end of the decade. This much-anticipated sequel to Turn! Turn! Turn!(00330946) - the acclaimed history of folk-rock's early years - portrays the mutation of the genre into psychedelia via California bands like the Byrds and Jefferson Airplane; the maturation of folk-rock composers in the singer-songwriter movement; the re-emergence of Bob Dylan and the creation of country-rock; the rise of folk-rock's first supergroup, CSN&Y; the origination of British folk-rock; and the growing importance of major festivals from Newport to Woodstock. Based on firsthand interviews with such folk-rock visionaries as: Jorma Kaukonen, Roger McGuinn, Donovan, Judy Collins, Jim Messina, Dan Hicks and dozens of others.
This comprehensive guidebook features both traditional and genre-stretching Celtic music, and features information on the music's wide-ranging instrumentation, including drums, fiddles, harps, and more. Color photos.
Acclaimed Scottish singer Jean Redpath (1937-2014) is best remembered for her impressive repertoire of ancient ballads, Robert Burns songs, and contemporary folk music, recorded and performed over a career spanning some fifty years, from the 1960s until her death in 2014. In Giving Voice to Traditional Songs, Mark Brownrigg helps capture Redpath's idiosyncratic and often humorous voice through his interviews with her during the last eighteen months of her life. Here Redpath reflects on her humble beginnings, her Scottish heritage, her life's journey, and her mission of preserving, performing, and teaching traditional song. A native of Edinburgh, Redpath was raised in a family of singers of traditional Scots songs. She broadened her knowledge of the tradition through work with the Edinburgh Folk Society and later as a student of Scottish studies at Edinburgh University. Prior to graduation, Redpath abandoned her studies to follow her passion of singing. Her independent spirit took her to the United States, where she found commercial success amid the Greenwich Village folk-music revival in New York in the 1960s. There she shared a house and concert stages with Bob Dylan and Ramblin' Jack Elliott. Often praised for her unaccompanied, gentle voice, Redpath received a rave review in the New York Times, which launched her career and lead to her wide recognition as a true voice of traditional Scottish songs. As a regular guest on Garrison Keillor's A Prairie Home Companion radio show, Redpath endeared herself to millions with her soft melodies and amusing tales. Her extensive knowledge of traditional Scottish music history led to appointments as artist in residence at universities in the United States and Scotland, where she taught courses on traditional song. Among her final performances was a 2009 appearance on the Late Show with David Letterman. Redpath's extraordinary career has been celebrated with many accolades, including honorary doctorates from several universities, an appointment as Member of the Most Excellent Order of the British Empire by Queen Elizabeth II, and induction into the Scottish Traditional Music Hall of Fame. Although Redpath preferred not to be labeled as a folk singer, a term she found restrictive, she is revered as the most prominent Scottish folk singer of the postwar era.
The last quarter of the twentieth-century saw a renewed interest in the hammered dulcimer in the United States at the grassroots level as well as from elements of the Folk Revival. This book offers the reader a discussion of the medieval origins of the dulcimer and its subsequent spread under many different names to other parts of the world. Drawing on articles the author has written in English as well as articles by specialists in their own languages, Gifford explains the history and evolution of the instrument. Special attention is paid to the North American tradition from the early 18th-century to the 1970s revival. Drawing from local histories, news clippings, photographs, and interviews, the book examines the playing of the dulcimer and its associated social meanings.
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