A folkie to the end, Ms. Baez paid tribute to mentors, comrades and sources.
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Sensitive folkie troubadour tries to postmodernize, winds up incoherent — what a metaphor for pop music's collapse.
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With time on his hands, he traveled to Miami, where he'd played as a penniless folkie years before.
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As he strums, the folkie ballads are sometimes swelled by an unseen string section or an invisible choir.
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A MINUS Jane Voss & Hoyle Osborne: Never No More Blues (Ripple) Veteran folkie adds period pop to Bessie-Jimmie-etc.
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But where the younger women toned down their themes, Clark bigged up her production, abandoning the folkie decorum of showcase circuit.
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She started out as a banjo-slinging folkie, but broke through with songs like "Alaska" and "On + Off," whose sonic textures reflected her growing interest in electronic dance music and mainstream pop.
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Reconciling the folkie and the rogue hardly seems like Harry's priority; instead, the 23-year-old basks in the privilege of paying tribute to his many musical heroes, and trying on all the styles that fit.
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Hitchhiking from one Beat and folkie haven to another — Venice, Palo Alto, Greenwich Village, the bohemian section of Austin — she hooked up with a revolving group of male and female lovers (auto-harp or pool cue in hand).
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When Ed Sheeran, the British singer-songwriter, moved to London, at the age of sixteen, he was less of a sensation at open-mike nights than at hip-hop clubs and comedy shows, where his folkie, earnest guitar strumming elicited curiosity.
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Ed Sheeran: Divide (Asylum/Atlantic) English folkie troubadour and Taylor Swift pal Ed Sheeran is so nice, so unassuming, it's odd to consider his long string of platinum singles, as if such success were unbecoming of a man so gentle.
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Eight years later, having birds of prey casually swoop through his homestead does little to dispel these hippie notions, but Banhart, who released his ninth album Ape in Pink Marble via Nonesuch on September 23rd, is not the same freak folkie he once was.
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Now he's a crooner, now he's an R&B loverboy, now he's an earnest folkie, now he's a foxy glam-rocker, now he's an excited gospel singer with his hand on his heart, now he's an excited lounge lizard with his hand in his pants.
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And though he obviously isn't the only Nashville guy ever to placate his demons with Jack and coke or the only folkie ever beset by night thoughts, neither "country" or "singer-songwriter" suits him either—he's too intellectual for one, too downhome for the other.
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The nervous singer was so intimidated by the presence of Simon—not to mention Art Garfunkel, who had dropped in for the session with local folkie (and future "Year of the Cat" and "Time Passages" hitmaker) Al Stewart—that he insisted on performing while hidden behind sound baffle screens.
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In those past eight years, on record, Romano has been a tradition-embracing folkie; a country singer whose albums you'd swear were unearthed early 70s gems; a mercurial rock 'n' roll star dabbling in classic 60s pop and technicolor psychedelia; a wild-eyed punk hurricane, launching across sweaty stages kicking and jumping and screaming.
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Dylan who played the folkie and the poet and the prophet and the rocker and the actor and the dilettante, Dylan whose whole career was based on dodging audience expectations, Dylan who invented reinvention a decade before Bowie got the credit — listen only to his '62-'69 albums and you'll still hear at least four or five distinct performance personas, each with its own band sound and corresponding constructed vocal style.
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It wound past clubs that are just bars with a stage in the back, or lightly redecorated union halls, or resurrected chantoosie joints from another era, or ex-vaudeville palaces with paintings on the ceiling, or hotel ballrooms with a thousand conspicuous fire-code violations, or sawdust-floored folkie taverns with an aura of everybody having missed the bus a decade earlier, or jazz lofts in semi-industrial parts of Downtown so remote there's no place within a mile to buy cigarettes after dark.
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He collected the Award live at The Cambridge Folk Festival on 2 August 2008 and described himself as a "Rasta Folkie".
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He gave rock style treatments to traditional folk tunes and thereby caught the attention of another folkie Beatle fan, Gene Clark, who joined forces with McGuinn in July 1964. Together they formed the beginning of what was to become the Byrds.
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Toronto Star, May 18, 1990. In the early 1990s, she performed with Gwen Swick and Shirley Eikhard in the trio The Three Marias.Peggy Nagle, "Uplifting folkie : Gwen Swick tackles romantic themes that invariably end on positive note". Waterloo Region Record, August 6, 1992.
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An American teacher, David Young, introduced Western folk dancing to the school. Later, another teacher, David Horsburgh, introduced European and American folk dancing. Folk dancing, or 'folkie' as students call it, is held once a week. The senior students teach the dances to the junior students.
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Folkie Paul's new path takes him to Oxford. Press & Sun-Bulletin (Binghamton, New York), May 11, 2006. Since approximately 1995 (no one seems to know for certain), Paul has annually played Club Passim over New Year's, performing two shows on December 30 and two shows on New Year's Eve.Webb. Jela. Ellis Paul.
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Adam Greenberg of AllMusic gave the album four stars, calling it a "good starting point", containing "every style the producers can find" from the region. Michaelangelo Matos, writing for the Chicago Reader, described the release as "folkie" and "pretty", but that it should be listened to in small doses by anyone but "panpipe addicts".
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Andrew MacLeish Durant was born in 1954. Durant grew up in an Adelaide beach suburb with an older sister who was in a "very folkie vocal group – she had a stunning voice". He attended Brighton High School, alongside his girlfriend, Bronte Seidel. In 1968 Durant was inspired by his copy of The Band's debut album, Music from Big Pink.
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Rêver mieux is the third studio album by Québécois singer and musician Daniel Bélanger."Electrifying changes: Belanger goes from folkie to high tech on his new album, Rever Mieux". Montreal Gazette, November 19, 2001. It was his first album to incorporate electronic music elements into his sound,"Il y a 15 ans : Daniel Bélanger – Rêver mieux".
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Notable contributors included Héctor Castillo, Session drummer Sterling Campbell whose resume includes David Bowie, Cyndi Lauper, and Duran Duran, Didi Gutman of Brazilian Girls, bassist and lap steel guitarists Byron Isaacs, and keyboardist Glenn Patscha. Cerati playing live in 2009 Fuerza Natural was a marked change from the riffing of Ahí Vamos and the electronics of Bocanada and Siempre es Hoy. The collections of songs focused on a cleaner, more acoustic pop sound, as well as folk and Neo-psychedelia. Rolling Stone Argentina took notice of this, "pero es más folkie, más espacial y más acústico, con una legión de guitarras, mandolinas y dobros que levantan polvo sobre las programaciones" (English: but it is more folkie, more spatial and acoustic, with a legion of guitars, mandolins, and dobros that sprinkle dust on the sequencers).
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"Wenner, Jann. "Interview with Jann S. Wenner," Rolling Stone, November 29, 1969, in For the first couple of months, they were merely "killing time", according to Robertson, with many early sessions devoted to covers. "With the covers Bob was educating us a little", recalls Robertson. "The whole folkie thing was still very questionable to us—it wasn't the train we came in on.
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Coast to Coast Fever is the third solo album by Canadian singer-songwriter David Wiffen. He is assisted on the album by fellow Canadian folkie Bruce Cockburn, who plays guitar, bass and celeste, and also produced the album."David Wiffen – Coast to Coast Fever (1973): Forgotten Series". Something Else Reviews, 13 January 2016 by Kasper Nijsen"Top 10 Great Obscure Albums You Need To Hear".
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The 2012 edition saw it moved 316th. NME magazine named it the 21st best album of all time in a similar list. In The Rolling Stone Album Guide (2004), Rob Sheffield wrote that after Cale's departure, the band became "acoustic folkie balladeers" and that Reed was unexpectedly charming on the album, whose "every song is a classic". Q magazine called the album "a flickering, unforgettable band performance".
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The song received mostly positive reviews from music critics. Entertainment Weekly's Chris Williams described Dear Mr. President "with its incongruous folkie social concern and Bush-baiting applause lines." The Los Angeles Times Natalie Nichols said that Pink taps her inner Ani DiFranco on the confrontational "Dear Mr. President." The New York Times Jon Pareles noted that the song is "well meaning", "hectoring" and that it "grow[s] even more sententious".
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Happy Traum and Artie Traum in 1970. In November 1971, both Artie and Happy Traum (together with Bob Dylan, David Amram, and others) participated in an extended Record Plant (NYC) session backing up Allen Ginsberg in various songs and chants. Ginsberg wrote the liner notes for the duo's Hard Times in the Country LP. Reviewing the LP in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau wrote: "If you're a sucker for folkie nonsense—ramblin' mythopoeia, articulated sentiment, purty tunes—you might as well buy it from real folkies on a real, struggling folkie label. Bonus: 'Gambler's Song,' Artie's uncharacteristically ironic tale of anomie, which ought to be recorded by somebody who'll get it heard." During the 1970s and 1980s, Artie Traum produced The Woodstock Mountains Revue featuring himself, his brother Happy, Roly Salley Pat Alger, John Sebastian, Arlen Roth, Maria Muldaur, Rory Block, Eric Andersen, Paul Butterfield and Paul Siebel.
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Fellow Canadian folkie/rocker/musician Murray McLauchlan also contributed one song, "Coat Of Colors", his first recorded songwriting credit. The song was issued as the b-side of the band's minor hit, "Bird Without Wings" (written by Cockburn). Donna Warner was the primary singer, but David Wiffen and Brent Titcomb also sang lead. They did a slow, military rendition of "(Let's) Get Together" by Chet Powers, and had a minor hit with "Bird Without Wings".
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Plush (2008) He studied composition at the University of Adelaide. From his student days, Wesley-Smith was a rebel, moonlighting on the banjo with a folkie band, the Wesley Three, when his teachers would have preferred he focus on his classical studies. His teachers included Peter Maxwell Davies, Jindrich Feld, Sandor Veress and Richard Meale. Wesley-Smith and his twin brother, Peter, were both conscripted to go to Vietnam, but avoided military service by undertaking studies until conscription ended.
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The club was opened in 2001 by Richard Carson and named in memory of his brother Hugh, a former folk musician who had dreamed of opening his own performance venue before his death of cancer in 1999."Requiem for Hugh’s Room: Much-loved folkie venue a victim of cash-flow problems". The Globe and Mail, January 16, 2017. Primarily a folk music club, Hugh's Room also sometimes booked jazz, blues, classical and comedy artists as well.
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The album contained "sparkling pop with a folky heart and an electronic edge" and was noted as being infectious. The album incorporated "acoustic guitar" and "retro-synthpop" compared to that of Little Boots and La Roux, while the production contained "folkie origins under a welter of busily cycling synths and programmed beats". Goulding toured the United Kingdom with American folk singer Lissie in 2010. Goulding's second album Halcyon followed in the same vein, including genres such as indie pop, synthpop and dream pop.
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Many of his poems are well known and recited by school children. Scott was also a founding member of the Queensland Folk Federation that now runs the Woodford Folk Festival. Ian McNamara of ABC Radio said, "We as people are all better off for the muse of a bloke like Bill."Ian McNamara, ABC Radio His song Hey Rain was used as the namesake for the documentary on his 50-year "folkie" career, with the subtitle The songs and stories of Bill Scott.
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In early 1976, Holden received a call from Colin Petersen, EMI Music Australia's A&R; representative, who suggested he cover Eric Carmen's "Never Gonna Fall in Love Again". In his 2017 autobiography, Holden said "This was a watershed moment, the opportunity to do covers versus originals. I didn't have a lot of new material. I was a greasy- haired folkie hippie, and the first album had sucked up everything I'd done... Recording "Never Gonna Fall in Love Again" was a chance for me to have a hit".
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Clark was invited to join an established regional folk group, the Surf Riders, working out of Kansas City at the Castaways Lounge, owned by Hal Harbaum. On August 12, 1963, he was performing with them when he was discovered by the New Christy Minstrels. They hired him, and he recorded two albums with the ensemble before leaving in early 1964. After hearing the Beatles, Clark quit the New Christy Minstrels and moved to Los Angeles, where he met fellow folkie and Beatles convert Jim (later Roger) McGuinn at the Troubadour Club.
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Released on Goodgame's own label, Redfish Records, much of the recording was done at Cliff Downs' studio in Nashville, Tennessee, but portions were recorded at Panda Studios in Clearwater. Writing in MusicRow, Robert K. Oermann called Goodgame the "folkie find of the day" and called his debut album "a superb self-made CD that's full of memorable melodies, stirring production, ear-catching lyrics and personable vocal". After graduating from Birmingham-Southern in May 1996, Goodgame moved to Nashville. Goodgame's cousin brought a copy of Randall Goodgame to a disc jockey at WCHZ-FM in Augusta, Georgia.
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The album was originally a project between Surrey Records, and singer-songwriter Chris Ducey. Ten songs were recorded for the album; however, the record label ran into contractual complications when it was discovered Ducey had commitments to ABC Records. Without a deal to release Songs of Protest and Anti-Protest, record producers Randy Wood and Betty Chiapetta had intent to find a new musician to record another set of original material. They discovered Bobby Jameson, a folkie who recorded the Mick Jagger-Keith Richards composition "All I Want Is My Baby" during a venture to England, in 1965.
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According to author Andy Gill, by starting his new album with what sounded like "a demented marching-band ... staffed by crazy people out of their mind on loco-weed", Dylan delivered his biggest shock yet for his former folkie fans. The elaborate puns on getting stoned combine a sense of paranoiac persecution with "nudge-nudge wink-wink bohemian hedonism". Heylin points out that the Old Testament connotations of getting stoned made the Salvation Army- style musical backing seem like a good joke. The enigmatic title came about, Heylin suggests, because Dylan knew a song called "Everybody Must Get Stoned" would be kept off the airwaves.
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Initially inspired by the success of the Beatles, folk singers Jim McGuinn and Gene Clark began playing as a duo in Los Angeles folk clubs in early 1964 and were soon joined by fellow folkie, David Crosby. The trio named themselves the Jet Set, a name chosen by McGuinn and inspired by his love of aeronautics. Crosby introduced McGuinn and Clark to his associate Jim Dickson who had access to World Pacific Studios, where he had been recording demos of Crosby. Dickson was impressed enough by the trio to take on management duties for the group and to utilize World Pacific as a rehearsal studio, where he recorded the band as they honed their craft and perfected their blend of Beatles pop and Bob Dylan-style folk.
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August, Lay's first album as a full-time musician after quitting her day job and her first album for Sub Pop, was released in 2019. It was co- produced by Lay and Ty Segall and features a wider array of instrumentation than her previous albums. Mark Deming of AllMusic noted that the more complex sound did not come at the expense of a sense of intimacy, and wrote that "she creates tunes with a simple grace that's a superb match for the lyrics which revel in the glorious mysteries of the world around us. And it's welcome to hear a contemporary artist who so comfortably embraces their folkie side without a sense of irony and with both feet planted firmly in reality".
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" In a four-star review, Chuck Campbell of the Knoxville News Sentinel wrote, "He's still largely regarded as a comic who sings and plays guitar, but his new Lion shows expanded commitment and growth in the musical arena for Lynch, who recorded the release in Nashville with a full roster of supporting talent. The result is a folkie, Americana sound that could easily stand apart from the droll lyrics as it breezes along with the likes of piano, banjo, mandolin, organ, cello and occasional dueting vocals from Courtney Jaye." Matthew Fugere of the website The Comic's Comic wrote, "From a musical stance, Lion moves far past Lynch's previous albums. He really nails a specific genre and style that works with the entire album.
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The partnership lasted until 1990. The Washington Post has described the duo as "an irresistible amalgam of melodic, sensual pop, folkie grit and killer wit." They appeared together, composing and performing throughout New England in various clubs, including The Bottom Line. David performs with his partners, Rob Carlson and George Wurzbach in the group “Modern Man – filling the void between The Three Tenors and The Three Stooges.” “With the release of their third CD, “Assisted Living,” the somewhat musical group known as Modern Man continued its assault on the out-moded idea that only those persons not yet manifesting symptoms of Alzheimer's should perform in public.” From 2005 to 2014, Buskin rejoined his former partner, Robin Batteau and percussionist Marshal Rosenberg.
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2004 was also the year in which Mrs Casey Music announced that they would no longer be running the festival. This was due to funding issues brought on in part by the 'rainy year' of 1997 which depleted much of the festival's financial reserves and in part by East Devon District Council withdrawing funding.East Devon District Council - Minutes of an Executive Board meeting held on Wednesday, 29 September 2004 (pdf) For several months, the future of the festival was uncertain, but the grass-roots folkie festival-goers wanted their Sidmouth festival to continue. Various groups of people, individuals and organisations began planning events for 2005 for their own particular aspect of the folk scene, and by November 2004 a steering group had been set up to co-ordinate and publicise these events under the new name of Sidmouth Folk Week.
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The old poets have been sidelined in favour of self-penned lyrics that neatly reflect their very English sense of melody and the female Fortnam's light, sad, pretty, folkie- meets-chorister voice. The title-track, with its spooked electronic music box feel, provides the lines that define the mood: "I a moon orbiting myself / Sometimes gravity pull me close." The words throughout the album feel like the thoughts of someone so outside of the real world that they can hover above themselves, watching their own futile attempts to connect, like a child watching ants and pondering whether to drown them. This alienated, superior feel is contrasted by the sheer beauty of Craig Fortnam's melodies, which have that knack of suddenly shifting to the one chord available that can make spines tingle and toes curl with pleasure.
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Brooks came out of a New York music scene in the early 1960s. One of the younger players on his instrument, he was a contemporary of Felix Pappalardi and Andy Kulberg and other eclectic bass players in their late teens and early twenties, who saw a way to bridge the styles of folk, blues, rock, and jazz. Al Kooper gave Brooks his first boost to fame when he asked him to play as part of Bob Dylan's backing band on the sessions that yielded the album Highway 61 Revisited (1965) — in contrast to the kind of folkie-electric sound generated by the band on his previous album, Bringing It All Back Home (1965). Producer Bob Johnson and Dylan were looking for a harder, in-your-face electric sound, and Brooks, along with guitarist Michael Bloomfield and organist Al Kooper, provided exactly what was needed.
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At the first Newport Folk Festival, Grossman told The New York Times critic Robert Shelton: "The American public is like Sleeping Beauty, waiting to be kissed awake by the prince of folk music." Because Grossman was committed to commercial success for his clients, and was frequently surrounded by socialist enthusiasts of the American folk-music revival, his manner could generate hostility. This hostility is illustrated by this description of Grossman's presence in the Greenwich Village folk scene by Dylan biographer and critic Michael Gray: "He was a pudgy man with derisive eyes, with a regular table at Gerde's Folk City from which he surveyed the scene in silence, and many people loathed him. In a milieu of New Left reformers and folkie idealists campaigning for a better world, Albert Grossman was a breadhead, seen to move serenely and with deadly purpose like a barracuda circling shoals of fish." In 1961, Grossman put together Mary Travers, Noel Stookey, and Peter Yarrow as the folk group Peter, Paul and Mary.
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