Folk music includes traditional folk music and the genre that evolved from it during the 20th-century folk revival. Some types of folk music may be called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, or music performed by custom over a long period of time, it has been contrasted with classical styles. The term originated in the 19th century. Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk music; this process and period is reached a zenith in the 1960s. This form of music is sometimes called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times, but the term folk music has not been applied to the new music created during those revivals; this type of folk music includes fusion genres such as folk rock, folk metal, others. While contemporary folk music is a genre distinct from traditional folk music, in U.
S. English it shares the same name, it shares the same performers and venues as traditional folk music; the terms folk music, folk song, folk dance are comparatively recent expressions. They are extensions of the term folklore, coined in 1846 by the English antiquarian William Thoms to describe "the traditions and superstitions of the uncultured classes"; the term further derives from the German expression volk, in the sense of "the people as a whole" as applied to popular and national music by Johann Gottfried Herder and the German Romantics over half a century earlier. Though it is understood that folk music is music of the people, observers find a more precise definition to be elusive; some do not agree that the term folk music should be used. Folk music may tend to have certain characteristics but it cannot be differentiated in purely musical terms. One meaning given is that of "old songs, with no known composers", another is that of music, submitted to an evolutionary "process of oral transmission....
The fashioning and re-fashioning of the music by the community that give it its folk character". Such definitions depend upon " processes rather than abstract musical types...", upon "continuity and oral transmission...seen as characterizing one side of a cultural dichotomy, the other side of, found not only in the lower layers of feudal and some oriental societies but in'primitive' societies and in parts of'popular cultures'". One used definition is "Folk music is what the people sing". For Scholes, as well as for Cecil Sharp and Béla Bartók, there was a sense of the music of the country as distinct from that of the town. Folk music was "...seen as the authentic expression of a way of life now past or about to disappear" in "a community uninfluenced by art music" and by commercial and printed song. Lloyd rejected this in favour of a simple distinction of economic class yet for him true folk music was, in Charles Seeger's words, "associated with a lower class" in culturally and stratified societies.
In these terms folk music may be seen as part of a "schema comprising four musical types:'primitive' or'tribal'. Music in this genre is often called traditional music. Although the term is only descriptive, in some cases people use it as the name of a genre. For example, the Grammy Award used the terms "traditional music" and "traditional folk" for folk music, not contemporary folk music. Folk music may include most indigenous music. From a historical perspective, traditional folk music had these characteristics: It was transmitted through an oral tradition. Before the 20th century, ordinary people were illiterate; this was not mediated by books or recorded or transmitted media. Singers may extend their repertoire using broadsheets or song books, but these secondary enhancements are of the same character as the primary songs experienced in the flesh; the music was related to national culture. It was culturally particular. In the context of an immigrant group, folk music acquires an extra dimension for social cohesion.
It is conspicuous in immigrant societies, where Greek Australians, Somali Americans, Punjabi Canadians, others strive to emphasize their differences from the mainstream. They learn songs and dances that originate in the countries their grandparents came from, they commemorate personal events. On certain days of the year, such as Easter, May Day, Christmas, particular songs celebrate the yearly cycle. Weddings and funerals may be noted with songs and special costumes. Religious festivals have a folk music component. Choral music at these events brings children and non-professional singers to participate in a public arena, giving an emotional bonding, unrelated to the aesthetic qualities of the music; the songs have been performed, by custom, over a long period of time several generations. As a side-effect, the following characteristics are sometimes present: There is no copyright on the songs. Hundreds of folk songs from the 19th century have known authors but have continued in oral tradition to the point where they are considered traditional for purposes of music publishing.
This has become much less frequent since the 1940s. Today every folk song, recorded is credited with an arranger. Fusion of cultures: Because cultures interact and change over time
A&M Records was an American record label founded as an independent company by Herb Alpert and Jerry Moss in 1962. Due to the success of the discography A&M released, the label garnered interest and was acquired by PolyGram in 1989 and began distributing releases from Polydor Ltd. from the UK. Throughout its operations, A&M housed well-known acts such as Joe Cocker, Procol Harum, Captain & Tennille, Sergio Mendes, Ozark Mountain Daredevils, Bryan Adams, Burt Bacharach, Liza Minnelli, The Carpenters, Paul Williams, Janet Jackson, Cat Stevens, Peter Frampton, Elkie Brooks, Carole King, Extreme, Amy Grant, Joan Baez, the Human League, The Police, CeCe Peniston, Blues Traveler, Soundgarden and Sheryl Crow. PolyGram was acquired by Seagram and dissolved into Universal Music Group in 1998, A&M's operations were ceased in January 1999 when it was merged with Geffen Records and Interscope Records to form the record company Interscope Geffen A&M Records. In 2007, Interscope Geffen A&M announced that A&M was revived as trademark and brand and was to be merged with Octone Records to form A&M Octone Records, which operated until 2013, when A&M Octone was folded into Interscope.
Today, A&M's catalog releases are managed by Verve Records, Universal Music Enterprises and Interscope. A&M Records was formed in 1962 by Jerry Moss, their first choice for a name was Carnival Records, under which they released two singles before discovering that another label had taken the Carnival name. The company was subsequently renamed Moss's initials. From 1966 to 1999, the company's headquarters were on the grounds of the historic Charlie Chaplin Studios at 1416 North La Brea Avenue, near Sunset Boulevard in Hollywood. Throughout the 1960s and 1970s, A&M had such acts as Herb Alpert & the Tijuana Brass, Baja Marimba Band, Burt Bacharach, Sérgio Mendes & Brasil ’66, the Sandpipers, Boyce & Hart, We Five, the Carpenters, Chris Montez, Elkie Brooks, Lee Michaels and Tennille, the Flying Burrito Brothers, Quincy Jones, Lucille Starr, Stealers Wheel and Lyle, Barry DeVorzon, Perry Botkin, Jr. Marc Benno, Liza Minnelli, Rita Coolidge, Gino Vannelli, Wes Montgomery, Paul Desmond, Bobby Tench, Toni Basil, Paul Williams.
Folk artists Joan Baez, Phil Ochs and Gene Clark recorded for the label during the 1970s. Billy Preston joined the label in 1971, followed by Andre Popp and Herb Ohta in 1973. In the late 1960s, through direct signing and licensing agreements, A&M added several British artists to its roster, including Cat Stevens, Joe Cocker, Procol Harum, Humble Pie, Fairport Convention, the Move and Spooky Tooth. In the 1970s, under its manufacturing and distribution agreement with Ode Records, A&M released albums by Carole King and the comedy duo Cheech & Chong. Other notable acts of the time included Nazareth, Y&T, the Tubes, Supertramp, Joan Armatrading and James, Chris de Burgh, Rick Wakeman, the Ozark Mountain Daredevils, Chuck Mangione and Peter Frampton. On March 10, 1977, A&M signed the Sex Pistols after the band had been dropped by EMI. However, A&M dropped the band within a week. A&M sustained its success during the 1980s with a roster of noted acts that included Orchestral Manoeuvres in the Dark, Henry Badowski, Janet Jackson, the Police, the Brothers Johnson, Atlantic Starr, the Go-Go's, Bryan Adams, Suzanne Vega, Brenda Russell, Jeffrey Osborne, Oingo Boingo, the Human League, Ozark Mountain Daredevils, Lois & Bram, Annabel Lamb, Jim Diamond, Vital Signs, Joe Jackson, Scottish rock band Gun.
They through a deal with Christian music label Myrrh, distributed back catalog recordings of Amy Grant as well as her new recordings, starting with 1985's Unguarded, to the mainstream marketplace, a vital component in her subsequent breakthrough as a mainstream artist. Within a decade of its inception, A&M became the world's largest independent record company. A&M releases were issued in the United Kingdom by EMI's Stateside Records label, under its own name by Pye Records, who released the first Herb Alpert records on the Pye International label before issuing the records on the A&M label until 1967. From 1969, A&M set up its own UK base appointing John Deacon as General Manager - a post he held until 1979. Several A&R men were recruited including Larry Yaskiel and Derek Green and major UK acts such as the Police, Rick Wakeman, Gallagher & Lyle, Elkie Brooks, the Strawbs and Peter Frampton as well as many others were all signed to the UK label. A&M releases were issued in Australia through Festival Records until 1989.
A&M Records Ltd. was established in 1970, with distribution handled by other labels with a presence in Europe. A&M Records of Canada Ltd. was formed in 1970, A&M Records of Europe in 1977. In 1979, A&M entered a distribution agreement with RCA Records in the US, with CBS Records in many other countries. Over the years, A&M added specialty imprints: Almo International for middle of the road. A&M was bought by PolyGram in 1989. Alpert and Moss continued to manage the label until 1993. In 1998, Alpert and Moss sued PolyGram for breach of the integrity clause settling for an additional $200 million payment. In 1991, A&M launched Perspective Records as a joint venture with producing team Jimmy Jam and Terry Lewis. Jam and Lewis stepped down as CEOs of the imprint in 1997. In 1999, t
The Joan Baez Country Music Album
The Joan Baez Country Music Album is a 1979 compilation album by Joan Baez. "The Night They Drove Old Dixie Down" "Brand New Tennessee Waltz" "Outside The Nashville City Limits" "Ghetto" "My Home's Across The Blue Ridge Mountains" "Rock Salt and Nails" "Help Me Make It Through the Night" "Long Black Veil" "I Still Miss Someone" "San Francisco Mabel Joy" "Take Me Back to the Sweet Sunny South" "Hickory Wind" "Will the Circle Be Unbroken" "The Tramp on the Street" "Carry It On" "Gospel Ship" "Little Moses" "Banks of the Ohio" "Engine 143" "Pal of Mine"
Gracias a la Vida (album)
Gracias a la Vida, or Here's to Life: Joan Baez sings in Spanish is a 1974 studio album released by American singer-songwriter Joan Baez. It was performed in the Spanish language. Baez stated at the time that she released the album as a "message of hope to the Chileans suffering under Augusto Pinochet", in the wake of the death of Salvador Allende.. Songs include selections by Chilean composers Victor Jara and Violeta Parra, who composed the title song. A more upbeat version of "Dida" appears on Baez's Rust, released the following year. Countries represented in the track listing range from Cuba to Chile and Spain; the album was moderately successful in the US but so in Latin America. The album has a dedication: "This record is dedicated to my father who gave me my Latin name and whatever optimism about life I may claim to have." "Gracias a la Vida" "Llegó Con Tres Heridas" "La Llorona" "El Preso Número Nueve" "Guantanamera" "Te Recuerdo Amanda" "Dida" "Cucurrucucú Paloma" "Paso Río" "El Rossinyol" "De Colores" "Las Madres Cansadas" "No Nos Moverán" "Esquinazo Del Guerrillero" Joan Baez - lead vocals and classical guitar Tommy Tedesco - lead guitar Jim Hughart - double bass Lalo Lindgron - harp Tom Scott - flute, string arrangement Mariachi Uclatlan Rondalla Amerindia Edgar Lustgarten - cello Milt Holland - percussion Joni Mitchell - vocal improvisation Jackie Ward Singers, Sally Stevens, Andrea Willis - backing vocals Farber, Nancy.
"Joan Baez: Singing of fewer causes now". People Magazine 4/29/74.
Forever Young (Bob Dylan song)
"Forever Young" is a song by Bob Dylan, recorded in California in November 1973. The song first appeared on Dylan's fourteenth studio album Planet Waves. A demo version of the song, recorded in New York City in June 1973, was included on Dylan's 1985 compilation Biograph. In the notes included with that album, Dylan is quoted as saying that he wrote "Forever Young" in Tucson, Arizona, "thinking about" one of his sons and "not wanting to be too sentimental." A live version of the song, recorded in Tokyo on 28 February 1978 and included on Dylan's album Bob Dylan at Budokan, was released as a European single in 1979. Written as a lullaby for his eldest son Jesse, born in 1966, Dylan's song relates a father's hopes that his child will remain strong and happy, it opens with the lines, "May God bless and keep you always / May your wishes all come true", echoing the Old Testament's Book of Numbers, which has lines that begin: "May the Lord bless you and guard you / May the Lord make His face shed light upon you."
Not wishing to sound "too sentimental", Dylan included two versions of the song on the Planet Waves album, one a lullaby and the other more rock oriented. In notes on "Forever Young" written for the 2007 album Dylan, Bill Flanagan writes that Dylan and the Band "got together and knocked off an album, Planet Waves, that featured two versions of a blessing from a parent to a child. In the years he was away from stage Dylan had become a father, he had that in common with a good chunk of the audience. The song reflected it. Memorably recited on American TV by Howard Cosell when Muhammad Ali won the heavyweight crown for the third time." Bob Dylan – guitar, harmonica, vocals Rick Danko – bass guitar Levon Helm – drums Garth Hudson – organ Richard Manuel – piano, drums Robbie Robertson – guitars Rod Stewart recorded a song entitled "Forever Young", released as a single and included on his Out of Order album in 1988. The song was remarkably similar to the Bob Dylan song of the same title, sharing not only a similar melody but many of the same lyrics.
Stewart agreed to share his royalties with Dylan. His version charted at #12 on the Billboard Hot 100 in the U. S. while it made number 57 on the UK singles chart on its release in 1988 and number 55 on re-release in 2013. In 2009 a remix of the song, "Forever Young" was featured in a Pepsi commercial, with American rapper will.i.am rapping a verse. The advertisement ends with the slogan: "Every generation refreshes the world". In December 2015, Louisa Johnson, the winner of the twelfth series of The X Factor, released a cover version of "Forever Young" as her winner's single, it was released on 13 December 2015 after Johnson won. Johnson performed, she performed it on Text Santa. Johnson's version entered the UK Singles Chart on 18 December at number nine; the song has sold 99,648 copies in the UK as of June 2016. A number of Bob Dylan’s contemporaries have recorded cover versions of "Forever Young". Joan Baez recorded the song, as a single and on her 1976 live album From Every Stage, while Peter and Mary covered the song on their 1978 record Reunion.
The Band recorded the song on their penultimate album High on the Hog, from 1996. Diana Ross covered the song in 1984 on Swept Away. Johnny Cash contributed a cover of "Forever Young" to the 1994 benefit album Red Hot + Country; the Grateful Dead performed a cover of the song with Neil Young at the Bill Graham memorial concert on November 3, 1991. It was covered by the Jerry Garcia Band and included on the album Garcia Plays Dylan. Kitty Wells recorded the song for her 1973 album of the same title. Pete Seeger covered the song on the 2012 charity tribute to Dylan, Chimes of Freedom: Songs of Bob Dylan Honoring 50 Years of Amnesty International; the Pretenders covered the song on their album Last of the Independents in 1994. It was used in the 1995 movie Free Willy 2: The Adventure Home. Meat Loaf recorded a version on his 2003 album Couldn't Have Said It Better, Marcia Hines covered the song for her 2004 album Hinesight. Ray Wilson included a version, on his 2001 live album Live and Acoustic, sung by backing vocalist Amanda Lyon.
Stoney LaRue recorded a studio version on his 2005 album The Red Dirt Album, a live version on Live at Billy Bob's Texas. Robin Wright sang to composer Max Richter's take on the song for the soundtrack of the 2013 film The CongressNorah Jones sang a version at the Steve Jobs memorial service. Christina Perri recorded a version in 2015, played at the end of the World of Color multimedia spectacle nightly at Disney California Adventure in Anaheim, California, as part of the Disneyland 60th Anniversary celebration. Blake Shelton recorded a version of the song for the soundtrack of the Warner Brothers movie Max. Anderson East recorded a version, used in a 2017 commercial for Dodge Ram. Dylan lent his name and song to the television show Parenthood. Lucy Schwartz sang ``. On August 31, 2010, Arrival Records/Scion Music Group released a soundtrack for Parenthood; the soundtrack consists includes the both theme songs for Parenthood, "Forever Young" by Bob Dylan, the international theme, "When We Were Young" by Lucy Schwartz.
It includes a cover of "Forever Young" performed by John Doe and Lucy Schwartz. Lyrics of this song at MetroLyrics Norah Jones playing Forever Young—Steve Jobs Memorial event at Apple
One Day at a Time (album)
One Day at a Time is a 1970 album by Joan Baez. Recorded in Nashville, the album was a continuation of Baez' experimentation with country music, begun with the previous year's David's Album, it is significant in that it was the first to include Baez' own compositions, "Sweet Sir Galahad" and "A Song for David", the former song a ballad for her younger sister Mimi Fariña, the latter song being for her husband, David Harris, at the time in prison as a conscientious objector. One Day at a Time included work by The Rolling Stones, Willie Nelson and Pete Seeger; the album contains three of the songs Baez had performed at Woodstock four months earlier: "I Live One Day At A Time","Joe Hill" and "Sweet Sir Galahad". The Vanguard reissue contains two outtakes from the One Day at a Time sessions: "Sing Me Back Home" and "Mama Tried", both duets with Jeffrey Shurtleff, both Merle Haggard covers.. "Sweet Sir Galahad" – 3:43 "No Expectations" – 3:47 "Long Black Veil" – 3:24 "Ghetto" – 4:33 "Carry It On" – 2:22 "Take Me Back to the Sweet Sunny South" – 2:47 "Seven Bridges Road" – 3:42 "Jolie Blonde" – 2:00 "Joe Hill" – 3:25 "A Song for David" – 4:57 "I Live One Day at a Time" – 3:31 "Mama Tried" - 3:13 "Sing Me Back Home" - 2:53 Joan Baez – vocals, guitar Pete Drake – pedal steel guitar Roy Huskey, Jr. – bass guitar Tommy Jackson – fiddle Jerry Shook – guitar Jerry Reed – guitar Harold Bradley – guitar Hargus "Pig" Robbins – piano Harold Rugg – steel guitar, dobro Grady Martin – guitar, sitar Buddy Spicher – fiddle Norbert Putnam – bass guitar Kenny Buttrey – drums David Briggs – piano, harpsichord Richard Festinger – guitar Charlie McCoy – harmonica, organ Henry Strzelecki – bass guitar Pete Wade – guitar Jim Marshall - photography
Syreeta Wright, who recorded professionally under the single name Syreeta, was an American singer-songwriter, best known for her music during the early-1970s through the early-1980s. Wright's career heights were songs involved with her ex-husband Stevie Wonder and musical artist Billy Preston. Wright was born in Pittsburgh, Pennsylvania, in 1946, started singing at age four, her father served in the Korean War and Wright and her two sisters and Kim, were raised by their mother Essie and their grandmother. The Wrights moved back and forth from Detroit to South Carolina before settling in Detroit just as Wright entered high school. Money problems kept Wright from pursuing a career in ballet so she focused her attention on a music career joining several singing groups before landing a job as a receptionist for Motown in 1965. Within a year, she became a secretary for Mickey Stevenson, just as Martha Reeves had done before her. A year Edward Holland of the Holland–Dozier–Holland songwriting team noticed Wright's singing and decided to try her out for demos of Supremes' songs.
Motown CEO Berry Gordy shortened her birth name to "Rita," and Wright released her first solo single, "I Can't Give Back the Love I Feel for You", in January 1968. The song was written for the Supremes, they recorded the song in 1968 and Diana Ross re-recorded the song for her solo album, Surrender. Wright performed demo vocals for the Supremes hit "Love Child" and Ross's "Something's On My Mind", which Ross recorded for her self-titled debut album; when Diana Ross left the Supremes in early 1970, Motown boss Berry Gordy considered replacing her with Wright, but offered the place in the group to Jean Terrell. According to several sources, Gordy changed his mind and tried to replace Terrell with Wright, but this was vetoed by Supreme Mary Wilson. Wright sang background on records by the Supremes and by Martha and the Vandellas, notably singing the chorus to the group's modest hit single, "I Can't Dance to That Music You're Playing". Wright met labelmate Stevie Wonder in 1968, the two began dating the following year.
On the advice of Wonder, Wright became a songwriter. Their first collaboration, "It's a Shame", was recorded by The Spinners, in 1969. Motown withheld its release until July 1970; the song reached number 14 on the Billboard Hot 100. Wright began singing background for Wonder, most notably on the hit "Signed, Delivered", which Wright co-wrote with Wonder. In September 1970, after a year-long courtship, Wright, 24, Wonder, 20, married in Detroit; the couple wrote and arranged songs for Wonder's Where I'm Coming From, released much to Berry Gordy's chagrin in the spring of 1971. The Wonder–Wright composition "If You Really Love Me" reached number 8 in the US that year. In 1971, following Wonder's exit from Motown, the couple relocated to New York City where Wonder worked on two independent albums. Wonder returned to Motown in 1972 after being promised creative control for his recordings, allowing Wonder to set up a company called Black Bull Productions. Wonder and Wright came with songs for Music of My Mind.
Following a tour opening for The Rolling Stones in the summer of 1972, Wonder issued his follow-up, Talking Book, which turned out to be Wonder's breakthrough album. In between the albums, Wright decided to return to her own singing career. Motown reassigned the singer from Motown's Gordy imprint, where "I Can't Give Back the Love I Feel for You" was released, to Motown's L. A.-based MoWest subsidiary. Wonder and Wright had marriage troubles and divorced in the summer of 1972, ending their 18-month marriage. Following their divorce, Wonder oversaw the production of Wright's first solo album, which included Wright's take of Wonder's "I Love Every Little Thing About You" from Music of My Mind, the Smokey Robinson classic "What Love Has Joined Together", The Beatles' "She's Leaving Home", which featured both Wonder and Wright applying background vocals via the talk box. MoWest issued "I Love Every Little Thing About You" in the late winter of 1972, but it failed to chart. Remaining best friends, Wright would continue to provide background vocals and compositions with Wonder for the next two decades.
In 1974, Wright was again reassigned, this time to the Motown label proper, issued her second release, the aptly-titled Stevie Wonder Presents: Syreeta that June. Following the success of Minnie Riperton's Perfect Angel, which Wonder produced, Wonder wanted to present Wright in the same light as Riperton as a sensual vocalist; the covers were similar to each other. Riperton added background vocals to the album, promptly at the end of the album track "Heavy Day"; the album yielded the UK singles "I'm Goin' Left", "Spinnin' and Spinnin'" and the reggae-flavored "Your Kiss Is Sweet", which became a UK Top 40, reaching number 12 in 1975. The album featured one duet with G. C. Cameron of the Spinners; the duo released the duet album Rich Love, Poor Love in 1977. Production on Wright's third album, One to One, went on for two years; the album featured the sole Wonder production, "Harmour Love", which found some success after being featured on the movie Junebug, was produced by Leon Ware, who produced Marvin Gaye and Riperton.
Wright's next effort came courtesy of a chance meeting with Billy Preston, who had signed with Motown in early 1979. Motown assigned the two to collaborate on a pop ballad for the movie Fast Break. Wright and Preston provided the soundtrack of the film and their first collaboration, "Wi