American folk music revival
The American folk music revival began during the 1940s and peaked in popularity in the mid-1960s. 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, Bessie Smith, Ma Rainey and Cisco Houston had enjoyed a limited general popularity in the 1930s and 1940s. The revival brought forward styles of American folk music that had in earlier times contributed to the development of country and western, blues, jazz, and rock and roll music.
Overview
Early years
The folk revival in
Folk music, which often carried the stigma of left-wing associations during the 1950s
, and elsewhere.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.[6]
The media blackout of performers with alleged communist sympathies or ties was so effective that Israel Young, a chronicler of the 1960s Folk Revival who 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]
In the early and mid-1950s, acoustic-guitar-accompanied folk songs were mostly heard in
The revival at its height
The Kingston Trio's popularity would be followed by that of
The critical role played by Freedom Songs in the voter registration drives, freedom rides, and lunch counter sit-ins during the Civil Rights Movement of the late 1950s and early '60s in the South gave folk music tremendous new visibility and prestige.
It was not long before the folk-music category came to include less traditional material and more personal and poetic creations by individual performers, who called themselves "singer-songwriters". 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—
Archivists, collectors, and re-issued recordings
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
In 1952,
Artists like
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.
Ethnic folk music
Ethnic folk music from other countries also had a boom during the American folk revival. The most successful ethnic performers of the revival were the Greenwich Village folksingers,
Books such as the popular best seller, the Fireside Book of Folk Songs (1947), which contributed to the folk song revival, featured some material in languages other than English, including German, Spanish, Italian, French, Yiddish, and Russian. The repertoires of
The commercially oriented folk-music revival as it existed in coffee houses, concert halls, radio, and TV was predominantly an
Rock subsumes folk
The British Invasion of the mid-1960s helped bring an end to the mainstream popularity of American folk music as a wave of British bands overwhelmed most of the American music scene, including folk. Ironically, the roots of the British Invasion were in American folk, specifically a variant known as skiffle as popularized by Lonnie Donegan; however, most of the British Invasion bands had been extensively influenced by rock and roll by the time their music had reached the United States and bore little resemblance to its folk origins.
After Bob Dylan began to record with a rocking rhythm section and electric instruments in 1965 (see
"Crossover" hits ("folk songs" that became rock-music-scene staples) happened now and again. One well-known example is the song "Hey Joe", copyrighted by folk artist Billy Roberts and recorded by rock singer/guitarist Jimi Hendrix just as he was about to burst into stardom in 1967. The anthem "Woodstock", which was written and first sung by Joni Mitchell while her records were still nearly entirely acoustic and while she was labeled a "folk singer", became a hit single for Crosby, Stills, Nash & Young when the group recorded a full-on rock version.
Legacy
By the late 1960s, the scene had returned to being more of a lower-key, aficionado phenomenon, although sizable annual acoustic-music festivals were established in many parts of North America during this period. The acoustic music coffee-house scene survived at a reduced scale. Through the luminary young singer-songwriters of the 1960s, the American folk-music revival has influenced songwriting and musical styles throughout the world.
Major figures
- traditional and children's songs, ballads and improvised works. He frequently performed with the slogan This Machine Kills Fascists displayed on his guitar. His best-known song is "This Land Is Your Land". Many of his recorded songs are archived in the Library of Congress.[30] In the 1930s Guthrie traveled with migrant workers from Oklahoma to California while learning, rewriting, and performing traditional folk and blues songs along the way. Many of the songs he composed were about his experiences in the Dust Bowl era during the Great Depression, earning him the nickname the "Dust Bowl Balladeer".[31] Throughout his life, Guthrie was associated with United States communist groups, though he never formally joined the Party.[32] During his later years Guthrie served as a prominent leader in the folk movement, providing inspiration to a generation of new folk musicians, including mentor relationships with Ramblin' Jack Elliott and Bob Dylan. Such songwriters as Dylan, Phil Ochs, Bruce Springsteen, Pete Seeger, Joe Strummer and Tom Paxton have acknowledged their debt to Guthrie as an influence. Guthrie's son Arlobroke into the folk scene near the end of Woody's life and had significant success of his own.
- The Almanac Singers Almanac members Millard Lampell, Lee Hays, Pete Seeger, and Woody Guthrie began playing together informally in 1940; the Almanac Singers were formed in December 1940.[32] They invented a driving, energetic performing style, based on what they felt was the best of American country string band music, black and white. They evolved towards controversial topical music. Two of the regular members of the group, Pete Seeger and Lee Hays, later became founding members of The Weavers.
- Burl Ives – as a youth, Ives dropped out of college to travel around as an itinerant singer during the early 1930s, earning his way by doing odd jobs and playing his guitar and banjo. In 1930 he had a brief local radio career on WBOW radio in Terre Haute, Indiana, and in the 1940s he had his own radio show The Wayfaring Stranger, titled after one of the ballads he sang. The show was very popular, and in 1946 Ives was cast as a singing cowboy in the film Smoky. Ives went on to play parts in other popular films as well. His first book, also titled The Wayfaring Stranger, was published in 1948.
- Almanac Singers. In 1948 Seeger wrote the first version of his now-classic How to Play the Five-String Banjo, an instructional book that many banjo players credit with starting them off on the instrument.
- The Weavers were formed in 1947 by Seeger, Ronnie Gilbert, Lee Hays, and Fred Hellerman. After they debuted at the Village Vanguard in New York in 1948, they were then discovered by arranger Gordon Jenkins and signed with Decca Records, releasing a series of successful but heavily orchestrated single songs. The group's political associations in the era of the Red Scare forced them to break up in 1952; they re-formed in 1955 with a series of successful concerts and album recordings on Vanguard Records. A fifth member, Erik Darling, sometimes sat in with the group when Seeger was unavailable and ultimately replaced Seeger in The Weavers when the latter resigned from the quartet in a dispute about its commercialism in general and its specific agreement to record a cigarette commercial.[33]
- HUACera, seriously harming his performing career in the 1950s and keeping him off television until 1963. In folk-music circles, however, he retained respect and was admired both as a musical hero and a link with the Southern rural-blues and gospel traditions.
- RCA Victor and released his first record album, Mark Twain and Other Folk Favorites. His breakthrough album Calypso (1956) was the first LP to sell over a million copies. The album spent 31 weeks at number one, 58 weeks in the top ten, and 99 weeks on the US charts. It introduced American audiences to Calypso music, and Belafonte was dubbed the "King of Calypso". Belafonte went on to record in many genres, including blues, American folk, gospel, and more. Odetta sang "Water Boy" and performed a duet with Belafonte of "There's a Hole in My Bucket" that hit the national charts in 1961.[34]
- Odetta Holmes – Starting in 1953 singers Odetta and Larry Mohr recorded some songs, with the LP being released in 1954 as Odetta and Larry, an album that was partially recorded live at San Francisco's Tin Angel bar. Odetta enjoyed a long and respected career, with a repertoire of traditional songs (e.g., spirituals) and blues until her death in 2008, becoming known as "the Voice of the Civil Rights Movement", and "the Queen of American Folk Music" (Martin Luther King Jr.).[34]
- The Kingston Trio was formed in 1957 in the Palo Alto, California area by Bob Shane, Nick Reynolds, and Dave Guard, who were just out of college. They were greatly influenced by the Weavers, the calypso sounds of Belafonte, and other semi-pop folk artists such as the Gateway Singers and The Tarriers. The unexpected and surprising influence of their hit record "Tom Dooley" (which sold almost four million units and is often credited with initiating the pop music aspect of the folk revival)[35] and the unprecedented popularity and album sales of this group from 1957 to 1963, including fourteen top ten and five number-one LPs on the Billboard charts[36]), were significant factors in creating a commercial and mainstream audience for folk-style music where little had existed prior to their emergence.[17] The Kingston Trio's success was followed by other highly successful 60s pop-folk acts, such as The Limeliters and The Highwaymen (whose version of "Michael, Row the Boat Ashore" reached #1 on the U.S. hit parade in September 1961).
- Dave Van Ronk was a mainstay of the scene, the so-called "Mayor of Macdougal Street". He was a mentor and inspiration for Tom Paxton, Christine Lavin, Joni Mitchell, Ramblin' Jack Elliott, and Bob Dylan (who described Van Ronk as "the king who reigned supreme" in the Village)[37]
- Hootenanny.
- War is Overdetailing the cause. He also wrote a gentler and more poetic tunes such as "When I'm Gone" and "Changes".
- Madonna", gaining renown for her clear voice and three-octave range. She recorded her first album for an established label the following year – a collection of laments and traditional folk ballads from the British Isles, accompanying the songs with guitar. Her second LPrelease went gold, as did her next (live) albums. One record featured her rendition of a song by the then-unknown Bob Dylan. In the early 1960s, Baez moved into the forefront of the American folk-music revival. Increasingly, her personal convictions – peace, social justice, anti-poverty – were reflected in the topical songs that made up a growing portion of her repertoire, to the point that Baez became a symbol for these particular concerns.
- Bob Dylan often performed and sometimes toured with Joan Baez, starting when she was a singer of mostly traditional songs. As Baez adopted some of Dylan's songs into her repertoire and introduced Dylan to her avid audiences, it helped the young songwriter to gain initial recognition. By the time Dylan recorded his first LP (1962), he had developed a style reminiscent of Woody Guthrie. He began to write songs that captured the "progressive" mood on the college campuses and in the coffee houses. Though by 1964 there were many new guitar-playing singer-songwriters, it is arguable that Dylan eventually became the most popular of these younger folk-music-revival performers.
- Peter, Paul, and Mary debuted in the early 1960s and were an American trio who ultimately became one of the biggest musical acts of the 1960s. The trio was composed of Peter Yarrow, Paul Stookey and Mary Travers. They were one of the main folk music torchbearers of social commentary music in that decade. During the 1960s, they won five Grammy Awards. As the decade passed, their music incorporated more elements of pop and rock.
- Turn, Turn, Turn". Collins eventually started writing her own songs, several of which became hits both for herself and for other artists.
- The Smothers Brothers, composed of Tom and Dick Smothers, used comedy to promote folk music on their CBS-TV variety series (1967–1969), along with social protest against the Vietnam War et al. They had many notable music guests such as blacklisted folk singer Pete Seeger.
Gallery
-
Woody Guthrie in 1943
-
Burl Ives in 1955
-
Pete Seeger in 1955
-
Josh White, Café Society (Downtown), New York, N.Y., c. June 1946
-
Harry Belafonte speaking at the 1963 Civil Rights March on Washington, D.C
-
Odetta, 1961
-
Joan Baez playing at the March on Washington in August 1963
-
Joan Baez and Bob Dylan at theMarch on Washington, 1963
-
Bob Dylan in November 1963
-
Peter, Paul and Mary
-
Judy Collins performing on The Smothers Brothers Comedy Hour, 1967
-
The Smothers Brothers in 1967
Other performers
- Eric Andersen
- Leon Bibb
- David Blue
- David Bromberg
- Bud & Travis
- Guy Carawan
- Johnny Cash
- Harry Chapin
- Sam Charters
- Guy Clark
- Paul Clayton
- John Cohen
- Leonard Cohen
- Shawn Colvin
- Elizabeth Cotten
- Karen Dalton
- Barbara Dane
- Erik Darling
- John Denver
- Donovan
- Ramblin' Jack Elliott
- Logan English
- Even Dozen Jug Band
- Mimi Fariña
- Richard Fariña
- Jackson C. Frank
- The Freedom Singers
- Gale Garnett
- Gateway Singers
- Bob Gibson
- Cynthia Gooding
- The Greenbriar Boys
- David Grisman
- Stefan Grossman
- John P. Hammond
- Tim Hardin
- Richie Havens
- Lee Hays
- John Herald
- Carolyn Hester
- Joe Hickerson
- The Highwaymen (folk band)
- David Holt (musician)
- The Holy Modal Rounders
- Cisco Houston
- Janis Ian
- Skip James
- Joe and Eddie
- Lisa Kindred
- Kossoy Sisters
- Peter La Farge
- Bruce Langhorne
- Gordon Lightfoot
- The Lovin' Spoonful
- Ewan MacColl
- Ed McCurdy
- Roger McGuinn
- Maria Muldaur
- Geoff Muldaur
- Jo Mapes
- Joni Mitchell
- Bob Neuwirth
- New Lost City Ramblers
- Tom Paxton
- Malvina Reynolds
- Fritz Richmond
- Gil Robbins
- The Rooftop Singers
- Dick Rosmini
- Tom Rush
- Tony Saletan
- John Sebastian
- Mike Seeger
- Peggy Seeger
- The Serendipity Singers
- Simon & Garfunkel
- Patrick Sky
- Rosalie Sorrels
- The Tarriers
- Artie Traum
- Happy Traum
- Ian and Sylvia
- Eric Von Schmidt
- The Washington Squares
- Doc Watson
- Gillian Welch
- Hedy West
- Robin and Linda Williams
- Glenn Yarborough
Managers
Venues
- The Bitter End
- Cafe Au Go Go
- Caffè Lena
- Cafe Wha?
- Calliope: Pittsburgh Folk Music Society
- Club Passim
- Eighth Step Coffee House
- Gate of Horn
- Gerdes Folk City
- The Gaslight Cafe
- Hungry i
- The Ice House (comedy club)
- The Main Point
- The Purple Onion
- Shaker Village Work Group
- The Tin Angel
- The Troubadour
- Village Vanguard
Periodicals
See also
- American folk music
- Anthology of American Folk Music
- British folk revival
- Contemporary folk music
- Festival
- Folk club
- Folk music
- Folk rock
- Folkways Records
- Hootenanny (U.S. TV series)
- March on Washington for Jobs and Freedom
- A Mighty Wind
- Newport Folk Festival
- New Weird America
- No Direction Home
- A Prairie Home Companion
- Protest songs in the United States
- Roots revival
Notes
- ^ From the Washington Post, February 12, 1944: "The Labor Canteen, sponsored by the United Federal Workers of America, CIO, will be opened at 8 pm tomorrow at 1212 18th st. nw. Mrs. Roosevelt is expected to attend at 8:30 pm"
- ^ Szwed, John, Alan Lomax: The Man who Recorded Music, Penguin, 2010. Cf. p.144: "Margot Mayo was a Texan who pioneered folk music in New York and spearheaded the revival of folk dancing and square dancing there in the 1940s"
- ^ Cf. Cantwell, Robert, When We Were Good (1996), pp. 110, 253.
- ^ "To Hear Your Banjo Play", film short, 1947 with Pete Seeger, Woody Guthrie, Sonny Terry, Margot Mayo's American Square Dance Group and others. Written by Alan Lomax and narrated by Pete Seeger.
- ^ "The Biggest #1 Pop Songs in U.S. Chart History". Whitgunn.freeservers.com. May 3, 2011. Retrieved December 6, 2012.
- ^ Ron Eyerman and Scott Barretta, "From the 30s to the 60s: The Folk Music Revival in the United States", Theory and Society, Vol. 25: 4 (August 1996): 501–543.
- ^ "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. cit., 1996, ff. p. 542.
- ^ Kingston Trio On Record, p. 33.
- ^ Fink, Matt. "Review of Here We Go Again". AllMusic Guide. Retrieved July 17, 2009.
- ^ Billboard Chart 11/16/59. November 16, 1959. Retrieved August 14, 2010.
- ^ Billboard Chart 11/23/59. November 23, 1959. Retrieved August 14, 2010.
- ^ Billboard Chart, 11/30/59. November 30, 1959. Retrieved August 14, 2010.
- ^ Billboard Chart, 12/7/59. December 7, 1959. Retrieved August 14, 2010.
- ^ Billboard Chart, 12/14/59. December 14, 1959. Retrieved August 14, 2010.
- ^ "Tenderfoot Tenor for The Kingston Trio". Show Business. September 5, 1961. Retrieved July 16, 2009.
- ^ calculated @ 1960$1 = 2021$8.86 per Dollartimes.com
- ^ a b Eder, Bruce. "Biography of The Kingston Trio". AllMusic Guide. Retrieved July 17, 2009.
- ISBN 1-58838-193-5
- ^ "Harry Smith biography". Harrysmitharchives.com. January 14, 2007. Archived from the original on July 11, 2011. Retrieved June 20, 2011.
- ^ "Top U.S. Artists by Category". Billboard. Vol. 76, no. 52. December 26, 1964. pp. 23–4.
- ISBN 1558493484.
- ^ "A Spontaneous Performance Recording Page". The Clancy Brothers and Tommy Makem Website. Archived from the original on March 29, 2014. Retrieved June 1, 2014.
- ^ Zhito, Lee (May 5, 1962). "Disk Firms Vie for NARAS Honors: RCA Victor Leads List of Grammy Nominations". Billboard Music Week. 74 (18): 4.
- ^ "THE BONO VOX INTERVIEW JULY 8, 1984". www.interferenza.net.
- ^ Hamill, Denis (December 22, 2009). "Last Clancy brother Liam is buried, but clan leaves impression on Irish music". Daily News. New York.
- ^ Folk Hibernia (television). BBC 4. 2006.
- ISBN 1860762069
- ^ Hamill, Dennis (November 7, 1999). "'Tis a Fine Way to Honor Paddy Clancy". New York Daily News. pp. City Beat (section).
- ^ Madigan, Charles M. (November 20, 1998). "Irish Folk Singer Patrick Clancy". Chicago Tribune. Retrieved April 19, 2014.
- ^ Library of Congress. Related Material – Woody Guthrie Sound Recordings at the American Folklife Center. Retrieved on November 27, 2007.
- ^ "This Land is Your Land: Rural Music & the Depression". Xroads.virginia.edu. Archived from the original on February 7, 2003. Retrieved December 6, 2012.
- ^ a b Spivey, Christine A."This Land is Your land, This Land is My Land: Folk Music, Communism, and the Red Scare as a Part of the American Landscape". Archived from the original on June 25, 2008. Retrieved July 12, 2012. The Student Historical Journal 1996–1997, Loyola University New Orleans, 1996.
- ISBN 9780307495976. Retrieved December 6, 2012.
- ^ a b "Odetta- American Folk Music Pioneer". Archived from the original on January 6, 2009. Retrieved June 21, 2011.
- ISBN 9781136088988.
- ISBN 978-0-9614594-0-6
- ^ Rothberg, Abigail. "Legendary Village folk artist remembered". Downtownexpress.com. Retrieved December 6, 2012.
Bibliography
- Cantwell, Robert. When We Were Good: The Folk Revival. Cambridge: Harvard University Press, 1996. ISBN 0-674-95132-8
- Cohen, Ronald D., Folk music: the basics, Routledge, 2006.
- Cohen, Ronald D., A history of folk music festivals in the United States, Scarecrow Press, 2008
- Cohen, Ronald D. Rainbow Quest: The Folk Music Revival & American Society, 1940–1970. Amherst: ISBN 1-55849-348-4
- Cohen, Ronald D., ed. Wasn't That a Time? Firsthand Accounts of the Folk Music Revival. American Folk Music Series no. 4. Lanham, Maryland and Folkestone, UK: The Scarecrow Press, Inc. 1995.
- Cohen, Ronald D., and Dave Samuelson. Songs for Political Action. Booklet to Bear Family Records BCD 15720 JL, 1996.
- Cray, Ed, and Studs Terkel. Ramblin Man: The Life and Times of Woody Guthrie. W.W. Norton & Co., 2006.
- Cunningham, Agnes "Sis", and Gordon Friesen. Red Dust and Broadsides: A Joint Autobiography. Amherst: ISBN 1-55849-210-0
- De Turk, David A.; Poulin, A., Jr., The American folk scene; dimensions of the folksong revival, New York : Dell Pub. Co., 1967
- Denisoff, R. Serge. Great Day Coming: Folk Music and the American Left. Urbana: University of Illinois Press, 1971.
- Denisoff, R. Serge. Sing Me a Song of Social Significance. Bowling Green University Popular Press, 1972. ISBN 0-87972-036-0
- Denning, Michael. The Cultural Front: The Laboring of American Culture in the Twentieth Century. London: Verso, 1996.
- Donaldson, Rachel Clare, Music for the People: the Folk Music Revival And American Identity, 1930–1970, PhD Dissertation, Vanderbilt University, May 2011, Nashville, Tennessee
- ISBN 0-306-80399-2
- Eyerman, Ron, and Scott Barretta. "From the 30s to the 60s: The folk Music Revival in the United States". Theory and Society: 25 (1996): 501–43.
- Eyerman, Ron, and Andrew Jamison. Music and Social Movements. Mobilizing Traditions in the Twentieth Century. Cambridge University Press, 1998. ISBN 0-521-62966-7
- Filene, Benjamin. Romancing the Folk: Public Memory & American Roots Music. Chapel Hill: The University of North Carolina Press, 2000. ISBN 0-8078-4862-X
- Goldsmith, Peter D. Making People's Music: Moe Asch and Folkways Records. Washington, DC: Smithsonian Institution Press, 1998. ISBN 1-56098-812-6
- Hajdu, David. Positively 4th Street: The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Fariña and Richard Fariña. New York: North Point Press, 2001. ISBN 0-86547-642-X
- Hawes, Bess Lomax. Sing It Pretty. Urbana and Chicago: University of Illinois Press, 2008
- Jackson, Bruce, ed. Folklore and Society. Essay in Honor of Benjamin A. Botkin. Hatboro, Pa Folklore Associates, 1966
- Lieberman, Robbie. "My Song Is My Weapon:" People's Songs, American Communism, and the Politics of Culture, 1930–50. 1989; Urbana: University of Illinois Press, 1995. ISBN 0-252-06525-5
- Lomax, Alan, Woody Guthrie, and Pete Seeger, eds. Hard Hit Songs for Hard Hit People. New York: Oak Publications, 1967. Reprint, Lincoln University of Nebraska Press, 1999.
- Lynch, Timothy. Strike Song of the Depression (American Made Music Series). Jackson: University Press of Mississippi, 2001.
- Mitchell, Gillian, The North American folk music revival: nation and identity in the United States and Canada, 1945–1980, Ashgate Publishing, Ltd., 2007
- Reuss, Richard, with [finished posthumously by] Joanne C. Reuss. American Folk Music and Left Wing Politics. 1927–1957. American Folk Music Series no. 4. Lanham, Maryland and Folkestone, UK: The Scarecrow Press, Inc. 2000.
- Rubeck, Jack; Shaw, Allan; Blake, Ben et al. The Kingston Trio On Record. Naperville, IL: KK, Inc, 1986. ISBN 978-0-9614594-0-6
- Scully, Michael F. The Never-Ending Revival: Rounder Records and the Folk Alliance. Urbana: University of Illinois Press, 2008.[1]
- Seeger, Pete. Where Have All the Flowers Gone: A Singer's Stories. Bethlehem, Pa.: Sing Out Publications, 1993.
- "The Smothers Brothers". The Sixties in America Reference Library. Encyclopedia.com. 6 Apr. 2021 <Encyclopedia.com | Free Online Encyclopedia>.
- Willens, Doris. Lonesome Traveler: The Life of Lee Hays. New York: Norton, 1988.
- Weissman, Dick. Which Side Are You On? An Inside History of the Folk Music Revival in America. New York: Continuum, 2005. ISBN 0-8264-1698-5
- Wolfe, Charles, and Kip Lornell. The Life and Legend of Leadbelly. New York: Da Capo [1992] 1999.
External links
- Folk Music Revival. American Folklife Center. Library of Congress.
- National Folklife Festival
- Field Recorders Collective – a collection of CDs of American traditional styles; Appalachian, fiddling, banjo, Cajun, Gospel from private collections now made available to the public
- "Blowin in the Wind: Pop discovers folk music" Part 1. Show 18 of .
- The Historyscoper
- The Folk File: A Folkie's Dictionary by Bill Markwick (1945–2017) – musical definitions and short biographies for American and U.K. Folk musicians and groups. Retrieved August 9, 2017.