Traditional and folk music Books

Book SynopsisThe story of the Minneapolis musicians who were unexpectedly summoned to re-record half of the songs on Bob Dylan's most acclaimed album When Bob Dylan recorded Blood on the Tracks in New York in September 1974, it was a great album. But it was not the album now ranked by Rolling Stone as one of the ten best of all time. “When something’s not right, it’s wrong,” as Dylan puts it in “You’re Gonna Make Me Lonesome When You Go”—and something about that original recording led him to a studio in his native Minnesota to re-record five songs, including “Idiot Wind” and “Tangled Up in Blue.” Six Minnesota musicians participated in that two-night recording session at Sound 80, bringing their unique sound to some of Dylan’s best-known songs—only to have their names left off the album and their contribution unacknowledged for more than forty years. This book tells the story of those two nights in Minneapolis, introduces the musicians who gave the album so much of its ultimate form and sound, and describes their decades-long fight for recognition. Blood in the Tracks takes readers behind the scenes with these “mystery” Minnesota musicians: twenty-one-year-old mandolin virtuoso Peter Ostroushko; drummer Bill Berg and bass player Billy Peterson, the house rhythm section at Sound 80; progressive rock keyboardist Gregg Inhofer; guitarist Chris Weber, who owned The Podium guitar shop in Dinkytown; and Kevin Odegard, whose own career as a singer-songwriter had paralleled Dylan’s until he had to take a job as a railroad brakeman to make ends meet. Through in-depth interviews and assiduous research, Paul Metsa and Rick Shefchik trace the twists of fate that brought these musicians together and then set them on different paths in its wake: their musical experiences leading up to the December 1974 recording session, the divergent careers that followed, and the painstaking work required to finally obtain the official credit that they were due. A rare look at the making—or remaking—of an all-time great album, and a long overdue recognition of the musicians who made it happen, Blood in the Tracks brings to life a transformative moment in the history of rock and roll, for the first time in its true context and with its complete cast of players. Trade Review "Beyond the richly detailed account of the Sound 80 sessions, Rick Shefchik and Paul Metsa have crafted a gripping pre-Internet tale of what it took (and still takes) to be a struggling musician. Dylan looms over every page, but for anyone who’s ever given themselves up to a life in music—or loved someone who did—the stories told by the Minnesota Six about gigging, practicing, recording, family life, and all the heartaches and triumphs that come along with the chase are equal parts poignant, romantic, sad, funny, and inspiring. An essential slice of Minnesota music history."—Jim Walsh, songwriter, journalist, and author of Gold Experience: Following Prince in the ’90s "Paul Metsa and Rick Shefchik's biography of a record is like none I've ever read before. The intimate chronicling of the crafting and recording of Blood on the Tracks, from the songs' beginnings in Dylan's spiral notebooks to their shaping in New York and Minnesota, is indeed the life of Bob Dylan's masterpiece. Long may the names of the Minneapolis musicians and Sound 80 staff, some of them garnering a first official credit for their work on the record, be remembered now."—Anne Margaret Daniel, The New School

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Book SynopsisFrom his earliest recordings in the 1990s, it was clear that Alasdair Roberts was not only a powerful performer, but also a profoundly original songwriter. In the years since then, he has honed his craft across a series of albums that comprise a richly idiosyncratic body of work. Distinctive as they are musically, Alasdair's songs are equally notable for their articulate, poetic and often moving lyrical qualities now starkly symbolic, now allusively ornate. This book aims to showcase those qualities, with a selection of lyrics from across Alasdair's songwriting catalogue. The lyrics are augmented by newly written notes by Alasdair, with original illustrations by Annabel Wright, plus a foreword by the acclaimed poet Robin Robertson, and several entertaining appendices.

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Book SynopsisTrade Review"[An] irresistible outing . . [Nelson's] intelligence and wisdom shine through . . . Fans will relish these insights into the singer-songwriter's many avatars: the kid growing up poor with close ties to his church and family; the political activist who wrote “Vote ‘Em Out” for Beto O’Rourke’s 2018 senatorial campaign; and the enigmatic, sui generis artist. This is a treasure." — Publishers Weekly "In a wry narrative shot through with a loopy, stoner spiritualism, the great songwriter and outlaw country artist takes a ramble through his back pages. . . . A lively accompaniment to Nelson's sprawling, genre-crossing, delightful catalog of recordings." — Kirkus Reviews "[Willie Nelson's] songwriting has consistently been indicative of a born storyteller. It’s fun and, at times, illuminating to read about where some of those stories stemmed from. The photos are great too. . . . A sweet and intimate retrospective of a long and prolific career. This book will make readers feel like they’ve sat down with Nelson, who has just regaled them with tales." — Library Journal "Throughout this lovely act of looking back and moving forward, Nelson wears his well-worn heart on his sleeve. . . . Willie Nelson's many admirers cross myriad lines, and they will eagerly pursue this chance to get close to their idol." — Booklist "[R]eflective and thoughtful . . . [Nelson's] commentary is clear, introspective, patient and wise—showing how his 90 years have funneled into a new perspective on his lyricism and canon. The stories read like Willie himself is sitting across the dinner table from you, regaling you of his best stories from years past." — The Tennessean

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Book SynopsisWritten with Vanity Fair contributing editor Michael Schnayerson, My Song is an inspiring story of performance and protest, from a superstar singer and actor who was on the front lines of practically every progressive political battle in modern memory. Along the way, he befriended some of the most influential figures of the 20th century, from Tony Curtis, Marlon Brando and Sidney Poitier to Martin Luther King, the Kennedys, Eleanor Roosevelt, Fidel Castro, James Baldwin, Bob Dylan and Nelson Mandela. From his impoverished childhood in Harlem and Jamaica, through his meteoric rise as an international calypso star, provocative crossover into Hollywood where he broke down many racial barriers, passionate lifelong involvement in the civil rights movement and myriad other social causes, to his personal struggles and rich friendships, this is a remarkable, multifaceted and hugely inspirational story.A man whose story should be told for generations to come (RoTrade ReviewA gorgeous account of the large life of a Harlem boy -- Garrison Keillor * * New York Times * *It isn't just the story of man, but the story of a country and a century * * Variety * *A potent memoir of our times * * Library Journal * *Somewhere amid the accounts of when he became the first artist to sell a million copies of an album, the first black leading actor to romance a white leading actress in a major Hollywood film, and the man who was asked to pick out the clothes that Martin Luther King would be buried in, you realize just how extraordinary Harry Belafonte's life has been . . . Not only a capitaving memoir of his own story but an intriguing look at US history from the late '40s the present * * Boston Globe * *Bracingly opinionated autobiography from an American original * * Kirkus * *Carries us liltingly along with his song that the best times always lie ahead as long as we take care of each other * * Publishers Weekly * *A celebration of singer, actor and social activist Harry Belafonte.Moving and enlightening as it serves up a crash-course in 20th-century history . . . * * Variety, on SING MY SONG * *Long before he became a cultural icon, Harry Belafonte learned to fight injustice wherever he saw it - a principle which has driven him ever since. This rich memoir chronicles a life of activism alongside some of history's greatest heroes and sheds new light on moments that shaped our nation. Through it all, Harry exudes the same passion and candour I've experienced in our friendship and conversation over the years -- President Bill ClintonThis memoir, a page turner, will help to correct the image of Belafonte as a mere 'Belaphoney' divorced from the realities of black, pre-civil rights America * * Spectator * *

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Book SynopsisThis collection explores fiddle traditions from different parts of England, some of which have remained unbroken since the late 1700s. The book includes 99 English traditional fiddle tunes, with bowing and chords, mostly in the form of Jigs, Slip Jigs, Hornpipes, Reels, Rants, Polkas, Waltzes and Morris tunes. All tunes were recorded by Pete Cooper and are availablefor download. Suitable for grade 3 and above.Instrumentation:violin

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Book SynopsisDonovan''s autobiography charts his life from a post-war, Glaswegian childhood to the height of an international career as one of the leading figures of the 1960''s music scene.Always feeling like an outsider he found relief through music and poetry. The book reveals how he came to be influenced by Buddhist teachings and the music of Woody Guthrie and Joan Baez. The book explores the significance of falling deeply in love with the woman who was to become his muse, and the profound sense of loss he felt when their relationship came to an end, and how the loss affected him both personally and creatively.A leader of the folk revival in both Britain and America, the book recounts how he rose to be an international star, releasing songs such as Mellow Yellow and Catch the Wind, and his most successful album, Sunshine Superman. Donovan is acknowledged as one of the most significant cultural icons of the 1960''s.The book provides a frank accountTrade ReviewAnyone who lived through that time, or anyone curious to know what the 'magic' or theswinging 60s where about, will enjoy this trip through 'histories of ages past' with the original Hurdy Gurdy Man. * The Guardian *Entertaining and indisputably personal account * MOJO *Three cheers for the Hurdy Gurdy man for approaching his autobiography as a serious book rather than a quick cash-in or headline grabbing confessional...a pleasing trip back to a time, not so long ago, when every gentle heart believed peace was a real possibility * The Telegraph *An unqualified delight * The Observer *Touching, illuminating and frank * The New York Times *

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Book SynopsisFolk Voiceworks is an outstanding collection of folk songs in the Voiceworks model, including songs from centuries past alongside pieces by celebrated folk musicians. You''ll find pieces in a range of genres and styles, including shanties, protest songs, songs about the land, lullabies, love songs, and much more - scored flexibly for unison and part-singing. With excellent practical rehearsal notes, simple accompanying instrumental parts, and a CD with performances of all the songs, this is a fabulous and accessible resource for all choirs.Trade ReviewThis volume provides a very rich store of material . . . The fact that folk songs can be a form of oral history makes the volume very useful within a school environment, but they are also very singable and lack the formality that can be associated with the classical 'art song' repertoire, so are particularly helpful for community or 'Can't Sing' situations. As always, there are brilliant suggestions for warming up, learning and performance attached to each song. * Sue Anderson, Singing Winter 2007 *Table of ContentsRoll the Old Chariot Along ; Paddy on the Railway ; Byker Hill ; Rap Her to Bank ; Mow Me Down My Meadow ; The Barley Mow ; Follow the Heron ; John Barleycorn ; Sumer is icumen in ; The Blackleg Miner ; Union Miner ; The Spinner's Wedding ; The Jute Mill Song ; The Troubles of Erin ; The Song of the Weaver ; Migildi, Magildi ; Yr Hen Wr Mywn (My Dear Old Man) ; Unst Boat Song ; Coorie Doon ; Keep you in Peace ; Lowlands ; Wild Mountain Thyme ; Pleasant and Delightful ; Dcaw 'Nghariad (There's My Sweetheart) ; Hunting the Wren ; Hal-an-tow ; The Pace Egging Song ; The Holly and the Ivy ; Sweet Chiming Bells ; Chariots

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Book SynopsisAn anthology of items selected from the massive New Oxford Book of Carols, which was immediately acclaimed on publication as the ultimate source-book for carol lovers and scholars.Trade ReviewJust right for the ordinary carol singer in school, home, church, and/or community, i.e., for those who experience afresh each Christmas the dance-like exuberance of singing carols together * The Hymn (USA) *if you'd like to explore some new territory for your Lessons and Carols service, then SNOBC should be high on your Christmas shopping list!' * Music Teacher *Table of ContentsPART 1: COMPOSED CAROLS; THE MIDDLE AGES; ENGLISH CAROLS 1400-1700; EUROPEAN CAROLS 1550-1700; EUROPE AND AMERICA 1700-1830; THE LATER NINETEENTH CENTURY; THE TWENTIETH CENTURY; PART TWO: TRADITIONAL CAROLS; ENGLISH TRADITIONAL; LUCK-VISIT SONGS; IRISH TRADITIONAL; WELSH TRADITIONAL; AMERICAN TRADITIONAL; TRINIDADIAN TRADITIONAL; GERMAN TRADITIONAL; CZECH TRADITIONAL; POLISH TRADITIONAL; PROVENCAL TRADITIONAL; BASQUE TRADITIONAL; SPANISH TRADITIONAL; NEOPOLITAN TRADITIONAL

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Book SynopsisFrom the plaintive tunes of woe sung by exiled kings and queens of Africa to the spirited worksongs and shouts of freedmen, in Sinful Tunes and Spirituals Dena J. Epstein traces the course of early black folk music in all its guises. This classic work is being reissued with a new author's preface on the silver anniversary of its original publication.Trade ReviewWinner of the Simkins Prize of the Southern Historical Association, 1979. "No previous scholar has told more about the manner of diffusion of African music and dance in the New World . . . . No one else has related with more telling effect the impact that Afro-American musical patterns had upon the sensibilities of the white public."--Lawrence W. Levine, Journal of American History"Epstein has uncovered far more about early black music than anyone thought possible. Her luxuriant quotations and definitive treatments of a wide variety of musical subtopics make the book an essential reference volume and a marvelous storehouse of information."--John B. Boles, Journal of Southern History"Sinful Tunes ensures that we will never again be able to sing or listen to a spiritual in quite the same way. We can now see more clearly than ever before what has shaped it; we have been taken nearer the soul of the music."--Hugh Brogan, Times Literary Supplement"[A] definitive, indeed monumental study of black slave music in America."--Guthrie P. Ramsey Jr., Musical QuarterlyTable of ContentsPreface to the 2003 Paperback xiii Preface to the 1977 Edition xvii Prologue: The African Heritage and the Middle Passage 3Part One: Development of Black Folk Music to 1800 19 1. Early Reports of African Music in British and French America 21 La Calinda and the Banza 30 Other African Dancing 38 2. More Black Instruments and Early White Reaction 47 Drums and Other African Instruments 47 The Balafo 55 Legal Restrictions on Instruments 58 3. The Role of Music in Daily Life 63 Funerals 63 Pinkster and Other African Celebrations in the North 66 Worksongs and Other Kinds of African Singing 68 4. The Acculturation of African Music in the New World 77 The Arrival of Africans and Their Music 78 Acculaturation in New Orleans 90 5. Conversion to Christianity 100 6. Acculturated Black Musicians in the Thirteen Colonies 112 The African Jig, a Black-to-White Exchange 120 Part Two: Secular and Sacred Black Folk Music, 1800-1867 125 7. African Survivals 127 Persisting Musical and Cultural Patterns 128 Black Music in New Orleans, 1820-67 132 8. Acculturated Dancing and Associated Instruments 139 Patting Juba 141 Drums, Quills, Banjo, Bones, Triangle, Tambourine 144 Fiddlers 147 Instrumental Combinations 155 9. Worksongs 161 Field Work and Domestic Chores 161 Industrial and Steamboat Workers 164 Boat Songs 166 Corn, Cane, and Other Harvest Songs 172 Singing on the March 176 Street Cries and Field Hollers 181 10. Distinctive Characteristics of Secular Black Folk Music 184 Whistling 184 Improvisation 184 Satire 187 Style of Singing 188 Other Secular Music 189 11. The Religious Background of Sacred Black Folk Music, 1801-67 191 Opposition to Religious Instruction of Slaves 192 Camp Meetings 197 Missions to the Slaves 199 Black Religious Groups 202 Opposition to Secular Music and Dancing 207 12. Distinctive Black Religious Music 217 Spirituals 217 Attempts to Suppress Black Religious Singing 229 The Shout 232 Funerals 234 Part Three: The Emergence of Black Folk Music during the Civil War 239 13. Early Wartime Reports and the First Publication of a Spiritual with Its Music 241 14. The Port Royal Experiment 252 Historical Background 252 Earliest Published Reports 256 Wartime Publication of Song Texts and Music 260 15. Reports of Black Folk Music, 1863-67 274 Criticism of "This Barbaric Music" 274 Recognition of a Distinctive Folk Music 275 The Shout 278 Worksongs 287 Performance Style 290 Introduction of "New" Songs by the Teachers 296 16. Slave Songs of the United States: Its Editors 303 William Francis Allen 304 Charles Pickard Ware 310 Lucy McKim Garrison 314 17. Slave Songs of the United States: Its Publication 321 The Contributors 321 Problems of Notation 326 Assembling the Collection 329 Publication and Reception 331 Conclusion 343 Appendices 349 I. Musical Excerpts from the Manuscript Diaries of William Francis Allen 349 II. Table of Sources for the Banjo, Chronologically Arranged 359 III. Earliest Published Versions of "Go Down, Moses" 363 Bibliography 374 Index 416

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Book SynopsisTrade ReviewNicholas Bessaraboff Prize, American Musical Instrument Society, 2020 "Anyone with a strong interest in the early history of the banjo or in the broader history of American instrumental music in oral tradition will want a copy of this fine collection. All the work is imaginative, careful, and thoroughly documented. The essays flow smoothly." --Western Folklore"Banjo Roots and Branches is a comprehensively researched and pathbreaking piece of banjo roots scholarship. " --Music in American Life"Inspired by Dena Epstein, this is the first book to use a holistic approach in exploring the history of the banjo; it is an excellent compilation of articles for those interested in the music of Africa and the Americas."--Jacqueline Cogdell DjeDje, author of Fiddling in West Africa: Touching the Spirit in Fulbe, Hausa, and Dagbamba Cultures"Winans makes a rich addition to the literature. Recommended." --Choice"As far as I know this book has no real equivalents. Several of the essays are pioneering contributions to the esoteric but intriguing field of banjo research and folklore and ethnomusicology generally."--Robert S. Cantwell, author of Bluegrass Breakdown: The Making of the Old Southern Sound"An excellent book with plenty of material for both specialist and casual readers." --Galpin Society Journal"Roots and Branches collects an extraordinary amount of research into the ongoing discovery of the banjo's Byzantine history. . . .Each essay speaks directly to all others, lending the book an unusual level of cohesion for an edited volume." --The World of Music"A significant contribution to our understanding of the history and current significance of the banjo." --Ethnomusicology

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Book SynopsisTrade Review"The authors and editors whose contributions are part of Mongolian Sound Worlds have produced an admirable work that balances depth and breadth, rigor and accessibility, fascinating detail and wider thematic arcs, while also greatly enhancing the representation of Central Asian music and culture within ethnomusicological literature." --Journal of Folklore Research ReviewsTable of ContentsAcknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viiTransliteration, Naming, and Place Names . . . . . . . . . . . . . . . . . . . . .ixCompanion Website . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xiiiIntroduction: Mongolian Sound Worlds: Opening SnapshotsSUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1PART ONE: LANDSCAPES AND SOUNDSCAPESInterlude: Song about the SteppeK. OKTYABR AND JENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . .171. Sound, Music, Pastoralism, and Nature in Mongolian Sound WorldsJENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21PART TWO: ETHNICITY AND DIVERSITYInterlude: Musical Journeys in Inner Mongolia and BeyondTAMIR HARGANA AND CHARLOTTE D’EVELYN . . . . . . . . . . . . . . . . . . . . .532. Music and Ethnic Identity in Inner MongoliaCHARLOTTE D’EVELYN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613. The Politics of Regional and Ethnic Identities in Contemporary Mongolian Urtyn DuuSUNMIN YOON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854. Gendered Musicality in the Altai MountainsREBEKAH PLUECKHAHN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111PART THREE: MATERIAL AND SOCIAL HISTORYInterlude: Consistency, Patience, and Perseverance: Maintaining the Fiddle-Making TraditionBAYARSAIKHAN BADAMSÜREN AND PETER K. MARSH . . . . . . . . . . . . . .1295. The Horsehead Fiddle: A Biographical HistoryPETER K. MARSH AND CHARLOTTE D’EVELYN . . . . . . . . . . . . . . . . . . 1356. The Tovshuur and Oirad Identity in Mongolia’s Western ProvincesOTGONBAYAR CHULUUNBAATAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1557. Social Lives of the Dombyra and Its Makers in Western MongoliaJENNIFER C. POST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170PART FOUR: HERITAGE AND GLOBALIZATIONInterlude: Everything Has Two Sides: An InterviewANDREW COLWELL AND D. TSERENDAVAA . . . . . . . . . . . . . . . . . . . . . .1978. Chandman’ and Beyond: Heritage-making of Mongolian Khöömii in Past and PresentJOHANNI CURTET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2039. Mongolian Music, Globalization, and NomadismANDREW COLWELL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22710. “We Were Born with Global Ambition”: Continuity, Innovation, and a New Chapter in the Development of Mongolian Popular MusicPETER K. MARSH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273Contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281

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Book SynopsisDave van ronk (1936-2002) was not only one of the founding figures of the 1960s folk music revival he was a pioneer of modern acoustic blues, a fine songwriter and arranger, a powerful singer, and one of the most influential guitarists of his era. He was also a marvellous storyteller, a peerless musical historian, and one of the most quotable figures in The Village. The Mayor of MacDougal Street is a unique firsthand account of the sixties folk scene that includes encounters with young stars-to-be like Bob Dylan and Joni Mitchell and older luminaries like Woody Guthrie and Odetta. colourful, hilarious, and engaging, The Mayor of MacDougal Street will appeal not only to folk and blues fans but also to anyone interested in the music, politics, and spirit of a revolutionary period in American culture.

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Book SynopsisShe was like a storm. Leonard Cohen Reckless Daughter is the story of an artist and an era that have left an indelible mark on American music. Joni Mitchell may be the most influential female recording artist and composer of the late twentieth century. In Reckless Daughter, the music critic David Yaffe tells the remarkable, heart-wrenching story of how the blond girl with the guitar became a superstar of folk music in the 1960s, a key figure in the Laurel Canyon music scene of the 1970s, and the songwriter who spoke resonantly to, and for, audiences across the country. A Canadian prairie girl, a free-spirited artist, Mitchell never wanted to be a pop star. She was nothing more than a painter derailed by circumstances, she would explain. And yet, she went on to become a talented self-taught musician and a brilliant bandleader, releasing album after album, each distinctly experimental, challenging, and revealing. Her lyrics captivated listeners with their perceptive language and naked emotion, born out of Mitchell's life, loves, complaints, and prophecies. As an artist whose work deftly balances narrative and musical complexity, she has been admired by such legendary lyricists as Bob Dylan and Leonard Cohen and beloved by such groundbreaking jazz musicians as Jaco Pastorius, Wayne Shorter, and Herbie Hancock. Her hitsfrom Big Yellow Taxi to Both Sides, Now to A Case of Youendure as timeless favorites, and her influence on the generations of singer-songwriters who would follow her, from her devoted fan Prince to Björk, is undeniable.In this intimate biography, drawing on dozens of unprecedented in-person interviews with Mitchell, her childhood friends, and a cast of famous characters, Yaffe reveals the backstory behind the famous songsfrom Mitchell's youth in Canada, her bout with polio at age nine, and her early marriage and the child she gave up for adoption, through the love affairs that inspired masterpieces, and up to the presentand shows us why Mitchell has so enthralled her listeners, her lovers, and her friends.

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Book SynopsisAn illuminating history of the banjo, revealing its origins at the crossroads of slavery, religion and musicTrade Review"For the very first time, a reader’s version of a few of the earliest written observations of the instrument are on full display in the thoughtful and masterful writing of this book. This book is not only made for the banjo enthusiast but it opens a new window into 17th, 18th and 19th century world history on the ground level by those who lived it and observed the strange new cultural connections brought by a brutal plantation system.[...] Kristina Gaddy’s observations lead the reader back into the 21st century to contend and reanalyze the crooked road of America’s musical past." -- Dom Flemons, the American songster and Grammy Award–winning musician"Beguiling… [Gaddy] weaves her story together from sources including paintings, diaries and letters, and tells it chronologically. In a less daring writer’s hands, this might have become a slog, but Ms. Gaddy successfully blends archival skills with imagination." -- The Economist

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Book SynopsisLonglisted for the Penderyn Music Book PrizeEngland was once dubbed the land without music', but in the early twentieth century collectors and enthusiasts such as Cecil Sharp, Ralph Vaughan Williams and Percy Grainger discovered a vital heritage of folk song, vibrant and alive among working men and women. Yet after more than a century of collecting, publishing and performing songs, there are still many things we don't know about England's traditional music. Where did the songs come from? Who sang them, and where, when and why? Why did some songs thrive, and did the collectors' passions and prejudices determine what was preserved, and what was lost?In answer to these questions, acclaimed folklorist Steve Roud has drawn on an unprecedented range of sources to present an intricate social history of folk song through the ages, from the sixteenth to the early twentieth century. It is an absorbing and impeccably researched account that gives a sonorous voi

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Book SynopsisTable of ContentsLion’s Mane; Bird Stealing Bread; Faded from the Winter; Promising Light; The Rooster Moans; Upward Over the Mountain; Southern Anthem; An Angry Blade; Weary Memory; Promise What You Will; Muddy Hymnal; Beneath the Balcony; The Sea & the Rhythm; The Night Descending; Jesus the Mexican Boy; Someday the Waves; On Your Wings; Naked as We Came; Cinder and Smoke; Sunset Soon Forgotten; Teeth in the Grass; Love and Some Verses; Radio Wars; Each Coming Night; Free Until They Cut Me Down; Fever Dream; Sodom, South Georgia; Passing Afternoon; Woman King; Jezebel; Gray Stables; Freedom Hangs Like Heaven; My Lady’s House; Evening on the Ground (Lilith’s Song); He Lays in the Reins; Prison on Route 41; History of Lovers; Red Dust; 16, Maybe Less; Burn That Broken Bed; Dead Man’s Will; Pagan Angel and a Borrowed Car; White Tooth Man; Lovesong of the Buzzard; Carousel; House by the Sea; Innocent Bones; Wolves (Song of the Shepherd’s Dog); Resurrection Fern; Boy with a Coin; The Devil Never Sleeps; Peace Beneath the City; Flightless Bird, American Mouth; Dearest Forsaken; Morning; Loud as Hope; Peng! 33; Sacred Vision; Friends They Are Jewels; Hickory; Waitin’ for a Superman; Swans and the Swimming; Call Your Boys; Such Great Heights; Communion Cups and Someone’s Coat; Belated Promise Ring; God Made The Automobile; Homeward, These Shoes; Love Vigilantes; Sinning Hands; No Moon; Serpent Charmer; Carried Home; Kingdom of the Animals; Arms of a Thief; The Trapeze Swinger; Die (from Dark Was The Night compilation); Walking Far from Home; Me and Lazarus; Tree by the River; Monkeys Uptown; Half Moon; Rabbit Will Run; Godless Brother in Love; Big Burned Hand; Glad Man Singing; Your Fake Name Is Good Enough for Me; Summer in Savannah; Biting Your Tail; Caught in the Briars; The Desert Babbler; Joy; Low Light Buddy of Mine; Grace for Saints and Ramblers; Grass Widows; Singers and the Endless Song; Sundown (Back in the Briars); Winter Prayers; New Mexico’s No Breeze; Lovers’ Revolution; Baby Center Stage; My Side of the Road; Rattling Bone; Slow Black River; The Wind Is Low; Eden; Two Hungry Blackbirds; Freckled Girl; Judgement; Sing Song Bird; Beyond the Fence; Quarters in a Pocket; Loretta; Everyone’s Summer of ’95; Minor Piano Keys; Your Sly Smile; Halfway to Richmond; Wade Across the Water; Postcard; Claim Your Ghost; Thomas County Law; Bitter Truth; Song in Stone; Summer Clouds; Call It Dreaming; About a Bruise; Last Night; Right for Sky; The Truest Stars We Know; Our Light Miles; Stranger Lay Beside Me; Miss Bottom of the Hill; What Hurts Worse; Waves of Galveston; Last of Your Rock ’n’ Roll Heroes; Milkweed; Autumn Town Leaves; Talking to Fog

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Book SynopsisTable of ContentsJigs (6/8); Jigs (9/8 and 12/8); Hornpipes; Reels; Marches; Polkas; Waltzes & Mazurkas; Crooked Tunes; Strange Times; Miscellaneous; Airs

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Book SynopsisThe guitarists' guitarist and the songwriters' songwriter, the legendary Bert Jansch has influenced diverse stars. Born in Edinburgh in 1943, Jansch became an inspirational and pioneering figure during Britain's 'folk revival' of the 1960s. In 1967, he formed folk/jazz fusion band Pentangle with John Renbourn and enjoyed international success.Trade Review'An excellent biography of one of folk's cult figures ... Harper's narrative is first-rate at putting the man and his influence in perspective. It is especially evocative when describing the folk underground which burgeoned in the UK in the 1960s and early 1970s' Independent on Sunday 'A work of considerable importance ... intuitive and informed' Q Magazine 'The legendary musical outsider described as "a dextrous guitar player, footloose and fancy-free" shines like a rare, uncut diamond in this biography, which captures his rise as a musician in the British folk and blues scene of the 1960s, from the coffee houses of Soho to friendship with The Who's Pete Townshend ... Past glories make Dazzling Stranger a feast for anyone interested in Jansch or the 1960s' Scotsman 'This is a book that needed to be written, and for folk, blues, and beyond enthusiasts, one that's required reading' Glasgow Herald

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Book SynopsisTerri Thal was very much a part of the folk music world in 1960s Greenwich Village, New York. As well as being 21-year-old Bob Dylan's first manager prior to his contract with Albert Grossman and Columbia Records, she also managed musician Dave Van Ronk (who later became her husband), and others to include Paul Geremia and The Holy Modal Rounders.

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Book SynopsisDisaster Songs as Intangible Memorials in Atlantic Canada draws on a collection of over 600 songs relating to Atlantic Canadian disasters from 1891 up until the present and describes the characteristics that define them as intangible memorials. The book demonstrates the relationship between vernacular memorials â informal memorials collectively and spontaneously created from a variety of objects by the general public â and disaster songs. The author identifies the features that define vernacular memorials and applies them to disaster songs: spontaneity, ephemerality, importance of place, motivations and meaning-making, content, as well as the role of media in inspiring and disseminating memorials and songs. Visit the companion website: www.disastersongs.ca.

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Book Synopsis*The Sunday Times Bestseller**Featuring an exclusive new chapter*On 23 September, 2005, at the Joiners Arms in Southampton, Frank Turner played his last gig with his hardcore band, Million Dead. On the laminates that listed the tour dates, the entry for 24 September simply read: ''Get a job.''Deflated, jaded and hungover, Frank returned to his hometown of Winchester without a plan for the future. All he knew was that he wanted to keep playing music.Cut to 13 April 2012, over a thousand shows later (show 1,216 to be precise), and he was headlining a sold-out gig at Wembley Arena with his band The Sleeping Souls. Told through his tour reminiscences, this is the blisteringly honest story of Frank''s career from drug-fuelled house parties and the grimy club scene to filling out arenas, fans roaring every word back at him. But more than that, it is an intimate account of what it''s like to spend your life constantly on the road, sleepingTrade ReviewAn essential read for Frank Turner and Million Dead fans, and anyone even half-interested in the magic of live music. * Shortlist *

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Book SynopsisSongs to stir the souland move the feet, raisea roar or bring a tear to the eye. From Danny Boy toBoulavogue and more, this book celebrates the cream of Irish ballads,explaining the origins of each song, along with words, melodies and chords. Illustrated with evocative photographs and woodcuts..

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Book SynopsisPatrick 'Paddy' Reilly is an Irish folk singer and guitarist. Born in Rathcoole, County Dublin, he is one of Ireland's most famous balladeers and is best known for his renditions of "The Fields of Athenry", "Rose of Allendale" and "The Town I Loved So Well". Reilly released his version of "The Fields of Athenry" as a single in 1983; it was the most successful version of this song, remaining in the Irish charts for 72 weeks. After years a solo performer, he joined The Dubliners in 1996 as a replacement for long-time member Ronnie Drew. He played with the group for nine years before leaving for New York City. In this memoir, Paddy is gracious and generous about sharing his memories, good and bad, with the readers who have helped make him Ireland’s best loved balladeer for almost 60 years.Trade Reviewvery enjoyable … great memories … wonderful -- Michael Lyster in Ireland's Owntop class from start to finish -- Irish Daily StarTable of ContentsChapter 1 Good Old Days My Arse! page 7 Chapter 2 From Pat to Paddy Reilly 24 Chapter 3 Life and Love in America and Ireland 40 Chapter 4 Highs and Lows in London and Elsewhere 58 Chapter 5 North America, Ted Kennedy and Brushes With the Law 73 Chapter 6 ‘The Fields of Athenry’ Found Me 89 Chapter 7 Paddy in the Lands Down Under 111 Chapter 8 The Dubliners Years 126 Chapter 9 Paddy Through the Eyes of Others 142 Chapter 10 Irish Sports Stars Sing Paddy’s Praises 162 Chapter 11 Retirement, Racing, Reminiscing and Beating Cancer 174

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Book SynopsisAt the heart of traditional song rest the concerns of ordinary people. And folk throughout the centuries have found themselves entangled with the law: abiding by it, breaking it, and being caught and punished by it. Who Killed Cock Robin? is an anthology of just such songs compiled by one of Britain's senior judges, Stephen Sedley, and most respected and best-loved folk singers, Martin Carthy. The songs collected here are drawn from manuscripts, broadsides, old songbooks and oral tradition. They are grouped according to the various categories of crime and punishment, from Poaching to The Gallows. Each section contains a historical introduction, and every song is presented with a melody, its lyrics and an illuminating commentary that explores its origins and sources. Together, they present a unique, sometimes comic, often tragic, and always colourful insight into the past, while preserving an important body of song for future generations. 'Who Killed Cock Robin? explores the origins

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Book SynopsisThe idea that morris dancing captures the essence of ancient Englishness, inherently carefree and merry, has been present for over 400 years. The Ancient English Morris Dance traces the history of those attitudes, from the dance's introduction to England in the fifteenth century, through the contention of the Reformation and Civil War, during which morris dancing and maypoles became potent symbols of the older ways of living. Thereafter it developed and diversified, neglected and disdained, until antiquaries began to take an interest in its history, leading to its re-invention as emblematic of Victorian concepts of Merrie England in the nineteenth century. The quest for authentic understanding of what that meant led to its revival at the beginning of the twentieth century, but that was predicated on the perception of it as part of England's declining rural past, to the neglect of the one area (the industrial north-west) where it continued to flourish. The revival led in turn to its further evolution into the multitude of forms and styles in which it may be encountered today.Trade Review'Michael Heaney’s history of Morris dancing has been long and eagerly awaited, being forty years in the making, and does not disappoint. There is no doubt that it is the best book yet published on the subject, nor that for sheer comprehensive coverage it will be hard to replace.' - Ronald Hutton (2023): Folklore 'There can be no doubt that Heaney has provided the definitive work on this subject, seam­lessly contextualising and expanding on the best earlier work in the field and providing a secure anchor for any future research… one of the many virtues of this book is that it discourages over-simplification. It confirms our understanding that morris dance has never been just one thing and that neither the dancers themselves, nor the com­mentators they attracted, have been allowed to maintain position for too long.' - Peter Harrop (2023): Ethnomusicology Forum‘This is a massive book, over 500 pages including a 50 page bibliography, and it is probably not a book for the mythical 'general reader', but it is clearly and accessibly written, and does not assume any specialist knowledge on the part of the reader. It presents a lively, often humorous and very entertaining account of an often misunderstood activity, rooted in the deep history of England, but has always developed and evolved in response to the changes in the society in which it is practiced. It is well illustrated with prints and photographs, many in colour, and I am sure will be the authoritative history of morris-dancing for the foreseeable future.’ – Richard Samuels (2023): Magonia‘Drawing on some forty years of archival research, Michael Heaney’s book represents a landmark in the historiography of Morris dancing. For the first time ever, a comprehensive and consecutive narrative history from the mid-fifteenth century to the present day is contained within the covers of a single volume.’ – Matthew Simons (2023): Folk Music Journal Volume 12Table of ContentsPreface ; Introduction ; Part I: Emergence (1448-1569) ; Chapter 1: First signs ; Chapter 2: Guilds ; Chapter 3: Parish entertainments ; Chapter 4: The first 120 years ; Part II: Contention (1570-1659) ; Chapter 5: Rumblings 1570-1599 ; Chapter 6: Attack 1600-1629 ; Chapter 7: Suppression 1630-1659 ; Part III: Fragmentation (1660-1800) ; Chapter 8: Restoration and the later Stuarts ; Chapter 9: Eighteenth-century entertainment ; Chapter 10: Lexicographers and scholars ; Chapter 11: Hanoverian communities and Whitsun ales ; Chapter 12: Beyond the Whitsun ale ; Part IV: Re-emergence (1801-1899) ; Chapter 13: Antiquaries and artistes ; Chapter 14: South-midlands morris ; Chapter 15: West-midlands morrises ; Chapter 16: East of England ; Chapter 17: North-west morris 1801-1850 ; Chapter 18: Fêtes and festivals ; Chapter 19: The decline of the rushcarts ; Chapter 20: Carnival processions ; Chapter 21: Other morrises ; Chapter 22: Fin de siècle ; Part V: Revival (1899 – present) ; Chapter 23: Defining a revival ; Chapter 24: North-west morris 1900-1930 ; Chapter 25: The revival after Sharp ; Chapter 26: The second revival ; Chapter 27: The modern English morris dance ; Bibliography ; Index

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Book SynopsisSaddle up and ride into a world of country positivity with this rootin'-tootin' roundup of inspirational quotes and cowboy wisdom that'll have you hollering 'Yeehaw!'Howdy partner! Give yourself a boot-scootin' boost with this little book of country positivity There's plenty of joy, inspiration and wisdom to be found in the land of country and western. Whether from country music legends like Dolly Parton and Johnny Cash, historical figures of the Wild West, iconic gunslingers from Western movies or American cowboys, their advice will have you kicking up your heels and hollering 'Yeehaw!' Country's all about attitude and heart, and this compilation contains all the life lessons you need to lead every day with positivity. Filled with quotes, sayings and cowboy slang, this playful book promises that with every turn of the page you'll be having a honky-tonk time! Inside you will find: - Ad

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Book SynopsisFrench Fiddle TunesRenowned fiddle player and arranger Chris Haigh presents this fantastic survey of French fiddle music, with over 200 pieces exploring the variety of traditional fiddle music found throughout the country.France is perhaps not as famous for fiddle music as Ireland, Scotland or Romania is, but scratch below the surface and you will find a rich tradition packed with unique dance forms, crooked tune structures, unusual and exotic modes, and non-tempered scales.FRENCH FIDDLE TUNES - press reviews:The remarkable Chris Haigh presents 227 traditional tunes from throughout France... Explore the fiddling regions of France in this beautifully presented book with our ''latter-day Bartók'' collector of folk tunes.This fantastic collection also includes live recordings of each piece played by Chris Haigh.Instrumentation:violin

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Book Synopsis(Woodwind Solo). Irish Folk Tunes for Flute presents 71 superb Irish traditional tunes, including jigs, reels, polkas, hornpipes, slow airs, and pieces by Carolan and are suitable for flute, recorder or tin whistle. Experienced folk musician Patrick Steinbach provides an excellent introduction explaining style and traditional ornamentation as well as notes on each of the tunes. The edition also contains recordings of all the tunes for free download.

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Book SynopsisThe classic three volumes of Hebridean Folksongs, reissued simultaneously for the first time since their original publication (1969, 1977, 1981), contain 135 songs connected with the waulking of homespun tweed cloth in the Hebridean isles. Volume 1 is based on waulking songs collected by Donald MacCormick in South Uist in 1893. Volumes 2 and 3 are based on John Lorne Campbell's recordings of songs made between 1938 and 1965 in Barra, South Uist, Eriskay and Benbecula. The translations for all the songs in Volumes 2 and 3 and many of those in Volume 1 are by John Lorne Campbell, who also wrote detailed notes discussing the songs. Multiple versions of the same song are compared with each other and with versions drawn from unpublished manuscript sources. Francis Collinson's meticulous musical transcriptions of the songs, and musicological analyses, are invaluable. The songs are from the repertoires of some well-known singers of their generation, including Miss Annie Johnson, her brother Calum and Miss Mary Morrison, all of Barra, Mrs Neil Campbell of South Uist, and Miss Nan MacKinnon of Vatersay.

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Book SynopsisThe classic three volumes of Hebridean Folksongs, reissued simultaneously for the first time since their original publication (1969, 1977, 1981), contain 135 songs connected with the waulking of homespun tweed cloth in the Hebridean isles. Volume 1 is based on waulking songs collected by Donald MacCormick in South Uist in 1893. Volumes 2 and 3 are based on John Lorne Campbell's recordings of songs made between 1938 and 1965 in Barra, South Uist, Eriskay and Benbecula. The translations for all the songs in Volumes 2 and 3 and many of those in Volume 1 are by John Lorne Campbell, who also wrote detailed notes discussing the songs. Multiple versions of the same song are compared with each other and with versions drawn from unpublished manuscript sources. Francis Collinson's meticulous musical transcriptions of the songs, and musicological analyses, are invaluable. The songs are from the repertoires of some well-known singers of their generation, including Miss Annie Johnson, her brother Calum and Miss Mary Morrison, all of Barra, Mrs Neil Campbell of South Uist, and Miss Nan MacKinnon of Vatersay.

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Book SynopsisA collection of beautifully illustratedcontemporary folk songs with music scores by Jehanne Mehta, inspired by seasonsand legends, landscapes and heartscapes.

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Book SynopsisA collection of folk stories about art, money, drugs and love told first hand by the songwriter and storyteller Beans on Toast. Beans is a legend and I love himKae TempestOne of England's most loved troubadoursBlaine HarrisonA voice I'll always pay attention to, and you should tooFrank Turner

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Book SynopsisAll Join Hands is the story of what happened when a ten-thousand-year-old musical tradition wasput into the hands of a seventeen-year-old Boston boy in 1947. While in high school, DudleyLaufman apprenticed with fiddlers and callers throughout New England. Eventually, he squiredthe old country dance traditions through to their revival in the 1960s at the Newport FolkFestival, the Club 47, and Robert J. Lurtsema's Morning Pro Musica broadcasts. Decades ofperformances in famous venues and small villages led to his receiving the National HeritageFellowship Award in 2009. As Tom Rush, iconic singer/songwriter says, Tom Curren has done a brilliant job here,weaving an engaging narrative of how Dudley Laufman coordinated and energized the amazingresurgence of an ancient art formthe contradance/square dancein New England andbeyond. All Join Hands calls for a new quickening of spirit, nurtured and energized by thetraditional arts of New England.

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Book SynopsisAfter the success of the first volume, Irish folk music expert Patrick Steinbach presents a further 70 traditional Irish melodies of well-known folk songs and compositions by Turlough OCarolan. The pieces, including polkas, marches, jigs, and reels, are suitable for flute, recorder and tin whistle. The volume includes explanations on style and traditional ornamentation as well as notes on each melody. Each piece has been recorded. The audio files can be downloaded with a voucher code (in the book).Instrumentation:flute (recorder, Tin Whistle)

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Book SynopsisMany of Scotland's songs were collected by, and first set down by, Robert Burns. His mother used to sing songs to him as a child, and his poetry reflected this rich heritage. This book is a collection of 80 songs, and is organised alphabetically by song title, and contains a glossary to explain many of the Scots words in the songs. The book is now in its third edition and is an inexpensive and essential book for anyone interested in traditional Scottish songs arranged for voice and piano.

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Book SynopsisAn epic journey through sea shanties, high tides and seven seasFrom the international bestselling singer comes The Book of Sea Shanties.The world sang in harmony with Nathan Evans, the Glaswegian postie turned singer of sea shanties. Join him as he takes you through time and seafaring history to discover the true meaning of Wellerman, and who and what exactly was the Drunken Sailor?Featuring over 35 best loved shanties, Nathan will share the meaning behind each of his favourite shanties and show how they have shaped and inspired him. Beautifully illustrated throughout, it will also include original shanties and bonus content written exclusively for this book.Whether you're young or old, gather around and discover the riotous world of sea shanties.Praise for Nathan Evans:A 'Sea Shanty sensation' Rolling Stone'An artist who really lifts the mood when he performs' Daily Telegraph'Too good to miss' Brian May, Daily Express

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Book SynopsisThe screenplay of the latest macabre and haunting comedy from the writer of In Bruges and Three Billboards Outside Ebbing, Missouri.Winner: Best Screenplay, BAFTAs 2023Winner: Best Screenplay, Golden Globe Awards 2023.Winner: Best Screenplay, Venice Film Festival 2022.What is he, twelve? Why doesn''t he want to be friends with you no more?1923. As shots ring out from the warring mainland, on the island of Inisherin it''s the rift between old drinking pals Pádraic and Colm that leads both men to ever more alarming action.''Simply perfect . . . a bleakly funny yet often unutterably poignant drama that consistently recalls the best of Beckett. . . . It is proper art.'' The Times''Quietly magnificent.'' Variety

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Book SynopsisThis beautifully presented coffee table book includes a 50,000 word narrative by Mike Scott telling the full story of the Waterboys seven-piece band and the making of their album Room To Roam. Covering an 18-month period between Spring 1989 to Summer 1990, The Magnificent Seven includes a vast collection of previously unseen photos of the band on the road, recording at Spiddal House in the West of Ireland, as well as maps, lyrics, manuscripts, and other archival memorabilia.Trade ReviewThis is the story of the great seven-piece Waterboys line-up that flourished from the spring of 1989 to the summer of 1990 when three uniquely gifted musicians joined the long-term members and began a journey into music none of us has ever forgotten.

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