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The commercially oriented folk-music revival as it existed in coffee houses, concert halls, radio, and TV was predominantly an English-language phenomenon, though many of the major pop-folk groups, such as the Kingston Trio, Peter, Paul and Mary, The Chad Mitchell Trio, The Limeliters, The Brothers Four, The Highwaymen, and others, featured ...
Unlike the first revival, which wholly concerned itself with traditional music, the second revival was a part of the birth of non-traditional contemporary folk music. Like the American revival, it was often overtly left wing in its politics, and the leading figures, the Salford-born Ewan MacColl and A. L. Lloyd, were both involved in trade ...
The book consequently presents only Maitland's version of the song, which became the origin of all folk revival versions. [ 1 ] The song was first brought into the folk revival by Ewan MacColl , who learned it from Doerflinger's book and recorded it on the album A Sailor's Garland, produced by American folklorist Kenny Goldstein for the ...
Albert Lancaster Lloyd (29 February 1908 – 29 September 1982), [1] usually known as A. L. Lloyd or Bert Lloyd, was an English folk singer and collector of folk songs, and as such was a key figure in the British folk revival of the 1950s and 1960s. While Lloyd is most widely known for his work with British folk music, he had a keen interest in ...
In 1993 Georgina Boyes produced her book The Imagined Village – Culture, ideology and the English Folk Revival, [10] which critiqued the Victorian and Edwardian folk song revival for having invented a culturally anachronistic rural community – "The Folk" - and making unrepresentative collections of songs to support the idea.
His original new melody to the traditional folk song "Black Is the Color (Of My True Love's Hair)" was similarly influential in the folk revival of the 1950s and 1960s. Later in life, Niles published compositions in a more classical style, including works for choir and art songs for voice and piano.
Folk Roots, New Routes is regarded as a landmark album of the folk revival; [5] [6] [7] Jude Rogers writing for NPR called it "an uncompromising work that spearheaded innovation in the middle of the folk music revival. It set a template for the folk-rock that followed it, and inspired 21st century psych-folk decades later."
The magazine was revived, around 1982, by Norman Ross of Clearwater Publishing (a microfiche publication and distribution company) as a part of the upswing in folk and political music of the times. In his parody song, "Vaguely Reminiscent of the Sixties", Charlie King captured the era of singer/songwriter and social movements that had helped to ...