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UK 60s Folk Club Boom?

Tunesmith 10 Feb 19 - 04:31 AM
Dave the Gnome 10 Feb 19 - 04:35 AM
Tunesmith 10 Feb 19 - 05:08 AM
Jim Carroll 10 Feb 19 - 05:21 AM
GUEST 10 Feb 19 - 05:25 AM
Jim Carroll 10 Feb 19 - 06:03 AM
GUEST,Sean O'Shea 10 Feb 19 - 06:37 AM
Hagman 10 Feb 19 - 06:39 AM
GUEST,Peter 10 Feb 19 - 09:40 AM
Jim Carroll 10 Feb 19 - 09:54 AM
FreddyHeadey 10 Feb 19 - 11:01 AM
Tunesmith 10 Feb 19 - 11:12 AM
GUEST,Hootenanny 10 Feb 19 - 11:40 AM
Jim Carroll 10 Feb 19 - 12:06 PM
Vic Smith 10 Feb 19 - 12:20 PM
GUEST 10 Feb 19 - 01:01 PM
Tunesmith 10 Feb 19 - 01:12 PM
Jim Carroll 10 Feb 19 - 01:24 PM
GUEST,Peter 10 Feb 19 - 01:47 PM
Tunesmith 10 Feb 19 - 01:50 PM
GUEST 10 Feb 19 - 03:39 PM
Tunesmith 10 Feb 19 - 04:06 PM
Big Al Whittle 10 Feb 19 - 04:36 PM
GUEST,Hootennanny 10 Feb 19 - 06:06 PM
Big Al Whittle 10 Feb 19 - 06:30 PM
GUEST,Kenny B 10 Feb 19 - 06:35 PM
Hagman 10 Feb 19 - 10:05 PM
Jim Carroll 11 Feb 19 - 02:46 AM
r.padgett 11 Feb 19 - 03:09 AM
GUEST 11 Feb 19 - 05:31 AM
Johnny J 11 Feb 19 - 05:43 AM
Jim Carroll 11 Feb 19 - 06:12 AM
Jim Carroll 11 Feb 19 - 06:36 AM
John MacKenzie 11 Feb 19 - 12:08 PM
GUEST,Kenny B (inactive) 11 Feb 19 - 03:58 PM
GeoffLawes 11 Feb 19 - 07:09 PM
Big Al Whittle 12 Feb 19 - 04:38 AM
Big Al Whittle 12 Feb 19 - 05:04 AM
John MacKenzie 12 Feb 19 - 07:20 AM
GUEST,Observer 12 Feb 19 - 07:59 AM
Dave the Gnome 12 Feb 19 - 08:35 AM
Iains 12 Feb 19 - 08:56 AM
Jos 12 Feb 19 - 09:22 AM
Iains 12 Feb 19 - 09:53 AM
John MacKenzie 12 Feb 19 - 11:20 AM
Big Al Whittle 12 Feb 19 - 11:24 AM
GUEST,Hootenanny 12 Feb 19 - 11:40 AM
GUEST,Kenny B 12 Feb 19 - 12:42 PM
Iains 12 Feb 19 - 12:45 PM
Jim Carroll 12 Feb 19 - 01:22 PM
Jim Carroll 12 Feb 19 - 01:34 PM
Vic Smith 12 Feb 19 - 01:46 PM
Jim Carroll 12 Feb 19 - 02:03 PM
GUEST,Hootenanny 12 Feb 19 - 03:22 PM
Iains 12 Feb 19 - 04:15 PM
The Sandman 12 Feb 19 - 05:03 PM
Vic Smith 12 Feb 19 - 05:38 PM
Steve Gardham 12 Feb 19 - 05:45 PM
Steve Gardham 12 Feb 19 - 05:53 PM
GUEST,Larry Poole 12 Feb 19 - 11:17 PM
GUEST,Tunesmith 13 Feb 19 - 02:25 AM
Jim Carroll 13 Feb 19 - 03:03 AM
GUEST,Observer 13 Feb 19 - 03:24 AM
GUEST,Sol 13 Feb 19 - 03:37 AM
Jack Campin 13 Feb 19 - 03:39 AM
The Sandman 13 Feb 19 - 03:43 AM
GUEST,Tunesmith 13 Feb 19 - 04:02 AM
Jim Carroll 13 Feb 19 - 04:25 AM
Iains 13 Feb 19 - 04:28 AM
Jack Campin 13 Feb 19 - 04:56 AM
Jim Carroll 13 Feb 19 - 05:26 AM
Iains 13 Feb 19 - 05:33 AM
Jack Campin 13 Feb 19 - 05:47 AM
GeoffLawes 13 Feb 19 - 05:49 AM
Jim Carroll 13 Feb 19 - 06:04 AM
Jack Campin 13 Feb 19 - 09:26 AM
Tunesmith 13 Feb 19 - 09:48 AM
Jim Carroll 13 Feb 19 - 10:02 AM
Jack Campin 13 Feb 19 - 10:20 AM
Tunesmith 13 Feb 19 - 10:35 AM
Jim Carroll 13 Feb 19 - 11:01 AM
Big Al Whittle 13 Feb 19 - 12:20 PM
GUEST 13 Feb 19 - 12:33 PM
Jim Carroll 13 Feb 19 - 12:40 PM
The Sandman 14 Feb 19 - 01:23 AM
Jack Campin 14 Feb 19 - 03:48 AM
GUEST,Howard Jones 14 Feb 19 - 04:23 AM
Jim Carroll 14 Feb 19 - 06:38 AM
The Sandman 14 Feb 19 - 07:16 AM
r.padgett 14 Feb 19 - 10:29 AM
GUEST,Peter 14 Feb 19 - 10:36 AM
GUEST,Peter 14 Feb 19 - 10:40 AM
John MacKenzie 14 Feb 19 - 01:40 PM
Jim Carroll 14 Feb 19 - 01:46 PM
John MacKenzie 14 Feb 19 - 02:48 PM
Jim Carroll 14 Feb 19 - 03:03 PM
Jim Carroll 14 Feb 19 - 03:08 PM
Vic Smith 14 Feb 19 - 03:32 PM
Dave the Gnome 14 Feb 19 - 03:43 PM
Big Al Whittle 14 Feb 19 - 04:04 PM
Big Al Whittle 14 Feb 19 - 04:04 PM
The Sandman 14 Feb 19 - 04:45 PM
Iains 14 Feb 19 - 05:28 PM
Jim Carroll 14 Feb 19 - 06:51 PM
Jim Carroll 14 Feb 19 - 06:56 PM
Hagman 14 Feb 19 - 07:56 PM
Dave the Gnome 15 Feb 19 - 03:02 AM
Jim Carroll 15 Feb 19 - 03:21 AM
Jim Carroll 15 Feb 19 - 03:40 AM
John MacKenzie 15 Feb 19 - 04:48 AM
Iains 15 Feb 19 - 05:08 AM
Jim Carroll 15 Feb 19 - 05:15 AM
Dave the Gnome 15 Feb 19 - 05:21 AM
John MacKenzie 15 Feb 19 - 05:24 AM
Howard Jones 15 Feb 19 - 05:44 AM
Howard Jones 15 Feb 19 - 05:58 AM
Jim Carroll 15 Feb 19 - 06:08 AM
Dave the Gnome 15 Feb 19 - 06:53 AM
Vic Smith 15 Feb 19 - 07:27 AM
Jim Carroll 15 Feb 19 - 07:49 AM
Dave the Gnome 15 Feb 19 - 07:51 AM
Vic Smith 15 Feb 19 - 08:12 AM
Jim Carroll 15 Feb 19 - 08:15 AM
Vic Smith 15 Feb 19 - 08:30 AM
Dave the Gnome 15 Feb 19 - 08:32 AM
John MacKenzie 15 Feb 19 - 08:34 AM
Vic Smith 15 Feb 19 - 08:45 AM
Jim Carroll 15 Feb 19 - 09:28 AM
Jim Carroll 15 Feb 19 - 09:33 AM
Steve Gardham 15 Feb 19 - 09:45 AM
Dave the Gnome 15 Feb 19 - 09:49 AM
Jim Carroll 15 Feb 19 - 10:02 AM
The Sandman 15 Feb 19 - 10:08 AM
Steve Gardham 15 Feb 19 - 10:09 AM
Jim Carroll 15 Feb 19 - 10:19 AM
Jim Carroll 15 Feb 19 - 10:25 AM
Dave the Gnome 15 Feb 19 - 10:30 AM
Rain Dog 15 Feb 19 - 10:40 AM
Jim Carroll 15 Feb 19 - 10:47 AM
GUEST,John from Kemsing 15 Feb 19 - 10:49 AM
Vic Smith 15 Feb 19 - 10:59 AM
Dave the Gnome 15 Feb 19 - 10:59 AM
Jim Carroll 15 Feb 19 - 11:46 AM
Vic Smith 15 Feb 19 - 12:05 PM
Big Al Whittle 15 Feb 19 - 12:11 PM
Vic Smith 15 Feb 19 - 12:32 PM
GUEST,Hootenanny 15 Feb 19 - 12:33 PM
Jack Campin 15 Feb 19 - 12:41 PM
Steve Gardham 15 Feb 19 - 01:06 PM
Jim Carroll 15 Feb 19 - 01:55 PM
Vic Smith 15 Feb 19 - 02:12 PM
Steve Gardham 15 Feb 19 - 02:25 PM
Dave the Gnome 15 Feb 19 - 02:31 PM
Jim Carroll 15 Feb 19 - 02:54 PM
Jack Campin 15 Feb 19 - 03:32 PM
Vic Smith 15 Feb 19 - 03:36 PM
Dave the Gnome 15 Feb 19 - 03:38 PM
Big Al Whittle 15 Feb 19 - 03:39 PM
The Sandman 15 Feb 19 - 08:06 PM
Big Al Whittle 15 Feb 19 - 09:12 PM
r.padgett 16 Feb 19 - 03:20 AM
Big Al Whittle 16 Feb 19 - 03:30 AM
Dave the Gnome 16 Feb 19 - 03:41 AM
Iains 16 Feb 19 - 03:51 AM
The Sandman 16 Feb 19 - 03:57 AM
Jim Carroll 16 Feb 19 - 04:12 AM
Dave the Gnome 16 Feb 19 - 04:36 AM
Jim Carroll 16 Feb 19 - 04:42 AM
Dave the Gnome 16 Feb 19 - 04:42 AM
Big Al Whittle 16 Feb 19 - 05:06 AM
Dave the Gnome 16 Feb 19 - 05:25 AM
Jim Carroll 16 Feb 19 - 06:25 AM
Vic Smith 16 Feb 19 - 06:53 AM
Dave the Gnome 16 Feb 19 - 07:03 AM
Jim Carroll 16 Feb 19 - 07:17 AM
Vic Smith 16 Feb 19 - 07:50 AM
Big Al Whittle 16 Feb 19 - 08:06 AM
Dave the Gnome 16 Feb 19 - 08:24 AM
Howard Jones 16 Feb 19 - 08:51 AM
GUEST,RS 16 Feb 19 - 09:02 AM
Jim Carroll 16 Feb 19 - 09:11 AM
GUEST,Sol 16 Feb 19 - 09:22 AM
Vic Smith 16 Feb 19 - 10:11 AM
Dave the Gnome 16 Feb 19 - 10:55 AM
Steve Gardham 16 Feb 19 - 12:58 PM
r.padgett 16 Feb 19 - 03:06 PM
Steve Gardham 16 Feb 19 - 03:18 PM
The Sandman 16 Feb 19 - 03:28 PM
Jack Campin 16 Feb 19 - 03:59 PM
Steve Gardham 16 Feb 19 - 04:44 PM
Jim Carroll 17 Feb 19 - 03:35 AM
Jim Carroll 17 Feb 19 - 03:41 AM
The Sandman 17 Feb 19 - 04:16 AM
Dave the Gnome 17 Feb 19 - 04:34 AM
Jim Carroll 17 Feb 19 - 05:01 AM
Jim Carroll 17 Feb 19 - 05:03 AM
Howard Jones 17 Feb 19 - 05:21 AM
Dave the Gnome 17 Feb 19 - 05:57 AM
Dave the Gnome 17 Feb 19 - 05:58 AM
Jim Carroll 17 Feb 19 - 06:07 AM
Dave the Gnome 17 Feb 19 - 06:28 AM
Jim Carroll 17 Feb 19 - 07:12 AM
Dave the Gnome 17 Feb 19 - 08:06 AM
Jim Carroll 17 Feb 19 - 08:16 AM
Vic Smith 17 Feb 19 - 08:24 AM
GUEST,Kenny B 17 Feb 19 - 08:24 AM
Dave the Gnome 17 Feb 19 - 08:27 AM
Jim Carroll 17 Feb 19 - 08:30 AM
GUEST,Kenny B 17 Feb 19 - 09:18 AM
The Sandman 17 Feb 19 - 09:36 AM
Jim Carroll 17 Feb 19 - 09:48 AM
GUEST,Hootenanny 17 Feb 19 - 09:55 AM
Jim Carroll 17 Feb 19 - 10:11 AM
Dave the Gnome 17 Feb 19 - 10:34 AM
Dave the Gnome 17 Feb 19 - 10:39 AM
GUEST,Hootennanny 17 Feb 19 - 10:51 AM
Jim Carroll 17 Feb 19 - 11:19 AM
Dave the Gnome 17 Feb 19 - 12:47 PM
Jim Carroll 17 Feb 19 - 12:56 PM
Dave the Gnome 17 Feb 19 - 01:03 PM
Dave the Gnome 17 Feb 19 - 01:19 PM
Jim Carroll 17 Feb 19 - 01:32 PM
Jim Carroll 17 Feb 19 - 01:36 PM
The Sandman 17 Feb 19 - 02:43 PM
The Sandman 17 Feb 19 - 04:26 PM
The Sandman 17 Feb 19 - 04:27 PM
GUEST,Hootenanny 17 Feb 19 - 06:38 PM
Dave the Gnome 18 Feb 19 - 03:07 AM
The Sandman 18 Feb 19 - 03:35 AM
Jim Carroll 18 Feb 19 - 04:01 AM
Jim Carroll 18 Feb 19 - 04:09 AM
Jack Campin 18 Feb 19 - 04:44 AM
Dave the Gnome 18 Feb 19 - 05:08 AM
Jim Carroll 18 Feb 19 - 05:09 AM
Dave the Gnome 18 Feb 19 - 05:11 AM
Howard Jones 18 Feb 19 - 05:17 AM
The Sandman 18 Feb 19 - 05:28 AM
Dave the Gnome 18 Feb 19 - 05:31 AM
GUEST 18 Feb 19 - 05:52 AM
GUEST 18 Feb 19 - 05:55 AM
GUEST,Hootenanny 18 Feb 19 - 05:55 AM
Jim Carroll 18 Feb 19 - 06:16 AM
Jim Carroll 18 Feb 19 - 06:33 AM
The Sandman 18 Feb 19 - 06:33 AM
Jim Carroll 18 Feb 19 - 07:28 AM
Dave the Gnome 18 Feb 19 - 11:14 AM
Jim Carroll 18 Feb 19 - 01:34 PM
Dave the Gnome 18 Feb 19 - 02:41 PM
The Sandman 18 Feb 19 - 02:45 PM
Jim Carroll 18 Feb 19 - 03:05 PM
The Sandman 18 Feb 19 - 03:18 PM
Dave the Gnome 19 Feb 19 - 03:21 AM
Jim Carroll 19 Feb 19 - 04:00 AM
Dave the Gnome 19 Feb 19 - 04:27 AM
Jim Carroll 19 Feb 19 - 04:27 AM
The Sandman 19 Feb 19 - 04:51 AM
GUEST,jim bainbridge 19 Feb 19 - 05:23 AM
GUEST,Howard Jones 19 Feb 19 - 05:55 AM
Jim Carroll 19 Feb 19 - 05:58 AM
The Sandman 19 Feb 19 - 06:05 AM
Dave the Gnome 19 Feb 19 - 06:18 AM
Jim Carroll 19 Feb 19 - 06:26 AM
Jim Carroll 19 Feb 19 - 06:29 AM
Dave the Gnome 19 Feb 19 - 07:03 AM
GUEST,Jack Campin 19 Feb 19 - 07:19 AM
Dave the Gnome 19 Feb 19 - 07:28 AM
Stanron 19 Feb 19 - 07:29 AM
Jim Carroll 19 Feb 19 - 09:12 AM
GUEST,jim bainbridge 19 Feb 19 - 09:20 AM
Dave the Gnome 19 Feb 19 - 09:39 AM
Stanron 19 Feb 19 - 10:06 AM
GUEST 19 Feb 19 - 10:36 AM
Jim Carroll 19 Feb 19 - 11:27 AM
Jim Carroll 19 Feb 19 - 11:33 AM
GUEST 20 Feb 19 - 06:49 AM
Jim Carroll 20 Feb 19 - 07:01 AM
GUEST 20 Feb 19 - 01:30 PM
The Sandman 20 Feb 19 - 01:42 PM
Jim Carroll 20 Feb 19 - 02:52 PM
The Sandman 20 Feb 19 - 04:45 PM
Steve Gardham 20 Feb 19 - 04:54 PM
Jim Carroll 21 Feb 19 - 02:22 AM
Jim Carroll 21 Feb 19 - 02:38 AM
Iains 21 Feb 19 - 04:33 AM
Dave the Gnome 21 Feb 19 - 04:41 AM
Jim Carroll 21 Feb 19 - 04:51 AM
Dave the Gnome 21 Feb 19 - 05:08 AM
Jim Carroll 21 Feb 19 - 05:58 AM
Dave the Gnome 21 Feb 19 - 06:02 AM
Jim Carroll 21 Feb 19 - 06:07 AM
Dave the Gnome 21 Feb 19 - 06:33 AM
Dave the Gnome 21 Feb 19 - 06:55 AM
Jim Carroll 21 Feb 19 - 07:28 AM
Dave the Gnome 21 Feb 19 - 07:33 AM
Howard Jones 21 Feb 19 - 07:40 AM
Dave the Gnome 21 Feb 19 - 07:55 AM
Jim Carroll 21 Feb 19 - 08:25 AM
Dave the Gnome 21 Feb 19 - 08:46 AM
Dave the Gnome 21 Feb 19 - 08:46 AM
Iains 21 Feb 19 - 09:06 AM
Dave the Gnome 21 Feb 19 - 09:10 AM
Jim Carroll 21 Feb 19 - 09:23 AM
Dave the Gnome 21 Feb 19 - 09:40 AM
GUEST,Hootenanny 21 Feb 19 - 09:51 AM
Jim Carroll 21 Feb 19 - 10:28 AM
Jack Campin 21 Feb 19 - 10:33 AM
Dave the Gnome 21 Feb 19 - 10:46 AM
Howard Jones 21 Feb 19 - 11:22 AM
Jim Carroll 21 Feb 19 - 11:56 AM
The Sandman 21 Feb 19 - 12:16 PM
The Sandman 21 Feb 19 - 12:20 PM
Jim Carroll 21 Feb 19 - 12:27 PM
GUEST,Hootenanny 21 Feb 19 - 12:30 PM
Jim Carroll 21 Feb 19 - 12:31 PM
Dave the Gnome 21 Feb 19 - 12:47 PM
Jim Carroll 21 Feb 19 - 01:14 PM
Dave the Gnome 21 Feb 19 - 02:15 PM
Dave the Gnome 21 Feb 19 - 02:18 PM
Jim Carroll 21 Feb 19 - 02:33 PM
Dave the Gnome 21 Feb 19 - 02:46 PM
GUEST,Hootenanny 21 Feb 19 - 03:02 PM
Howard Jones 21 Feb 19 - 03:08 PM
Steve Gardham 21 Feb 19 - 03:11 PM
Dave the Gnome 21 Feb 19 - 04:01 PM
Steve Gardham 21 Feb 19 - 04:43 PM
The Sandman 21 Feb 19 - 05:45 PM
Jim Carroll 22 Feb 19 - 03:18 AM
Dave the Gnome 22 Feb 19 - 03:54 AM
Jim Carroll 22 Feb 19 - 04:29 AM
r.padgett 22 Feb 19 - 05:05 AM
The Sandman 22 Feb 19 - 05:07 AM
GUEST,jim bainbridge 22 Feb 19 - 05:22 AM
Dave the Gnome 22 Feb 19 - 05:42 AM
GUEST 22 Feb 19 - 05:50 AM
Howard Jones 22 Feb 19 - 06:09 AM
Jim Carroll 22 Feb 19 - 06:20 AM
GUEST,Observer 22 Feb 19 - 06:48 AM
Jim Carroll 22 Feb 19 - 07:12 AM
r.padgett 22 Feb 19 - 12:49 PM
GUEST,jim bainbridge 22 Feb 19 - 12:50 PM
Dave the Gnome 22 Feb 19 - 12:57 PM
Jim Carroll 22 Feb 19 - 01:11 PM
Dave the Gnome 22 Feb 19 - 05:03 PM
Dave the Gnome 22 Feb 19 - 05:14 PM
GUEST,Hootenanny 22 Feb 19 - 05:16 PM
The Sandman 23 Feb 19 - 03:33 AM
Jim Carroll 23 Feb 19 - 03:44 AM
Dave the Gnome 23 Feb 19 - 03:53 AM
Dave the Gnome 23 Feb 19 - 04:06 AM
Jim Carroll 23 Feb 19 - 04:08 AM
GUEST 23 Feb 19 - 04:12 AM
Dave the Gnome 23 Feb 19 - 04:15 AM
Jim Carroll 23 Feb 19 - 04:38 AM
Jim Carroll 23 Feb 19 - 04:40 AM
GUEST,Tunesmith 23 Feb 19 - 04:45 AM
Jim Carroll 23 Feb 19 - 05:01 AM
The Sandman 23 Feb 19 - 05:15 AM
GUEST,keith price 23 Feb 19 - 05:16 AM
The Sandman 23 Feb 19 - 05:18 AM
GUEST 23 Feb 19 - 05:21 AM
Dave the Gnome 23 Feb 19 - 05:22 AM
Dave the Gnome 23 Feb 19 - 05:27 AM
GUEST 23 Feb 19 - 05:34 AM
Jim Carroll 23 Feb 19 - 05:35 AM
Dave the Gnome 23 Feb 19 - 05:37 AM
The Sandman 23 Feb 19 - 05:38 AM
GUEST,jim bainbridge 23 Feb 19 - 05:47 AM
Dave the Gnome 23 Feb 19 - 05:50 AM
The Sandman 23 Feb 19 - 05:58 AM
The Sandman 23 Feb 19 - 06:03 AM
Jim Carroll 23 Feb 19 - 06:11 AM
The Sandman 23 Feb 19 - 06:13 AM
Jim Carroll 23 Feb 19 - 06:19 AM
Howard Jones 23 Feb 19 - 06:34 AM
Dave the Gnome 23 Feb 19 - 06:43 AM
Dave the Gnome 23 Feb 19 - 06:47 AM
GUEST,Jack Campin 23 Feb 19 - 06:51 AM
GUEST,jim bainbridge 23 Feb 19 - 06:59 AM
Jim Carroll 23 Feb 19 - 06:59 AM
Dave the Gnome 23 Feb 19 - 07:27 AM
Dave the Gnome 23 Feb 19 - 07:35 AM
The Sandman 23 Feb 19 - 07:40 AM
The Sandman 23 Feb 19 - 07:47 AM
Jim Carroll 23 Feb 19 - 08:16 AM
GUEST,Tunemith 23 Feb 19 - 09:21 AM
Jim Carroll 23 Feb 19 - 11:24 AM
The Sandman 23 Feb 19 - 01:38 PM
The Sandman 23 Feb 19 - 01:42 PM
Dave the Gnome 23 Feb 19 - 01:47 PM
Jim Carroll 23 Feb 19 - 03:05 PM
Dave the Gnome 23 Feb 19 - 03:50 PM
Dave the Gnome 23 Feb 19 - 05:16 PM
Dave the Gnome 24 Feb 19 - 02:43 AM
Jim Carroll 24 Feb 19 - 03:24 AM
Dave the Gnome 24 Feb 19 - 04:02 AM
r.padgett 24 Feb 19 - 04:33 AM
Steve Gardham 24 Feb 19 - 04:48 AM
Steve Gardham 24 Feb 19 - 04:49 AM
Steve Gardham 24 Feb 19 - 04:50 AM
Jim Carroll 24 Feb 19 - 04:54 AM
GUEST 24 Feb 19 - 05:13 AM
GUEST 24 Feb 19 - 06:01 AM
Jim Carroll 24 Feb 19 - 06:04 AM
Dave the Gnome 24 Feb 19 - 06:15 AM
Dave the Gnome 24 Feb 19 - 06:19 AM
GUEST 24 Feb 19 - 06:39 AM
The Sandman 24 Feb 19 - 06:54 AM
The Sandman 24 Feb 19 - 07:04 AM
Jim Carroll 24 Feb 19 - 07:28 AM
Jim Carroll 24 Feb 19 - 08:21 AM
Steve Gardham 24 Feb 19 - 10:08 AM
Jim Carroll 24 Feb 19 - 10:45 AM
The Sandman 24 Feb 19 - 10:54 AM
Jim Carroll 24 Feb 19 - 11:07 AM
Iains 24 Feb 19 - 11:47 AM
Dave the Gnome 24 Feb 19 - 01:16 PM
Dave the Gnome 24 Feb 19 - 01:20 PM
Jim Carroll 24 Feb 19 - 01:54 PM
Dave the Gnome 24 Feb 19 - 02:02 PM
Dave the Gnome 24 Feb 19 - 02:12 PM
GUEST 24 Feb 19 - 02:24 PM
Dave the Gnome 24 Feb 19 - 02:25 PM
Steve Gardham 24 Feb 19 - 02:37 PM
Jim Carroll 24 Feb 19 - 02:48 PM
Dave the Gnome 24 Feb 19 - 04:00 PM
Dave the Gnome 24 Feb 19 - 04:14 PM
The Sandman 24 Feb 19 - 04:42 PM
The Sandman 24 Feb 19 - 04:47 PM
Dave the Gnome 24 Feb 19 - 05:00 PM
r.padgett 25 Feb 19 - 04:27 AM
Dave the Gnome 25 Feb 19 - 05:05 AM
Jim Carroll 25 Feb 19 - 05:41 AM
Dave the Gnome 25 Feb 19 - 05:46 AM
Iains 25 Feb 19 - 06:10 AM
Iains 25 Feb 19 - 06:11 AM
Jim Carroll 25 Feb 19 - 06:47 AM
The Sandman 25 Feb 19 - 07:02 AM
Iains 25 Feb 19 - 07:15 AM
Jim Carroll 25 Feb 19 - 07:31 AM
Jim Carroll 25 Feb 19 - 08:13 AM
r.padgett 25 Feb 19 - 12:24 PM
Jim Carroll 25 Feb 19 - 12:32 PM
GUEST 25 Feb 19 - 01:16 PM
Jim Carroll 25 Feb 19 - 01:30 PM
Dave the Gnome 25 Feb 19 - 02:05 PM
Jim Carroll 25 Feb 19 - 02:29 PM
Steve Gardham 25 Feb 19 - 03:08 PM
r.padgett 26 Feb 19 - 03:18 AM
The Sandman 26 Feb 19 - 03:33 AM
Jim Carroll 26 Feb 19 - 04:29 AM
GUEST 26 Feb 19 - 05:19 AM
Jim Carroll 26 Feb 19 - 06:00 AM
Howard Jones 26 Feb 19 - 08:44 AM
Jim Carroll 26 Feb 19 - 09:13 AM
r.padgett 26 Feb 19 - 11:35 AM
Jim Carroll 26 Feb 19 - 11:40 AM
Steve Gardham 26 Feb 19 - 02:24 PM
Dave the Gnome 26 Feb 19 - 02:49 PM
Steve Gardham 26 Feb 19 - 03:30 PM
Dave the Gnome 26 Feb 19 - 04:08 PM
Steve Gardham 26 Feb 19 - 04:23 PM
Howard Jones 26 Feb 19 - 07:18 PM
Howard Jones 27 Feb 19 - 02:28 AM
Jim Carroll 27 Feb 19 - 03:04 AM
The Sandman 27 Feb 19 - 03:22 AM
Steve Gardham 27 Feb 19 - 03:50 AM
Jim Carroll 27 Feb 19 - 04:05 AM
Jim Carroll 27 Feb 19 - 04:13 AM
Iains 27 Feb 19 - 04:52 AM
Howard Jones 27 Feb 19 - 01:32 PM
The Sandman 27 Feb 19 - 01:41 PM
Jim Carroll 27 Feb 19 - 01:45 PM
The Sandman 27 Feb 19 - 01:45 PM
Big Al Whittle 27 Feb 19 - 02:00 PM
Steve Gardham 27 Feb 19 - 02:38 PM
Dave the Gnome 27 Feb 19 - 03:35 PM
Dave the Gnome 27 Feb 19 - 03:36 PM
The Sandman 27 Feb 19 - 05:00 PM
Jim Carroll 28 Feb 19 - 02:51 AM
r.padgett 28 Feb 19 - 03:38 AM
Dave the Gnome 28 Feb 19 - 04:01 AM
Jim Carroll 28 Feb 19 - 04:15 AM
Dave the Gnome 28 Feb 19 - 05:18 AM
Dave the Gnome 28 Feb 19 - 05:19 AM
Jim Carroll 28 Feb 19 - 05:41 AM
Dave the Gnome 28 Feb 19 - 05:57 AM
Howard Jones 28 Feb 19 - 06:04 AM
Steve Gardham 28 Feb 19 - 06:18 AM
Jim Carroll 28 Feb 19 - 06:23 AM
Jim Carroll 28 Feb 19 - 06:26 AM
Dave the Gnome 28 Feb 19 - 06:27 AM
Steve Gardham 28 Feb 19 - 06:38 AM
Jim Carroll 28 Feb 19 - 07:42 AM
GUEST,jim bainbridge 28 Feb 19 - 08:40 AM
Dave the Gnome 28 Feb 19 - 09:09 AM
Howard Jones 28 Feb 19 - 09:14 AM
Iains 28 Feb 19 - 09:49 AM
Big Al Whittle 28 Feb 19 - 10:11 AM
Dave the Gnome 28 Feb 19 - 10:18 AM
GUEST 01 Mar 19 - 03:57 AM
Dave the Gnome 01 Mar 19 - 04:39 AM
GUEST 01 Mar 19 - 08:48 AM
GUEST,Jon Dudley 01 Mar 19 - 10:53 AM
Jim Carroll 02 Mar 19 - 02:55 AM
Howard Jones 02 Mar 19 - 04:43 AM
GUEST,Jon Dudley 02 Mar 19 - 05:35 AM
Howard Jones 02 Mar 19 - 05:48 AM
Jim Carroll 02 Mar 19 - 06:16 AM
Jim Carroll 02 Mar 19 - 06:17 AM
Jim Carroll 02 Mar 19 - 06:31 AM
Big Al Whittle 02 Mar 19 - 06:54 AM
Jim Carroll 02 Mar 19 - 07:01 AM
Jim Carroll 02 Mar 19 - 07:07 AM
Big Al Whittle 02 Mar 19 - 08:11 AM
Jim Carroll 02 Mar 19 - 08:19 AM
GUEST 02 Mar 19 - 08:24 AM
GUEST 02 Mar 19 - 08:56 AM
Big Al Whittle 02 Mar 19 - 09:05 AM
Big Al Whittle 02 Mar 19 - 09:07 AM
Howard Jones 02 Mar 19 - 09:09 AM
Jim Carroll 02 Mar 19 - 09:20 AM
GUEST,Jon Dudley 02 Mar 19 - 10:01 AM
Howard Jones 02 Mar 19 - 10:12 AM
Big Al Whittle 02 Mar 19 - 02:48 PM
Jim Carroll 02 Mar 19 - 02:50 PM
Steve Gardham 02 Mar 19 - 03:59 PM
Steve Gardham 02 Mar 19 - 04:17 PM
Iains 02 Mar 19 - 04:49 PM
Big Al Whittle 02 Mar 19 - 05:19 PM
Steve Gardham 02 Mar 19 - 05:24 PM
The Sandman 03 Mar 19 - 02:33 AM
Jim Carroll 03 Mar 19 - 02:53 AM
Jim Carroll 03 Mar 19 - 03:30 AM
Big Al Whittle 03 Mar 19 - 05:59 AM
Jim Carroll 03 Mar 19 - 06:39 AM
Dave the Gnome 03 Mar 19 - 06:39 AM
Big Al Whittle 03 Mar 19 - 09:02 AM
GUEST 03 Mar 19 - 09:08 AM
Jim Carroll 03 Mar 19 - 09:56 AM
Jim Carroll 03 Mar 19 - 10:11 AM
GUEST,jag 03 Mar 19 - 10:22 AM
Iains 03 Mar 19 - 10:30 AM
Jim Carroll 03 Mar 19 - 10:47 AM
Big Al Whittle 03 Mar 19 - 10:52 AM
Jim Carroll 03 Mar 19 - 11:34 AM
Iains 03 Mar 19 - 11:44 AM
GUEST,jag 03 Mar 19 - 12:39 PM
Big Al Whittle 03 Mar 19 - 12:43 PM
Jim Carroll 03 Mar 19 - 12:49 PM
Dave the Gnome 03 Mar 19 - 12:53 PM
GUEST,Attendee 03 Mar 19 - 01:05 PM
beachcomber 04 Mar 19 - 11:22 AM
Jim Carroll 04 Mar 19 - 12:23 PM
The Sandman 04 Mar 19 - 03:16 PM
Jim Carroll 05 Mar 19 - 02:38 AM
r.padgett 05 Mar 19 - 03:35 AM
Jim Carroll 05 Mar 19 - 03:48 AM
Big Al Whittle 05 Mar 19 - 07:38 AM
r.padgett 05 Mar 19 - 11:55 AM
Jim Carroll 05 Mar 19 - 12:12 PM
GUEST,Peter 05 Mar 19 - 12:54 PM
Jim Carroll 05 Mar 19 - 01:10 PM
GUEST,jag 05 Mar 19 - 01:30 PM
Jim Carroll 05 Mar 19 - 01:41 PM
Dave the Gnome 05 Mar 19 - 03:07 PM
GUEST 06 Mar 19 - 03:41 AM
Jim Carroll 06 Mar 19 - 03:45 AM
The Sandman 06 Mar 19 - 04:02 AM
r.padgett 06 Mar 19 - 04:58 AM
Dave the Gnome 06 Mar 19 - 05:07 AM
Jim Carroll 06 Mar 19 - 05:45 AM
Big Al Whittle 06 Mar 19 - 05:48 AM
Dave the Gnome 06 Mar 19 - 05:55 AM
Jim Carroll 06 Mar 19 - 06:44 AM
The Sandman 06 Mar 19 - 07:17 AM
Big Al Whittle 06 Mar 19 - 07:48 AM
Dave the Gnome 06 Mar 19 - 08:10 AM
Dave the Gnome 06 Mar 19 - 08:12 AM
Jim Carroll 06 Mar 19 - 08:16 AM
Jim Carroll 06 Mar 19 - 08:18 AM
Big Al Whittle 06 Mar 19 - 08:26 AM
Dave the Gnome 07 Mar 19 - 07:52 AM
Jim Carroll 07 Mar 19 - 08:12 AM
Dave the Gnome 07 Mar 19 - 08:26 AM
GUEST 07 Mar 19 - 08:47 AM
Jim Carroll 07 Mar 19 - 09:08 AM
Dave the Gnome 07 Mar 19 - 09:34 AM
Jim Carroll 07 Mar 19 - 09:57 AM
Dave the Gnome 07 Mar 19 - 10:03 AM
Dave the Gnome 07 Mar 19 - 10:07 AM
Dave the Gnome 07 Mar 19 - 10:24 AM
Big Al Whittle 07 Mar 19 - 11:15 AM
Jim Carroll 07 Mar 19 - 11:19 AM
GUEST,Hootenanny 07 Mar 19 - 12:55 PM
Dave the Gnome 07 Mar 19 - 01:05 PM
Dave the Gnome 07 Mar 19 - 01:16 PM
Jim Carroll 07 Mar 19 - 02:50 PM
Jim Carroll 07 Mar 19 - 03:18 PM
Dave the Gnome 07 Mar 19 - 03:19 PM
Dave the Gnome 07 Mar 19 - 03:33 PM
Jim Carroll 08 Mar 19 - 03:57 AM
r.padgett 08 Mar 19 - 04:14 AM
Dave the Gnome 08 Mar 19 - 04:17 AM
Jim Carroll 08 Mar 19 - 05:10 AM
Big Al Whittle 08 Mar 19 - 05:33 AM
Dave the Gnome 08 Mar 19 - 05:48 AM
Jim Carroll 08 Mar 19 - 06:03 AM
Jim Carroll 08 Mar 19 - 06:10 AM
Dave the Gnome 08 Mar 19 - 06:27 AM
Big Al Whittle 08 Mar 19 - 09:01 AM
Steve Gardham 08 Mar 19 - 10:53 AM
Jim Carroll 08 Mar 19 - 11:20 AM
GUEST 08 Mar 19 - 11:43 AM
Dave the Gnome 08 Mar 19 - 12:36 PM
Jim Carroll 08 Mar 19 - 12:52 PM
GUEST,jag 08 Mar 19 - 01:44 PM
Jim Carroll 08 Mar 19 - 02:10 PM
GUEST,Hootenanny 08 Mar 19 - 02:29 PM
Jim Carroll 08 Mar 19 - 03:05 PM
GUEST,Hootenanny 08 Mar 19 - 05:04 PM
Big Al Whittle 08 Mar 19 - 05:12 PM
Stewie 08 Mar 19 - 07:39 PM
Jim Carroll 09 Mar 19 - 02:58 AM
Dave the Gnome 09 Mar 19 - 03:35 AM
Dave the Gnome 09 Mar 19 - 03:40 AM
GUEST,Derrick 09 Mar 19 - 04:17 AM
Jim Carroll 09 Mar 19 - 04:20 AM
Dave the Gnome 09 Mar 19 - 04:48 AM
Big Al Whittle 09 Mar 19 - 05:31 AM
Big Al Whittle 09 Mar 19 - 05:32 AM
Jim Carroll 09 Mar 19 - 05:42 AM
Dave the Gnome 09 Mar 19 - 06:21 AM
Jim Carroll 09 Mar 19 - 06:42 AM
Dave the Gnome 09 Mar 19 - 07:02 AM
Big Al Whittle 09 Mar 19 - 07:09 AM
Dave the Gnome 09 Mar 19 - 07:19 AM
Jim Carroll 09 Mar 19 - 07:48 AM
Big Al Whittle 09 Mar 19 - 08:05 AM
Dave the Gnome 09 Mar 19 - 08:28 AM
Stewie 09 Mar 19 - 08:47 AM
Dave the Gnome 09 Mar 19 - 09:00 AM
Stewie 09 Mar 19 - 09:01 AM
Jim Carroll 09 Mar 19 - 09:07 AM
Jim Carroll 09 Mar 19 - 09:09 AM
Dave the Gnome 09 Mar 19 - 10:34 AM
Dave the Gnome 09 Mar 19 - 10:52 AM
Jim Carroll 09 Mar 19 - 11:01 AM
Big Al Whittle 09 Mar 19 - 11:29 AM
Jim Carroll 09 Mar 19 - 12:22 PM
Jim Carroll 09 Mar 19 - 03:02 PM
Big Al Whittle 09 Mar 19 - 03:08 PM
Jim Carroll 09 Mar 19 - 03:33 PM
Big Al Whittle 09 Mar 19 - 05:21 PM
Dave the Gnome 09 Mar 19 - 05:34 PM
Big Al Whittle 09 Mar 19 - 06:10 PM
Dave the Gnome 09 Mar 19 - 06:17 PM
Big Al Whittle 09 Mar 19 - 07:57 PM
Stewie 09 Mar 19 - 10:50 PM
Jim Carroll 10 Mar 19 - 03:09 AM
Dave the Gnome 10 Mar 19 - 03:52 AM
The Sandman 10 Mar 19 - 03:58 AM
The Sandman 10 Mar 19 - 04:10 AM
Jim Carroll 10 Mar 19 - 04:16 AM
Dave the Gnome 10 Mar 19 - 04:27 AM
Dave the Gnome 10 Mar 19 - 04:39 AM
The Sandman 10 Mar 19 - 04:59 AM
GUEST,Hootenanny 10 Mar 19 - 05:17 AM
r.padgett 10 Mar 19 - 06:01 AM
Jim Carroll 10 Mar 19 - 06:42 AM
Dave the Gnome 10 Mar 19 - 06:54 AM
Dave the Gnome 10 Mar 19 - 07:02 AM
GUEST,Hootenanny 10 Mar 19 - 07:07 AM
GUEST 10 Mar 19 - 07:29 AM
Jim Carroll 10 Mar 19 - 07:55 AM
Stewie 10 Mar 19 - 07:55 AM
Big Al Whittle 10 Mar 19 - 10:26 AM
Steve Gardham 10 Mar 19 - 10:31 AM
Jim Carroll 10 Mar 19 - 11:05 AM
Jim Carroll 10 Mar 19 - 12:27 PM
GUEST 10 Mar 19 - 12:36 PM
Steve Gardham 10 Mar 19 - 12:45 PM
Jim Carroll 10 Mar 19 - 12:56 PM
Jim Carroll 10 Mar 19 - 12:58 PM
Steve Gardham 10 Mar 19 - 12:59 PM
Big Al Whittle 10 Mar 19 - 02:02 PM
Jim Carroll 10 Mar 19 - 03:23 PM
Big Al Whittle 10 Mar 19 - 05:04 PM
Steve Gardham 10 Mar 19 - 06:07 PM
Stewie 10 Mar 19 - 06:35 PM
Jim Carroll 10 Mar 19 - 07:35 PM
Big Al Whittle 10 Mar 19 - 08:36 PM
Jim Carroll 11 Mar 19 - 03:35 AM
Steve Gardham 11 Mar 19 - 03:36 AM
Steve Gardham 11 Mar 19 - 03:42 AM
Big Al Whittle 11 Mar 19 - 05:05 AM
Jim Carroll 11 Mar 19 - 07:20 AM
Big Al Whittle 11 Mar 19 - 08:36 AM
Jim Carroll 11 Mar 19 - 08:47 AM
The Sandman 11 Mar 19 - 09:00 AM
Big Al Whittle 11 Mar 19 - 09:01 AM
The Sandman 11 Mar 19 - 09:10 AM
Jim Carroll 11 Mar 19 - 09:15 AM
Jim Carroll 11 Mar 19 - 09:16 AM
Steve Gardham 11 Mar 19 - 11:09 AM
Jim Carroll 11 Mar 19 - 11:31 AM
GUEST,Hootenanny 11 Mar 19 - 11:40 AM
GUEST 11 Mar 19 - 11:43 AM
Dave the Gnome 11 Mar 19 - 12:18 PM
Dave the Gnome 11 Mar 19 - 12:32 PM
Jim Carroll 11 Mar 19 - 12:58 PM
Big Al Whittle 11 Mar 19 - 01:01 PM
Jim Carroll 11 Mar 19 - 01:02 PM
Dave the Gnome 11 Mar 19 - 01:12 PM
Steve Gardham 11 Mar 19 - 01:16 PM
Jim Carroll 11 Mar 19 - 02:17 PM
GUEST 12 Mar 19 - 04:53 AM
Jim Carroll 12 Mar 19 - 05:08 AM
GUEST,Brimbacombe 12 Mar 19 - 05:15 AM
Dave the Gnome 12 Mar 19 - 05:18 AM
GUEST 12 Mar 19 - 05:36 AM
Big Al Whittle 12 Mar 19 - 05:37 AM
Iains 12 Mar 19 - 05:59 AM
Jim Carroll 12 Mar 19 - 06:23 AM
Dave the Gnome 12 Mar 19 - 07:39 AM
Big Al Whittle 12 Mar 19 - 07:57 AM
Jim Carroll 12 Mar 19 - 08:17 AM
GUEST 12 Mar 19 - 09:56 AM
Jim Carroll 12 Mar 19 - 10:15 AM
Jim Carroll 12 Mar 19 - 11:42 AM
GUEST,jag 12 Mar 19 - 12:48 PM
Big Al Whittle 12 Mar 19 - 12:53 PM
Jim Carroll 12 Mar 19 - 01:28 PM
Big Al Whittle 12 Mar 19 - 01:46 PM
Jim Carroll 12 Mar 19 - 02:27 PM
The Sandman 12 Mar 19 - 02:47 PM
Dave the Gnome 12 Mar 19 - 02:58 PM
Big Al Whittle 12 Mar 19 - 02:58 PM
Steve Gardham 12 Mar 19 - 05:44 PM
FreddyHeadey 12 Mar 19 - 10:24 PM
Jim Carroll 13 Mar 19 - 02:58 AM
r.padgett 13 Mar 19 - 03:06 AM
Jim Carroll 13 Mar 19 - 03:24 AM
The Sandman 13 Mar 19 - 04:01 AM
Dave the Gnome 13 Mar 19 - 04:59 AM
Jim Carroll 13 Mar 19 - 10:24 AM
Dave the Gnome 13 Mar 19 - 10:31 AM
Jim Carroll 13 Mar 19 - 11:21 AM
Dave the Gnome 13 Mar 19 - 11:29 AM
Big Al Whittle 13 Mar 19 - 11:56 AM
Jim Carroll 13 Mar 19 - 02:01 PM
Dave the Gnome 13 Mar 19 - 04:21 PM
Jack Campin 13 Mar 19 - 04:22 PM
Jim Carroll 13 Mar 19 - 08:39 PM
GUEST,Bill S from Adelaide 14 Mar 19 - 03:59 AM
Big Al Whittle 14 Mar 19 - 04:03 AM
Dave the Gnome 14 Mar 19 - 04:05 AM
Dave the Gnome 14 Mar 19 - 04:07 AM
Jim Carroll 14 Mar 19 - 04:43 AM
Jim Carroll 14 Mar 19 - 04:47 AM
Liamtho 14 Mar 19 - 04:49 AM
Dave the Gnome 14 Mar 19 - 05:02 AM
Dave the Gnome 14 Mar 19 - 05:11 AM
Howard Jones 14 Mar 19 - 05:22 AM
Jim Carroll 14 Mar 19 - 06:58 AM
Jim Carroll 14 Mar 19 - 07:07 AM
GUEST 14 Mar 19 - 07:12 AM
Howard Jones 14 Mar 19 - 07:24 AM
Dave the Gnome 14 Mar 19 - 07:58 AM
Howard Jones 14 Mar 19 - 07:58 AM
Jim Carroll 14 Mar 19 - 08:20 AM
GUEST,Roger Moss 14 Mar 19 - 09:21 AM
The Sandman 14 Mar 19 - 09:31 AM
Howard Jones 14 Mar 19 - 09:35 AM
Dave the Gnome 14 Mar 19 - 09:57 AM
Jim Carroll 14 Mar 19 - 10:37 AM
Dave the Gnome 14 Mar 19 - 11:04 AM
Jim Carroll 14 Mar 19 - 10:53 AM
Dave the Gnome 14 Mar 19 - 11:16 AM
Vic Smith 14 Mar 19 - 11:28 AM
Iains 14 Mar 19 - 11:35 AM
Jim Carroll 14 Mar 19 - 12:02 PM
Howard Jones 14 Mar 19 - 12:32 PM
The Sandman 14 Mar 19 - 01:09 PM
GUEST,jim bainbridge 14 Mar 19 - 01:43 PM
Dave the Gnome 14 Mar 19 - 03:06 PM
Jim Carroll 14 Mar 19 - 03:18 PM
Vic Smith 14 Mar 19 - 03:22 PM
GUEST,Hootenanny 14 Mar 19 - 03:52 PM
Dave the Gnome 14 Mar 19 - 03:58 PM
The Sandman 14 Mar 19 - 06:29 PM
The Sandman 14 Mar 19 - 06:37 PM
r.padgett 15 Mar 19 - 04:01 AM
Big Al Whittle 15 Mar 19 - 04:55 AM
Jim Carroll 15 Mar 19 - 04:56 AM
Big Al Whittle 15 Mar 19 - 05:08 AM
Jim Carroll 15 Mar 19 - 05:25 AM
Dave the Gnome 15 Mar 19 - 05:37 AM
Howard Jones 15 Mar 19 - 06:08 AM
GUEST 15 Mar 19 - 06:09 AM
beachcomber 15 Mar 19 - 06:36 AM
Jim Carroll 15 Mar 19 - 07:36 AM
Vic Smith 15 Mar 19 - 07:37 AM
Jim Carroll 15 Mar 19 - 07:53 AM
Jim Carroll 15 Mar 19 - 08:47 AM
Vic Smith 15 Mar 19 - 09:21 AM
Jim Carroll 15 Mar 19 - 10:28 AM
Howard Jones 15 Mar 19 - 10:36 AM
Vic Smith 15 Mar 19 - 11:07 AM
Dave the Gnome 15 Mar 19 - 11:11 AM
Vic Smith 15 Mar 19 - 11:38 AM
Jim Carroll 15 Mar 19 - 11:39 AM
Vic Smith 15 Mar 19 - 12:18 PM
Jim Carroll 15 Mar 19 - 12:29 PM
Big Al Whittle 15 Mar 19 - 12:31 PM
Vic Smith 15 Mar 19 - 12:37 PM
Vic Smith 15 Mar 19 - 12:58 PM
Jim Carroll 15 Mar 19 - 02:04 PM
Jim Carroll 15 Mar 19 - 02:30 PM
The Sandman 15 Mar 19 - 02:33 PM
GUEST 15 Mar 19 - 03:25 PM
Vic Smith 15 Mar 19 - 03:30 PM
GUEST,jim bainbridge 15 Mar 19 - 04:03 PM
Vic Smith 15 Mar 19 - 04:43 PM
Jim Carroll 15 Mar 19 - 04:49 PM
Stewie 15 Mar 19 - 08:10 PM
Big Al Whittle 15 Mar 19 - 08:30 PM
Dave the Gnome 16 Mar 19 - 03:44 AM
Jim Carroll 16 Mar 19 - 04:05 AM
Dave the Gnome 16 Mar 19 - 04:32 AM
Jim Carroll 16 Mar 19 - 04:41 AM
Jim Carroll 16 Mar 19 - 04:44 AM
Dave the Gnome 16 Mar 19 - 05:02 AM
Dave the Gnome 16 Mar 19 - 05:32 AM
Jim Carroll 16 Mar 19 - 05:33 AM
Jim Carroll 16 Mar 19 - 05:34 AM
GUEST,jag 16 Mar 19 - 06:13 AM
Dave the Gnome 16 Mar 19 - 06:35 AM
Jim Carroll 16 Mar 19 - 06:45 AM
Jim Carroll 16 Mar 19 - 06:55 AM
Big Al Whittle 16 Mar 19 - 07:02 AM
Dave the Gnome 16 Mar 19 - 07:25 AM
Jim Carroll 16 Mar 19 - 07:27 AM
GUEST,jim bainbridge 16 Mar 19 - 07:38 AM
Dave the Gnome 16 Mar 19 - 07:49 AM
Jim Carroll 16 Mar 19 - 07:51 AM
Big Al Whittle 16 Mar 19 - 08:09 AM
Dave the Gnome 16 Mar 19 - 08:27 AM
Jim Carroll 16 Mar 19 - 08:58 AM
Jim Carroll 16 Mar 19 - 09:00 AM
The Sandman 16 Mar 19 - 09:34 AM
Jim Carroll 16 Mar 19 - 10:43 AM
Jim Carroll 16 Mar 19 - 11:12 AM
Stewie 16 Mar 19 - 11:14 AM
Dave the Gnome 16 Mar 19 - 11:15 AM
Stewie 16 Mar 19 - 11:17 AM
Jim Carroll 16 Mar 19 - 11:55 AM
GUEST,Hootenanny 16 Mar 19 - 11:58 AM
Jim Carroll 16 Mar 19 - 12:42 PM
GUEST,jim bainbridge 16 Mar 19 - 01:55 PM
Dave the Gnome 16 Mar 19 - 02:47 PM
Jim Carroll 16 Mar 19 - 03:58 PM
Dave the Gnome 16 Mar 19 - 04:10 PM
Jim Carroll 16 Mar 19 - 04:14 PM
Vic Smith 16 Mar 19 - 05:05 PM
Jim Carroll 17 Mar 19 - 03:29 AM
Dave the Gnome 17 Mar 19 - 04:53 AM
The Sandman 17 Mar 19 - 04:54 AM
Jim Carroll 17 Mar 19 - 05:43 AM
The Sandman 17 Mar 19 - 05:55 AM
Jim Carroll 17 Mar 19 - 06:18 AM
GUEST 17 Mar 19 - 08:53 AM
Jim Carroll 17 Mar 19 - 09:25 AM
Vic Smith 17 Mar 19 - 09:33 AM
Jim Carroll 17 Mar 19 - 10:24 AM
Jim Carroll 17 Mar 19 - 12:20 PM
Jim Carroll 17 Mar 19 - 12:20 PM
GUEST,jim bainbridge 17 Mar 19 - 01:05 PM
Jim Carroll 17 Mar 19 - 01:30 PM
Jim Carroll 17 Mar 19 - 02:10 PM
GUEST,im bainbridge 17 Mar 19 - 02:22 PM
Jim Carroll 17 Mar 19 - 02:49 PM
The Sandman 17 Mar 19 - 03:38 PM
Vic Smith 17 Mar 19 - 03:59 PM
Jim Carroll 17 Mar 19 - 04:02 PM
The Sandman 17 Mar 19 - 04:26 PM
GUEST,Hootenanny 17 Mar 19 - 07:34 PM
Jim Carroll 18 Mar 19 - 03:54 AM
Jim Carroll 18 Mar 19 - 04:21 AM
Dave the Gnome 18 Mar 19 - 04:23 AM
The Sandman 18 Mar 19 - 04:41 AM
Dave the Gnome 18 Mar 19 - 04:45 AM
Jim Carroll 18 Mar 19 - 05:02 AM
Dave the Gnome 18 Mar 19 - 05:20 AM
Jim Carroll 18 Mar 19 - 05:59 AM
Jim Carroll 18 Mar 19 - 07:20 AM
Howard Jones 18 Mar 19 - 07:21 AM
Vic Smith 18 Mar 19 - 07:51 AM
Jim Carroll 18 Mar 19 - 08:40 AM
Howard Jones 18 Mar 19 - 09:56 AM
Vic Smith 18 Mar 19 - 10:03 AM
GUEST 18 Mar 19 - 10:30 AM
Jim Carroll 18 Mar 19 - 10:47 AM
Dave the Gnome 18 Mar 19 - 10:50 AM
Jim Carroll 18 Mar 19 - 10:58 AM
Vic Smith 18 Mar 19 - 11:09 AM
Jim Carroll 18 Mar 19 - 11:31 AM
Dave the Gnome 18 Mar 19 - 11:56 AM
Jim Carroll 18 Mar 19 - 12:38 PM
GUEST,Hootenanny 18 Mar 19 - 01:10 PM
The Sandman 18 Mar 19 - 02:25 PM
Howard Jones 18 Mar 19 - 03:19 PM
Steve Gardham 18 Mar 19 - 03:45 PM
Jim Carroll 18 Mar 19 - 04:03 PM
Steve Gardham 18 Mar 19 - 04:14 PM
Steve Gardham 18 Mar 19 - 04:15 PM
FreddyHeadey 18 Mar 19 - 04:42 PM
Vic Smith 18 Mar 19 - 05:16 PM
Dave the Gnome 18 Mar 19 - 05:36 PM
Jim Carroll 19 Mar 19 - 04:20 AM
Dave the Gnome 19 Mar 19 - 04:32 AM
The Sandman 19 Mar 19 - 04:41 AM
r.padgett 19 Mar 19 - 04:49 AM
Jim Carroll 19 Mar 19 - 05:03 AM
Dave the Gnome 19 Mar 19 - 05:35 AM
Dave the Gnome 19 Mar 19 - 05:39 AM
Jim Carroll 19 Mar 19 - 05:53 AM
Howard Jones 19 Mar 19 - 06:01 AM
Dave the Gnome 19 Mar 19 - 06:34 AM
Dave the Gnome 19 Mar 19 - 06:38 AM
Jim Carroll 19 Mar 19 - 06:39 AM
Jim Carroll 19 Mar 19 - 06:39 AM
GUEST 19 Mar 19 - 08:45 AM
GUEST 19 Mar 19 - 08:47 AM
Howard Jones 19 Mar 19 - 09:36 AM
Jim Carroll 19 Mar 19 - 11:47 AM
Jack Campin 19 Mar 19 - 11:59 AM
GUEST,Hootenanny 19 Mar 19 - 12:24 PM
Jim Carroll 19 Mar 19 - 12:41 PM
Jim Carroll 19 Mar 19 - 02:36 PM
GUEST 19 Mar 19 - 03:02 PM
The Sandman 19 Mar 19 - 03:24 PM
The Sandman 19 Mar 19 - 03:38 PM
Jim Carroll 19 Mar 19 - 03:38 PM
Dave the Gnome 19 Mar 19 - 04:54 PM
The Sandman 19 Mar 19 - 04:54 PM
GUEST 19 Mar 19 - 04:58 PM
Steve Gardham 19 Mar 19 - 05:52 PM
Dave the Gnome 19 Mar 19 - 06:06 PM
Steve Gardham 19 Mar 19 - 06:47 PM
GUEST 20 Mar 19 - 03:46 AM
Jim Carroll 20 Mar 19 - 04:29 AM
Howard Jones 20 Mar 19 - 05:38 AM
Dave the Gnome 20 Mar 19 - 05:49 AM
Jim Carroll 20 Mar 19 - 05:54 AM
Jim Carroll 20 Mar 19 - 05:54 AM
Jack Campin 20 Mar 19 - 06:06 AM
Dave the Gnome 20 Mar 19 - 06:15 AM
Dave the Gnome 20 Mar 19 - 06:19 AM
Howard Jones 20 Mar 19 - 06:43 AM
Jim Carroll 20 Mar 19 - 07:03 AM
Dave the Gnome 20 Mar 19 - 07:11 AM
Jim Carroll 20 Mar 19 - 07:25 AM
Jim Carroll 20 Mar 19 - 07:28 AM
Dave the Gnome 20 Mar 19 - 07:50 AM
Vic Smith 20 Mar 19 - 08:30 AM
Jack Campin 20 Mar 19 - 09:02 AM
Howard Jones 20 Mar 19 - 09:08 AM
Jim Carroll 20 Mar 19 - 09:30 AM
Jim Carroll 20 Mar 19 - 09:32 AM
Dave the Gnome 20 Mar 19 - 09:58 AM
Vic Smith 20 Mar 19 - 10:24 AM
Jim Carroll 20 Mar 19 - 10:26 AM
Dave the Gnome 20 Mar 19 - 10:33 AM
Jim Carroll 20 Mar 19 - 10:43 AM
Dave the Gnome 20 Mar 19 - 11:18 AM
Jim Carroll 20 Mar 19 - 11:37 AM
Dave the Gnome 20 Mar 19 - 11:47 AM
Jim Carroll 20 Mar 19 - 12:00 PM
Jim Carroll 20 Mar 19 - 12:02 PM
The Sandman 20 Mar 19 - 01:55 PM
Jim Carroll 20 Mar 19 - 02:05 PM
The Sandman 20 Mar 19 - 02:06 PM
The Sandman 20 Mar 19 - 02:33 PM
The Sandman 20 Mar 19 - 02:34 PM
FreddyHeadey 20 Mar 19 - 03:25 PM
GUEST,jim bainbridge 20 Mar 19 - 03:46 PM
GUEST,Hootenanny 20 Mar 19 - 07:48 PM
The Sandman 21 Mar 19 - 03:06 AM
Dave the Gnome 21 Mar 19 - 04:05 AM
The Sandman 21 Mar 19 - 04:05 AM
Dave the Gnome 21 Mar 19 - 04:11 AM
Dave the Gnome 21 Mar 19 - 04:15 AM
r.padgett 21 Mar 19 - 04:24 AM
Jim Carroll 21 Mar 19 - 04:50 AM
Dave the Gnome 21 Mar 19 - 04:57 AM
Dave the Gnome 21 Mar 19 - 05:32 AM
The Sandman 21 Mar 19 - 06:24 AM
Jim Carroll 21 Mar 19 - 06:25 AM
GUEST 21 Mar 19 - 06:32 AM
FreddyHeadey 21 Mar 19 - 06:32 AM
Jim Carroll 21 Mar 19 - 06:59 AM
Big Al Whittle 21 Mar 19 - 07:23 AM
GUEST 21 Mar 19 - 07:25 AM
Jim Carroll 21 Mar 19 - 07:33 AM
GUEST 21 Mar 19 - 07:49 AM
GUEST 21 Mar 19 - 07:51 AM
Will Fly 21 Mar 19 - 08:25 AM
Jim Carroll 21 Mar 19 - 09:15 AM
GUEST,Tootler sans Cookie 21 Mar 19 - 09:44 AM
Howard Jones 21 Mar 19 - 09:58 AM
GUEST 21 Mar 19 - 09:38 AM
Jack Campin 21 Mar 19 - 09:39 AM
Jack Campin 21 Mar 19 - 09:46 AM
The Sandman 21 Mar 19 - 10:26 AM
Dave the Gnome 21 Mar 19 - 10:44 AM
GUEST 21 Mar 19 - 11:02 AM
Big Al Whittle 21 Mar 19 - 11:02 AM
Jim Carroll 21 Mar 19 - 11:17 AM
Dave the Gnome 21 Mar 19 - 11:23 AM
Big Al Whittle 21 Mar 19 - 11:39 AM
Dave the Gnome 21 Mar 19 - 11:49 AM
Iains 21 Mar 19 - 12:06 PM
Jim Carroll 21 Mar 19 - 12:07 PM
Dave the Gnome 21 Mar 19 - 12:32 PM
Jim Carroll 21 Mar 19 - 12:47 PM
Jim Carroll 21 Mar 19 - 12:53 PM
Steve Gardham 21 Mar 19 - 01:07 PM
Dave the Gnome 21 Mar 19 - 01:23 PM
Jim Carroll 21 Mar 19 - 01:26 PM
Jack Campin 21 Mar 19 - 01:58 PM
Big Al Whittle 21 Mar 19 - 01:58 PM
The Sandman 21 Mar 19 - 02:07 PM
GUEST 21 Mar 19 - 02:10 PM
Jim Carroll 21 Mar 19 - 02:57 PM
Dave the Gnome 21 Mar 19 - 03:36 PM
GUEST,Hootenanny 21 Mar 19 - 03:52 PM
Big Al Whittle 21 Mar 19 - 03:54 PM
Dave the Gnome 21 Mar 19 - 04:26 PM
Jim Carroll 22 Mar 19 - 02:49 AM
Dave the Gnome 22 Mar 19 - 03:18 AM
Jim Carroll 22 Mar 19 - 04:34 AM
Big Al Whittle 22 Mar 19 - 04:37 AM
Dave the Gnome 22 Mar 19 - 04:59 AM
Big Al Whittle 22 Mar 19 - 05:00 AM
Dave the Gnome 22 Mar 19 - 05:05 AM
Vic Smith 22 Mar 19 - 06:03 AM
Jim Carroll 22 Mar 19 - 06:15 AM
GUEST,DtG sans biscuit 22 Mar 19 - 06:35 AM
Jim Carroll 22 Mar 19 - 07:06 AM
Vic Smith 22 Mar 19 - 07:19 AM
Big Al Whittle 22 Mar 19 - 07:39 AM
Jim Carroll 22 Mar 19 - 07:44 AM
Jim Carroll 22 Mar 19 - 08:19 AM
Big Al Whittle 22 Mar 19 - 08:44 AM
Jim Carroll 22 Mar 19 - 08:46 AM
Vic Smith 22 Mar 19 - 08:57 AM
Jim Carroll 22 Mar 19 - 09:24 AM
GUEST,Brimbacombe 22 Mar 19 - 11:13 AM
Jim Carroll 22 Mar 19 - 11:27 AM
Dave the Gnome 22 Mar 19 - 11:29 AM
Jim Carroll 22 Mar 19 - 12:14 PM
Dave the Gnome 22 Mar 19 - 12:20 PM
Jim Carroll 22 Mar 19 - 12:30 PM
Vic Smith 22 Mar 19 - 12:32 PM
Steve Gardham 22 Mar 19 - 12:47 PM
Dave the Gnome 22 Mar 19 - 01:08 PM
Jim Carroll 22 Mar 19 - 01:14 PM
Steve Gardham 22 Mar 19 - 01:22 PM
Jack Campin 22 Mar 19 - 01:28 PM
Jim Carroll 22 Mar 19 - 01:36 PM
Will Fly 22 Mar 19 - 01:42 PM
Jim Carroll 22 Mar 19 - 01:43 PM
Big Al Whittle 22 Mar 19 - 02:06 PM
GUEST,Nemesis 22 Mar 19 - 02:15 PM
Steve Gardham 22 Mar 19 - 02:20 PM
Jim Carroll 22 Mar 19 - 02:45 PM
Vic Smith 22 Mar 19 - 02:50 PM
Howard Jones 22 Mar 19 - 03:44 PM
Big Al Whittle 22 Mar 19 - 04:15 PM
Vic Smith 22 Mar 19 - 05:51 PM
Steve Gardham 22 Mar 19 - 05:52 PM
Big Al Whittle 22 Mar 19 - 06:39 PM
r.padgett 23 Mar 19 - 03:18 AM
Big Al Whittle 23 Mar 19 - 03:23 AM
Jim Carroll 23 Mar 19 - 03:57 AM
Big Al Whittle 23 Mar 19 - 06:31 AM
Jim Carroll 23 Mar 19 - 06:41 AM
GUEST,Observer 23 Mar 19 - 06:59 AM
Big Al Whittle 23 Mar 19 - 07:17 AM
Jack Campin 23 Mar 19 - 07:37 AM
Vic Smith 23 Mar 19 - 08:15 AM
Vic Smith 23 Mar 19 - 08:22 AM
Jack Campin 23 Mar 19 - 08:46 AM
Joe Offer 23 Mar 19 - 09:28 AM
Vic Smith 23 Mar 19 - 10:07 AM
Jim Carroll 23 Mar 19 - 10:15 AM
Vic Smith 23 Mar 19 - 12:55 PM
Steve Gardham 23 Mar 19 - 02:37 PM
Big Al Whittle 23 Mar 19 - 04:14 PM
Vic Smith 23 Mar 19 - 06:55 PM
Dave the Gnome 24 Mar 19 - 02:55 AM
Jim Carroll 24 Mar 19 - 03:15 AM
Dave the Gnome 24 Mar 19 - 04:14 AM
The Sandman 24 Mar 19 - 04:40 AM
Big Al Whittle 24 Mar 19 - 05:30 AM
Jim Carroll 24 Mar 19 - 05:38 AM
Will Fly 24 Mar 19 - 05:58 AM
Jim Carroll 24 Mar 19 - 06:16 AM
Will Fly 24 Mar 19 - 06:25 AM
Big Al Whittle 24 Mar 19 - 06:40 AM
Jim Carroll 24 Mar 19 - 06:47 AM
Will Fly 24 Mar 19 - 06:59 AM
Vic Smith 24 Mar 19 - 07:04 AM
GUEST,Hootenanny 24 Mar 19 - 07:07 AM
Vic Smith 24 Mar 19 - 07:18 AM
Steve Gardham 24 Mar 19 - 09:24 AM
Jim Carroll 24 Mar 19 - 09:36 AM
Vic Smith 24 Mar 19 - 09:46 AM
Big Al Whittle 24 Mar 19 - 10:34 AM
Will Fly 24 Mar 19 - 11:31 AM
Dave the Gnome 24 Mar 19 - 12:18 PM
Jim Carroll 24 Mar 19 - 12:40 PM
Dave the Gnome 24 Mar 19 - 12:40 PM
Big Al Whittle 24 Mar 19 - 01:16 PM
Vic Smith 24 Mar 19 - 01:17 PM
Jim Carroll 24 Mar 19 - 02:12 PM
Steve Gardham 24 Mar 19 - 02:56 PM
Steve Gardham 24 Mar 19 - 03:06 PM
Vic Smith 24 Mar 19 - 04:06 PM
Big Al Whittle 24 Mar 19 - 04:51 PM
Howard Jones 25 Mar 19 - 05:58 AM
Jim Carroll 25 Mar 19 - 10:15 AM
Steve Gardham 25 Mar 19 - 12:17 PM
Vic Smith 25 Mar 19 - 01:12 PM
Jim Carroll 25 Mar 19 - 01:50 PM
Jim Carroll 25 Mar 19 - 02:04 PM
Howard Jones 25 Mar 19 - 02:54 PM
Jim Carroll 25 Mar 19 - 03:35 PM
Vic Smith 25 Mar 19 - 03:55 PM
Howard Jones 25 Mar 19 - 04:15 PM
Steve Gardham 25 Mar 19 - 06:40 PM
Steve Gardham 25 Mar 19 - 06:41 PM
Steve Gardham 25 Mar 19 - 06:45 PM
Steve Gardham 25 Mar 19 - 06:46 PM
Steve Gardham 25 Mar 19 - 06:46 PM
Jeri 25 Mar 19 - 07:48 PM
Howard Jones 25 Mar 19 - 08:12 PM
Stewie 25 Mar 19 - 09:34 PM
The Sandman 26 Mar 19 - 04:12 AM
Jim Carroll 26 Mar 19 - 04:17 AM
Vic Smith 26 Mar 19 - 07:37 AM
Vic Smith 26 Mar 19 - 07:58 AM
Jim Carroll 26 Mar 19 - 07:58 AM
Jim Carroll 26 Mar 19 - 08:15 AM
The Sandman 26 Mar 19 - 09:50 AM
Vic Smith 26 Mar 19 - 10:16 AM
Howard Jones 26 Mar 19 - 11:22 AM
GUEST,Hootenanny 26 Mar 19 - 11:34 AM
GUEST,Peter 26 Mar 19 - 11:35 AM
Vic Smith 26 Mar 19 - 11:38 AM
GUEST,Hootenanny 26 Mar 19 - 11:47 AM
Jim Carroll 26 Mar 19 - 11:52 AM
Jim Carroll 26 Mar 19 - 11:55 AM
Vic Smith 26 Mar 19 - 01:01 PM
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Steve Gardham 26 Mar 19 - 01:55 PM
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Subject: UK 60s Folk Club Boom?
From: Tunesmith
Date: 10 Feb 19 - 04:31 AM

Does anybody out there have an idea of how many folk music clubs existed in the UK at the height of the 60s folk music boom?


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 10 Feb 19 - 04:35 AM

42


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Subject: RE: UK 60s Folk Club Boom?
From: Tunesmith
Date: 10 Feb 19 - 05:08 AM

42? No, surely! There must have been at least 50!


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 10 Feb 19 - 05:21 AM

Heinz made it 57 I think
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 10 Feb 19 - 05:25 AM

"Folk Clubs Sir, thousands of them"


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 10 Feb 19 - 06:03 AM

Yes indeedy
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Sean O'Shea
Date: 10 Feb 19 - 06:37 AM

I wouldn't know.What I do know is that at the end of the sixties, you could go to a different club in Exeter every single night of the week.Spend a pound and you could buy entry, a packet of cigs and a good swallow for your pleasure.


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Subject: RE: UK 60s Folk Club Boom?
From: Hagman
Date: 10 Feb 19 - 06:39 AM

"Once, back in the heady days of the sixties and seventies, folk clubs abounded all over the country. Now, while they have not disappeared altogether, they are thin on the ground. At the peak of the folk revival, there were hundreds of clubs in and around London, seventy-two on Merseyside, a club seven nights a week in most of the big cities. Every town and many a village had a folk club. In the universities and colleges they flourished. In Edinburgh there was even one in the police social club."

P. xiii, Introduction. J.P. Bean. Singing From The Floor: A History of British Folk Clubs. Faber & Faber : London, 2014.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Peter
Date: 10 Feb 19 - 09:40 AM

In the late 60s and early 70s what I never came across was participatory events such as instrumental sessions or singarounds. Even our local singers club operated fairly formally as an open stage event. It may be that they were just absent in my area or, in pre internet days, you just had to know the right people. These days there still seems to be as much opportunity to participate but it is less inviting to the outsider as fewer events are designed for performing to an audience.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 10 Feb 19 - 09:54 AM

I agree entirely with what's been said here though it's worth remembering that not long after the startup of the revival the music industry latched on to the idea that there might be a few bob in it fpr them and some of these clubs were outcomes of that
For me, when the money boys lost interest the scene found its own level and began to call the shots for itself
For me, that led to the real Golden Age of folk song, with singers deciding for themselves what was worth singing
My first experience of live music was in The Cavern in Liverpool where you could hear some of the finest jazz in Britain

The same as I described on the folk scene happened to Jazz - a discovery, a brief period of comercialisation and a leveling out
By the time I got to London at the end of the sixties I could sit in 'New Merlin's Cave' in Mount Pleasant and listen to Bruce Turner and Humph in comfort until my hair stood on end with pleasure
Good days
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: FreddyHeadey
Date: 10 Feb 19 - 11:01 AM

3,000?
Batman mentioned Singing From The Floor

Telegraph review of Singing From The Floor :
" ... There were around 3,000 clubs, though many were short-lived and run by those Dick Gaughan calls “fanatical amateurs”...."

https://www.telegraph.co.uk/culture/music/worldfolkandjazz/10653986/What-was-the-folk-music-scene-really-like-in-the-Sixties.html 
~~~~~~~
Singing From The Floor - J P Bean
thread
thread.cfm?threadid=153720 


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Subject: RE: UK 60s Folk Club Boom?
From: Tunesmith
Date: 10 Feb 19 - 11:12 AM

If 3000 clubs is about right, that means that there could have been around a quarter of millions visits to folk music clubs per week back then.
    Now, I bet, no other genre of music could boast those figures!


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Hootenanny
Date: 10 Feb 19 - 11:40 AM

Jim,

At what date do you put "the startup of the revival" and when do you believe the music industry latched on?

I am no defender of the music industry, far from it, but by enabling people to hear second and third rate copyists that became popular a good number of people turned to earlier roots or what we might call the real thing.

Like all things that become fashionable with the masses the size of the audience eventually gets back to something like it used to be before "the revival". Folk and jazz always were a minority sport.

The demise of "folk" and revivalist jazz is most probably because the people, singers/musicians and audience are coming or have come to the end of their days.

Fortunately there is an untold wealth of material available for future generations to enjoy.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 10 Feb 19 - 12:06 PM

"At what date do you put "the startup of the revival" and when do you believe the music industry latched on?"
I believe the earliest performances of folk were those arranged by Lomax at The Theatre Royal in Stratford East when he was on the run from McCarthy
The folk boom I'm not too sure about, but I know I had Kingston Trio and Clancy Brothers albums in the early sixties
The problem with the boom was they rather dominated the airwaves with erzatz folk (all the best stuff was on The Third Programme, which nobody listened to)
The other problem was newbies recognised the erzatz stuff as real folk and developed a taste for that rather than the Harry Cox's and Sam Larners
I can still remember the culture shock when somebody gave me a copy of MacColl's Folkways Vol 1 album of The Child Ballads = nearly ended us as a plant-pot stand
Luckily I had mates in Manchester where I could listen to Terry Whelan, Dave Hillary, terry Griffiths, Tom Gillfellon and Harry Boardman - that wasn't on offer to me in Liverpool then
There is a wealth of material for future generations to enjot - as long as somebody remembers where the key is
That's our job and there's no time like the present
I only hope I'm going to be around long enough to enjoy their enjoying it
It's giving me a greatt buzz here in Ireland - still coming down from last Sundays singing club in Dublin run by youngsters - magic!
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 10 Feb 19 - 12:20 PM

I believe the earliest performances of folk were those arranged by Lomax at The Theatre Royal in Stratford East when he was on the run from McCarthy

What would been the date of the first of these Stratford events?
Many people have written that the earliest manifestation of the folk revival in the UK were the original Edinburgh People's Festival in the summers of 1951–54. There was a wide range of people from trade unionists, enthusiasts, academics and local politicians acknowledge in the founding of these with the cultural contribution made by Hamish Henderson, Ewan MacColl, Joan Littlewood, Norman Buchan, Alan Lomax, Joe Corrie and Councillor Jack Kane being mentioned as the main movers.
Lomax had the good sense to record a number of the concerts.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 10 Feb 19 - 01:01 PM

"If 3000 clubs is about right, that means that there could have been around a quarter of millions visits to folk music clubs per week back then.
    Now, I bet, no other genre of music could boast those figures!"

3000 clubs, each with an average attendance of over 80 ?
Some people will believe anything.


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Subject: RE: UK 60s Folk Club Boom?
From: Tunesmith
Date: 10 Feb 19 - 01:12 PM

How old are you? Lots of folk clubs back in the heyday had attendances of 100, and even then, they were turning people away.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 10 Feb 19 - 01:24 PM

"What would been the date of the first of these Stratford events?"
Around the same time as Edinburgh I think - Lomax was at both and probably helped inspire them - I really don't want to make this a pissing competition
Got the recordings of Edinburgh and Lomax's Scots stuff from the time is stunning
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Peter
Date: 10 Feb 19 - 01:47 PM

"How old are you? Lots of folk clubs back in the heyday had attendances of 100, and even then, they were turning people away. "

Im the late 60s / early 70s went to clubs where, if you went to the bar, you had to wait for somebody else to want a drink before you could get back in. I also went to clubs (seldom more than once) with only a handful of people and most often to clubs that were comfortable busy. From venue sizes where I lived I would have put a typical audience in the 40 - 50 mark.


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Subject: RE: UK 60s Folk Club Boom?
From: Tunesmith
Date: 10 Feb 19 - 01:50 PM

Well, by the late 60s, as far as I'm concerned, the boom was well and truly over.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 10 Feb 19 - 03:39 PM

"How old are you? Lots of folk clubs back in the heyday had attendances of 100, and even then, they were turning people away."
3000 of them ? Name them.
I'm over 60 - how old are you, and what's that got to do with anything ? ?


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Subject: RE: UK 60s Folk Club Boom?
From: Tunesmith
Date: 10 Feb 19 - 04:06 PM

Guest, timing is everything. When did you start going to folk music clubs, and how old were you?


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 10 Feb 19 - 04:36 PM

The late Barrie Roberts started his folk club in 1958 at the Fitters Arms Walsall. He said - the first week they were queuing round the block by six o'clock.

I can't remember any music industry people round the provincial clubs.   they'd have had a pretty thin time of it down The Jolly Porter in Exeter. Obviously they would have tried acts out in the London clubs.

I've yet to meet a booking agent who has actually ever been in a folk club. Not if you press them on the matter,,,,have you ever actually been inside a folk club yourself....?


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Hootennanny
Date: 10 Feb 19 - 06:06 PM

As a matter of fact Al I was a booking agent and ran a folk club and visited others along with jazz clubs. I still go to folk clubs on rare occasions.

Sadly the kind of jazz that interests me is almost non existent hardly anyone left to play it unfortunately which is one of the reasons I mentioned above regarding traditional British folk singers of the type beloved of Jim Carroll.


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 10 Feb 19 - 06:30 PM

what sort of jazz is that. many of my friends are into jazz - perhaps i can help you. I don't know about Ireland, but there seems quite a lot of jazz around. And of course it a golden age for recorded jazz.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Kenny B
Date: 10 Feb 19 - 06:35 PM

Hootenanny if you are interested in New Orleans or trad
Tuba Skinny are worth a listen to


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Subject: RE: UK 60s Folk Club Boom?
From: Hagman
Date: 10 Feb 19 - 10:05 PM

"BATman"? Thanks, FreddyHeadey - I'll get my cape out.... :-)

An appendix in "Singing From The Floor" gives a little more help, but a definite list would seem to be very elusive, unless there is a particularly diligent PhD student up at Leeds or somewhere. Some of these may bring back some memories for you islanders:

"The Clubs.

During the period covered in Singing from the Floor an inestimable number of folk clubs has existed, some for only a short time, others for decades. It is unlikely that any comprehensive list of all known folk clubs could ever be compiled; the following is a selection of the clubs that were there in the earliest days of the revival, and the ones that have been referenced by the singers, musicians and others who appear in the book.

London

Black Horse, Rathbone Place Bill Leader and Gill Cook, who worked in Collett’s record shop, opened the Broadside Folk Club in the early sixties. It was here that Bert Jansch first sang ‘Needle of Death’, written as a tribute to his friend Buck Polly, who had recently died.

Bunjie’s A cellar folk club below a coffee house in Litchfield Street, Charing Cross, it opened in the mid-fifties and ran through the sixties.

Fox, Islington Green Began in 1964 with residents Bob Davenport and the Rakes. Davenport later ran clubs at the John Snow in Soho, where he gave Peter Bellamy his first floor spot, and the Empress of Russia, St John Street.

King and Queen, Foley Street The first club in Britain, where Bob Dylan sang from the floor in December 1962.

Half Moon, Putney This was more a music venue than a folk club. Gerry Lockran started folk blues sessions in 1963 and most of the leading British and American contemporary folk and blues acts played there, as well as rock bands like the Rolling Stones and the Who.

Herga Folk Club, Wealdstone Began in 1963, later moved to Pinner where it is still in existence. The Lakeman brothers’ parents were once residents and John Heydon was club organiser for twenty-three years. The first club to book Robin and Barry Dransfield as a duo.

Les Cousins, Greek Street Opened in 1965 below a Greek restaurant in the same premises that the Skiffle Cellar occupied from 1958 to ‘60. Les Cousins was the main venue in London for blues and contemporary folk music, with all-nighters on a Saturday.

Roundhouse, Wardour Street Cyril Davies opened a skiffle club in an upstairs room of the pub in 1955. Later became London Blues and Barrelhouse Club, run by Alexis Korner, who brought in visitors like Muddy Waters, Big Bill Broonzy and Champion Jack Dupree.

Singers’ Club Ewan MacColl had opened Ballads and Blues in 1957 at the Princess Louise, High Holborn, before starting the Singers’ Club with Peggy Seeger in 1961. The club’s first location was the Association of Cinematograph Television and Allied Technicians (ACTT) trade union building in Soho Square and later venues included the Princess Louise, Pindar of Wakefield, Merlin’s Cave and the Union Tavern. Known for its strict policy regarding traditional repertoire

Scots Hoose, Cambridge Circus A pub in Charing Cross Road, where Bruce Dunnett ran the folk club in an upstairs room, where the Young Tradition were formed and John Renbourn first met Bert Jansch.

Troubadour, Old Brompton Road, Earls Court A cellar room below a coffee house that opened in 1954. The leading folk venue in London until Les Cousins opened, and a stop-off for visiting American folk artists, including Bob Dylan. At different times, Ramblin’ Jack Elliott, Martin Carthy and Martin Winsor and Redd Sullivan were resident singers.

White Bear, Hounslow The folk club was opened in 1965 by the Strawberry Hill Boys, later the Strawbs, led by Dave Cousins. In 1969, with Cousins still involved, it became the Hounslow Arts Lab, where on one occasion David Bowie made an appearance.


Elsewhere

Birmingham, Jug of Punch The Ian Campbell Folk Group opened their first club at the Trees pub in Birmingham in 1959, later moving to Digbeth Civic Hall where the club became known as the Jug of Punch and regularly attracted audiences of up to four hundred.

Bradford Topic Opened in 1956 by schoolteacher Alex Eaton and still running; the Topic is the longest-running folk club in Britain.

Bristol Troubadour A contemporary and blues club, ran from 1966 to ‘71, with a musical policy similar to that of Les Cousins.

Cambridge St Lawrence Folk Song Society Founded in 1950 by students at the university, although too early to be recognised as a folk ‘club’.

Chelmsford Folk Club Where Nic Jones came to notice in the mid-sixties as a member of the Halliard, the resident group.

Cornwall, Folk Cottage An old barn in Mitchell, a hamlet near Newquay and the base for folk and blues in the mid-sixties. Pete Stanley and Wizz Jones were resident and Ralph McTell got his first break there.

Edinburgh University Folk Society Founded in 1958 by medical student Stuart MacGregor and folklorist Hamish Henderson. The following year, resident singers Dolina MacLennan and Robin Gray started a singing night at the Waverley Bar in Edinburgh, where many Scottish performers gained experience. In 1960 a London entrepreneur Roy Guest opened the Howff, a haunt of the teenage Bert Jansch.

Glasgow Folk Song Club Located in a café, the Corner House on Argyll Street, and organised by Norman Buchan and his wife Janey. Archie Fisher, Josh McRae and Hamish Imlach were among the early residents.

Harrogate Folk Club Began in the early sixties, the club where Robin and Barry Dransfield began performing, in a bluegrass group the Crimple Mountain Boys.

Hull, Folk Union One The Folksons, who soon became the Watersons, opened their own club in 1959 in a dance hall. They moved on to Ye Old Blue Bell where in 1965 they and the folk club were featured in the BBC television documentary Travelling for a Living.

Liverpool, Spinners Folk Club Opened in 1958 in the basement of a restaurant, Samson and Barlow’s. For years, until the demands of their concert and television work took over, the Spinners were the resident group and they made their first record at the club. Later moved to Gregson’s Well and the Trident.

Manchester Sports Guild (MSG) An old warehouse in Long Millgate, the MSG opened in 1961 with jazz downstairs and, later, folk upstairs. All the top performers played there and a singer’s night on Mondays gave many artists, including Christy Moore, their early opportunities.

Manchester, Wayfarers The first folk club in Britain was started in 1954 by Harry and Lesley Boardman as a ‘folk circle’ at the Wagon and Horses pub. Two years later this became the Wayfarers folk club at the Thatched House in Spring Gardens

Newcastle Folk Song and Ballad Club Originated with folk nights that Louis Killen and Johnny Handle organised in a jazz club, moving to the Bridge Hotel, where it ran for many years. It inspired other clubs in the Tyneside area, notably Birtley, opened in 1962 by the Elliott family, and Marsden, home of the Marsden Rattlers

Oxford University Heritage Society Founded in 1956, Louis Killen and, later, June Tabor gained valuable experience while students.

Sheffield, Barley Mow Run by Malcolm Fox from 1964 at the Three Cranes. Tony Capstick and Dave Burland were early floor singers and, in 1966, the first club that Martin Carthy and Dave Swarbrick played as a duo.

Sheffield, Highcliffe The Highcliffe folk and blues club that began in 1967 was an early form of today’s mini-concert venues. The Humblebums, Barbara Dickson and John Martyn played their first gigs in England there.

Solihull, Boggery Organised and compèred by Jasper Carrott at the Old Moseleians Rubgy Club, it opened in 1969 with a focus on entertainment.

Surbiton Assembly Rooms The biggest folk club in Britain, with two halls, one with 700 capacity. Derek Sarjeant and Gerry Lockran started the club in 1961; by the time it closed it had 23,000 members.

Wentworth, near Rotherham, ‘Folk at the Rock’ Opened in 1974 at the Rockingham Arms, moving to nearby Maltby in 2007. Soon after founder and organiser Rob Shaw retired in 2012, the club folded.

York, Black Swan The present club, in the upstairs room in one of the oldest pubs in York, has been running since the mid-seventies. It was the venue for Nancy Kerr and Eliza Carthy’s first gig together, in 1992."

(Not sure how Bean came up with his incredibly definitive "seventy-two on Merseyside" in his Introduction....)


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 11 Feb 19 - 02:46 AM

Personally, I found 'Singing From the Floor' mildly interesting but incredibly limited - and occasionally agenda driven
I'd be interested to know what the other contenders for the title of "Manchester, Wayfarers The first folk club in Britain" thought of the award being given to 'The Wayfarers' ((one of my early haunts)

"beloved of Jim Carroll."
Beloved by thousands when I entered the scene Hoot - Topic Records pioneered it and continue to stumble on with it despite the tsunamis of disinterest that continue to hit the scene
We had albums and even shops exclusively distributing the stuff and dozens of magazines animatedly discussing it and promoting it
I'm not sure whether your bringing me into is is a suggestion that my view is mine alone or an acknowledgement that folk music proper has been ethnically cleansed from the scene
I would hate to believe that me and all the hundreds of collections and works of my research are all that is left of folk song - if I did I'd be tempted to give outr collection to Oxfam and take up macramé
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: r.padgett
Date: 11 Feb 19 - 03:09 AM

Yes a definitive list remains illusive and will probably continue to be so ~ the legacy of this driven by collectors such as MacColl and Bert Lloyd, vinyl records and the early singer song writers, music hall, pubs, drop outs, post war ethos, entertainment and professionalism all contributed to the folk club boom ~ people wanted to entertain themselves and the "elders" wanted to provide a diversion where everyone could go and or participate

Unfortunately nowadays we are struggling to find even Youth clubs! Pubs continue to close and community spirit exists more in Food banks, god help us

Ray


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 11 Feb 19 - 05:31 AM

Hagman:

The book to which you refer isn't completely reliable.

It is true that Gill Cook ran a Monday night folk club at the Black Horse in Rathbone Place. But, the Ballads and Blues Association was already running a very successful Saturday evening club at that venue prior to Gill's Monday nights. Gill's club catered mainly to the more traditional audience but also included Jansch, Renbourne etc   The reason that the Black Horse ceased to be host to both was the sad early death of Danny the landlord.

The Singer's Club: I am not sure that their first venue was at the ACTT in Soho Square. I think there may be some confusion here. The Ballads and Blues Association had used this venue prior to the existence of the Singer's Club. I am sure that this came about because one of our part time team was a camera man for ITV and was the union rep there. If there are any people around who were at the first Singers Club nights the may be able to confirm their first venue. Was it the Bull & Mouth Tavern?

King & Queen, Foley Street; First club in Britain ??? Or do I misunderstand you?
Peta Webb and Ken Hall still run a very good club there.

The Fox, Islington Green I believe morphed into the Islington Folk Club at various venues which still operates in the Clerkenwell area.

Jim

The reason I mentioned your name is that you constantly bemoan the fact that the area of music which you define as folk is non existant in the English folk clubs. As I mentioned above it is possibly because the performers and their audience are sadly declining in number thanks to the grim reaper.

Why do you always think that a mention of your name is some form of attack?

And by the way I am well aware of the important role played by Topic. I once worked there. I would however question your "dozens of magazines".

Kenny B;

Thanks for the suggestion. I am aware of Tuba Skinny, perhaps you will let me know the next time they are to appear in a club in London.


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Subject: RE: UK 60s Folk Club Boom?
From: Johnny J
Date: 11 Feb 19 - 05:43 AM

Even our old school in Inverness had its own folk club during the sixties in the cellar known as "The Katacomb"

As "first year", I wasn't allowed down there.

Here is one of the original members

https://youtu.be/BtYdo3gPvZE


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 11 Feb 19 - 06:12 AM

"which you define as folk"
I don't define it - that was done far before my time
Until someone comes up with a n alternative and gets a consensus for it, that's the one which will remain
The fact that no-one has done so is indicative that my fears on the health of the folk club scene are well-grounded
If the present incumbents are dying off that underlines my fears
"Why do you always think that a mention of your name is some form of attack? "
Why mention my name as if I am the only one to hold the views I do
I suggest that, rather than dying off, enthusiasts left the scene when they kept finding "Clubs with no folk" (I'm sure there's a song in there somewhere !
Want a list - Folk Music, Folk Review, Sing, Sing Out - Spin, Troubadour, Tradition, Musical Traditions, Ethnic, Folk Bulletin, London Folk, Garland (2 diferent ones), Folk and Country, The Lark.... and the dozens produced by individual clubs, such as Manchester, Bristol, Nottingham, several in London, Birmingham
I know Karl Dallas edited at least four
That's off the top of my head - I'll nip up in the loft and dig out the names of the rest if you wish
These ranged from club info sheets to monthly discussion and idea exchanging publications
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 11 Feb 19 - 06:36 AM

And by the way
"I am well aware of the important role played by Topic. I once worked there. "
Me too - I spent several weeks installing several light and power circuits in the then new Stroud Green Road premises - like letting a kid loose in a sweet-shop
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: John MacKenzie
Date: 11 Feb 19 - 12:08 PM

There were so many, and they were so desperate, that even I got bookings ;)


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Kenny B (inactive)
Date: 11 Feb 19 - 03:58 PM

Hagman re Tuba Skinny 2019
POSTED BY ERIKA LEWIS ON TUBA SKINNY’S FACEBOOK PAGE:
“So, we’ve been scrambling to come up with a tour in the UK this summer, but unfortunately, do not have the funds necessary to make it there and back. We are hoping that next summer will provide the opportunities to make it happen. Thanks to all who have encouraged us to come over, hopefully we will see you next year!”
Yes, Erika, let’s hope for next year. The UK JAZZ COMMUNITY truly want Tuba Skinny to tour the UK and would be only too willing to help make it happen.


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Subject: RE: UK 60s Folk Club Boom?
From: GeoffLawes
Date: 11 Feb 19 - 07:09 PM

Hagman above said
Hull, Folk Union One The Folksons, who soon became the Watersons, opened their own club in 1959 in a dance hall. They moved on to Ye Old Blue Bell where in 1965 they and the folk club were featured in the BBC television documentary Travelling for a Living.
The BFI allows you to watch the whole 45 minutes of Travelling for a Living here
https://player.bfi.org.uk/free/film/watch-travelling-for-a-living-1966-online
I think the commentary refers to 2 or 3 hundred folk clubs but that seems a bit low.


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 12 Feb 19 - 04:38 AM

I suppose the question we ought to be asking ourselves is, why aren't we all driving Austin Cambridges and Singer Gazelles?

In those days, there were these things called factories making these wondrous vehicles. Somehow, you can't help feeling that something important has been lost.....


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 12 Feb 19 - 05:04 AM

Another thing, in those days, seeing a playable guitar was a wondrous experience. you wanted to hear what it sounded like, what its proud owner could actually do? Roomfuls of people would assemble to catch a glimpse of a guitar.

Its like cars. Nowadays - every bugger has got a car where you stick the key in and it goes - this was not always the case.


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Subject: RE: UK 60s Folk Club Boom?
From: John MacKenzie
Date: 12 Feb 19 - 07:20 AM


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Observer
Date: 12 Feb 19 - 07:59 AM

Cannot remember ever having gone to a folk club either to listen to a guitar or catch a glimpse of one - now who was singing and what they were singing was what in the main drew people in.

Those days unfortunately have gone, the accompaniment is now more important than the "song" which is more often than not bland, vapid nonsense.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 12 Feb 19 - 08:35 AM

Yes, Teribus. The summers were warmer, the snows deeper and the wagon wheels were bigger too!


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 12 Feb 19 - 08:56 AM

In the 60's Folk music had far greater exposure on both Radio and TV.
The Dubliners appeared on top of the pops,as did many other "Folk Artists". Julie Felix had a regular spot on the Frost report. Even in the 70's the spinners had a bbc show that ran for 7 years. Although the mediums of exposure were far more limited than today I would argue that the material on offer was far more varied for what could be classed "popular" music.i.e. given repeatable airtime on Radio London, Radio Caroline and the BBC. The demand for folk/contemporary folk was there, otherwise the material would not be on offer. Today if anyone wants to have entertainment of a particular genre,it is available in abundance. Does this saturation dampen the desire to explore? Is folk music now pigeonholed to oblivion, hiding in dark recesses where it can no longer be easily found. Or perhaps society has changed. The enforcement of breathalyser limits, the closure of many pubs, the increased cost of beer, all have played a part. Since 2000, the number of pubs in the UK has fallen by 17%, or 10,500 pubs, according to the British Beer & Pub Association. Even the renowned Surbiton Assembly Rooms is now, sadly, a part of Surbiton High School for Girls.


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Subject: RE: UK 60s Folk Club Boom?
From: Jos
Date: 12 Feb 19 - 09:22 AM

I'm surprised that the number of pubs has fallen by only 17% since 2000. I thought it was much more. There used to be five pubs within easy walking distance (about a mile) of my house - now there are two.


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 12 Feb 19 - 09:53 AM

Jos It depends upon whose figures are accurate. Another set of numbers:
https://www.iea.org.uk/sites/default/files/publications/files/Briefing_Closing%20time_web.pdf


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Subject: RE: UK 60s Folk Club Boom?
From: John MacKenzie
Date: 12 Feb 19 - 11:20 AM

Not forgetting Cy Grant on Tonight, and Lance Percival on TW3 (Or was it Frost?) Rory and Alec McEwan were almost ubiquitous, and there were sightings of Robin Hall and Jimmy MacGregor Later on the wonderful Grant Baynham performed on Rantzen, and I think Jake Thackray too. They were everywhere, Al Stewart, Don Partridge etc etc etc etc.


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 12 Feb 19 - 11:24 AM

Yes indeed The Spinners singing The Bleacher Lass of Kelnhaugh on Pebble Mull at one......taking fplk song to the people.

But did the traddies respect them......


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Hootenanny
Date: 12 Feb 19 - 11:40 AM

Yes John the list goes on but I don't think the above people would be accepted under the 1954? bullshit rules set up by the self appointed self important Folk Music Police.

Too much like entertainment, not serious enough.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Kenny B
Date: 12 Feb 19 - 12:42 PM

Hootenany, Al, John McMenzie * Iains very valid points

and are the F.M.P a bunch of masochists? who cling to the past but use all the modern devices to preach to the folks who have moved on
Just wondered?


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 12 Feb 19 - 12:45 PM

It is interesting that Luke Kelly recorded shoals of herring in 1957, and the Clancy brothers and Tommy Makem released a version. This was first released in 1962 by the author Ewan MacColl. The Dubliners recorded many Ewan MacColl songs, as did many other Folkies. Are Gordon Lightfoot and Ralph McTell not folksingers? Should the likes of the Dubliners and Dublin City Ramblers be dammed for performing contemporary material? and where would that leave the likes of Christy Moore, and dare I even mention Daniel O'Donnell or Foster and Allan?
All of the above have helped play a part in popularizing folk music over decades. It was their airtime that probably first encouraged more than a few members here to get interested/involved.

Does anyone take a blind bit of notice of the folk 'police' definition of what may or may not be folk. The limited sample of folk clubs and sessions that I have attended have made no distinction between old and new, other than to recognise the age difference. Does entertainment need to be subjected to the third degree in order to be enjoyed? Some may be interested in the origins, but what grants them a right to inflict their views on others. Most times research can give a series of possible solutions.
There is no guarantee that any of them are correct.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 12 Feb 19 - 01:22 PM

" I don't think the above people would be accepted under the 1954? "
I often wonder why it is those who oppse any form of definition are the only ones ever to mention '54 as a rule book - it isn't abd it is a red herring to suggest it is
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 12 Feb 19 - 01:34 PM

"set up by the self appointed self important Folk Music Police."
I thought we weer going to keep insulting out of these arguments
The only "folk police' here are those who try to close arguments by insulting them down
Pack it in please Hoot - no point in asking the other user of the term to do so
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 12 Feb 19 - 01:46 PM

I thought we were going to keep insulting out of these arguments
So did I and I don't like it - but the one in question is sort of vague and non-specific and it is not directly targetted at anyone.
It is the insults that are clearly directed at a person or persons that the mods will quickly delete.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 12 Feb 19 - 02:03 PM

Insulting of any sort is quite likely to get these threads closed
We have already had our fill of 'folk police' directed at individuals in these rec ent discussions to damn well know who they are aimed at
Please try to behave like adults
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Hootenanny
Date: 12 Feb 19 - 03:22 PM

Jim,

You are doing it again. Did I mention you? It is my belief as you have stated previously that you didn't get into the music until 1966, twelve years after the event which I alluded to.

I don't understand he "abd" in your post is that an abbreviation or just a slip of the fingers?


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 12 Feb 19 - 04:15 PM

Put very simply some people use their own discretion to decide whether a particular composition is folk music or not. They take great exception to those that would dictate a rigid defintion.
Below are two definitions that to my mind embrace the dichotomy for some and represent the fusion to others.
1)music that originates in traditional popular culture or that is written in such a style. Folk music is typically of unknown authorship and is transmitted orally from generation to generation.

2)The second meaning of "folk music" is a particular genre of music. The roots of this genre are in traditional music, but it is by no means all traditional. ... There are a number of different types of music which can be considered part of folk music, including traditional, acoustic, bluegrass, Celtic, roots, and old-timey.

The two represent a circle that cannot be squared. Therefore there is no point in arguing over it.


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 12 Feb 19 - 05:03 PM

Jim, you are happy to throw the insult at me, yet you dont like it when others just mention it without mentioning your name. on this forum you behave like a child throwing its toys out of the pram


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 12 Feb 19 - 05:38 PM

Only one person has had an insult deleted by the mods in this thread.


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 12 Feb 19 - 05:45 PM

>>>>>The two represent a circle that cannot be squared. Therefore there is no point in arguing over it.<<<<<

It's never stopped 'em before!


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 12 Feb 19 - 05:53 PM

I've always had problems using the word 'definition' when it comes to describing genres. The bit in the middle 'finit' relates to the adjective 'finite' which at least implies rigid boundaries that can't be crossed. So all examples of the genre are either 'definitely' inside or outside the 'definition'. I much prefer the Venn diagram approach.

I'm happy to use the 54 descriptors in my research work, but I'm also very happy to use the world-wide commonly accepted idea of what folk music is when discussing it with people who would recognise it, i,e, the vast majority of the planet.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Larry Poole
Date: 12 Feb 19 - 11:17 PM

Bluegrass isnt folk music, but a modern commercial style created by Bill Monroe.
You berate the loss of folk clubs, but no one even knows what they are here in the States.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Tunesmith
Date: 13 Feb 19 - 02:25 AM

I don't think that Bill Monroe was trying to produce " a commercial style" when he created Bluegrass, he was simply following his musically muse.
The same could be said for many music genres. For example, was Bach thinking commercially when he became one of the main architects of the Baroque movement? Or, Scott Joplin thinking commercially when he "invented" ragtime?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 13 Feb 19 - 03:03 AM

"You are doing it again. Did I mention you?"
It doesn't matter who you mentioned Hoot - terms like "folk police" turn intelligent discussions into childish mud-slinging sessions and suppress friendly eexchanges of ideas whether they are aimed at individuals or just ideas they disagree with
I didn't come here to discuss wither your "folk policeman" is bigger than anybody's "snigger snogwriter" - we should be above that level of behaviour
Let's move on eh ?
o individual has to decide what "their" definition of folk song is - we've already got one of them, in spite of the latest fad to attempt to de-define it and lump it in with popular music in general
I've spent the last year or so working on Irish Child Ballads
Some if the ones I have been dealing with were sung by non-literate Travellers who hvae kept them alive for centuries as an essential part of their culture - a way of expressing themselves as human beings
Others were sung by rural dwelling land workers, small farmers and fishermen who carried them through their lives, along with their FOLK STORIES, FOLK MUSIC, FOLK DANCES AND FOLK LORE, and claimed them as their own
At present I am working on a batch taken by starving Irish men and women fleeing The Famine, to America and Canada
Many of these people could hardly read and write, for some, English was their second language, if they spoke it fluently at all - yet they cherished and kept alive centuries old songs and stories, identified them as important and claimed them as their own   
A few years ago I stumbled across the fact that Irish Travellers and rural dwellers in most towns in Ireland made songs in their thousands to record everyday incidents of their lives, from revolution and land wars to local railways and shipwrecks
I have no reason whatever to believe that British people didn't do exactly the same - they were certainly capable of it and had the desire to do so
For me, these identify (if people have problems with the term "define") what folk songs are - what they have always been regarded as - THE SONGS OR THE VOICE OF THE PEOPLE
If anybody has a better way of defining "folk" they are entitled to put it (preferably without the childish name-calling) - that's what we are here for (that's what I'm here for anyway).

I have been accused of having a political agenda here - I can think of no greater "agenda" than to rob British people of their having made our folk songs
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Observer
Date: 13 Feb 19 - 03:24 AM

For example, was Bach thinking commercially when he became one of the main architects of the Baroque movement? Or, Scott Joplin thinking commercially when he "invented" ragtime?"

I would suppose that would depend on what Bach's, or Joplin's, full time job was at the time. Now for J.S.Bach we have the following:

Johann Sebastian Bach (31 March 1685 – 28 July 1750) was a German composer and musician of the Baroque period, which spanned from 1600 to 1750. - So he was a full time musician.

For Scott Joplin - Scott Joplin (November 24, 1868 – April 1, 1917) was an African-American composer and pianist. Joplin achieved fame for his ragtime compositions and was dubbed the King of Ragtime. Sometime in the late 1880s he left his job as a railroad laborer and travelled the American South as an itinerant musician. He went to Chicago for the World's Fair of 1893, which played a major part in making ragtime a national craze by 1897. - so another full time musician.

I believe that both in their own way hoped that their "style" in both composition and in performance would guarantee that they, in their own way, stood out from the pack in order to secure their living. Is that commercial?


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Sol
Date: 13 Feb 19 - 03:37 AM

Btw, I love "snogwriter".
Definition: a composer of intimate love songs?
:-)


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Subject: RE: UK 60s Folk Club Boom?
From: Jack Campin
Date: 13 Feb 19 - 03:39 AM

The fact that a song was collected from an illiterate in the late 20th century is no evidence at all that it was handed down orally for centuries. Illiterate people know people who can read song texts and staff notation. In the case of notation for instrumental dance tunes, this is a stone cold cert and it's often dead easy to work out which printed editions were involved in the chain of transmission that led to a specific performance learned by ear.


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 13 Feb 19 - 03:43 AM

tunesmith, Earal scruggs not bill monroe, created a new style of banjo playing which was thumb melody with continous sound [no gaps]. Lynn scruggs whao was a genius at marketing called it bluegrass, after the nickname for kentucky.
Jim you were happy to use the term folk police and direct it at me, you are a man of double standards.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Tunesmith
Date: 13 Feb 19 - 04:02 AM

Bill was the genius who put it all together.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 13 Feb 19 - 04:25 AM

"The fact that a song was collected from an illiterate in the late 20th century is no evidence at all that it was handed down orally for centuries."
Who's talking about the late 20th Century Jack - the oral versions of these songs date fack a century or so earlier than that.
The ones I'm working on now date back to the years following the Irish famine - Burns was collecting songs form Scots peasants earlier than that
Up to the middle of the 19th century literacy was an largely an urban phenomenon and the percentage of people who could read was fairly small
I find the idea of a farmworker going along to the local literate and asking him to interpret the printed words of a song rather.... well!
Travellers were overwhelmingly non-literate and largely outsiders yet they were the most important carriers of our biggest ballads
THe tunes were largely randomly chosen - few ready available printed versions came with tunes
As far as I can make out, the songs that were taken from print (we hae no idea how many were) were given tunes already in use

When push comes to shove, we have no idea who made our folk songs and never will
Our knowledge of the oral tradition dates back only as far as the work done by Sharp and his team, and that is both sparse and gathered at a time when the tradition was being remembered or iften reported from an earlier generation rather than taken down as a living art form
As things stand, we have only common sense as a guide as to who made our folk songs   
It's common sense to me that, rather than the urban, desk-bound hacks (poor poets) working under conveyor-belt conditions having made them, it is far more likely to have been the soldiers, sailors, farm-workers.... rural poor in general that make up the subjects of the songs who were the most likely authors
It took geniuses like Steinbeck, Sinclair and Noonan (Tressell) to write convincing accounts about working life - the hacks with their massed volumes of unsingable songs were as far from that as you could possibly get
If you accept that 'ordinary' people were capable of having made the songs, then you have to concede that they have a far more convincing claim than anybody else

I was extremely patronisingly described as "starry eyed when I quoted MacColl's last moving statement at the end of 'The Song Carriers' series

"Well, there they are, the songs of our people. Some of them have been centuries in the making, some of them undoubtedly were born on the broadside presses. Some have the marvellous perfection of stones shaped by the sea's movement. Others are as brash as a cup-final crowd. They were made by professional bards and by unknown poets at the plough-stilts and the handloom. They are tender, harsh,, passionate, ironical, simple, profound.... as varied, indeed, as the landscape of this island.
We are indebted to the Harry Coxes and Phil Tanners, to Colm Keane and Maggie MaccDonagh, to Belle Stewart and Jessie Murray and to all the sweet and raucous unknown singers who have helped to carry our people's songs across the centuries."


MacColl's view was that of virtually all the folk song scholars, so presumably they were all "starry eyed" too
The accusation was aimed at the entire folk repertoire, from 'Frog and the Mouse' to a Second World War song - it has since been adapted to include only the songs being collected from a dying tradition - doesn't leave me with a great deal of confidence in the accuser, I'm afraid.
MacColl's summing up has been verified for me in thirty odd years field work of interviewing singers who lived through oral singing traditions - I'm happy to continue to accept it until a more rational one is produced
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 13 Feb 19 - 04:28 AM

FOLK POLICE????

Anyway, the bottom line is that people can't have it both ways; if, as is often claimed, we still have a living folk tradition, then it is legitimate to identify some of MacColl's songs as 'traditional', even though he never made such a claim. If we don't, it isn't - simple as that.
"Who defines folk?"
The term has been defined and fully accepted by those working on the subject since 1846, when it was first used (and immediately generally accepted) by William John Thoms. The 1954 definition was merely a fine tuning to specifically apply it to song and music (this also was immediately widely accepted by those working in the field).
To date, it has never been re-defined to the satisfaction of those involved. The necessary consensus for re-definition does not exist, so the existing one stands and continues to be documented.
So who gets to define it? Nobody - it's been done
Jim Carroll

"Who defines folk?"
The term has been defined and fully accepted by those working on the subject since 1846, when it was first used (and immediately generally accepted) by William John Thoms. The 1954 definition was merely a fine tuning to specifically apply it to song and music (this also was immediately widely accepted by those working in the field).
To date, it has never been re-defined to the satisfaction of those involved. The necessary consensus for re-definition does not exist, so the existing one stands and continues to be documented.
So who gets to define it? Nobody - it's been done
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Jack Campin
Date: 13 Feb 19 - 04:56 AM

The fact that a song was collected from an illiterate in the late 20th century is no evidence at all that it was handed down orally for centuries.
Who's talking about the late 20th Century Jack


You were. You were describing songs you'd collected.


the oral versions of these songs date back a century or so earlier than that.

You can only know that if somebody wrote them down - if they stopped being purely oral at that moment.


The ones I'm working on now date back to the years following the Irish famine - Burns was collecting songs form Scots peasants earlier than that

And he published them. In books which sold in enormous numbers and got to the remotest corners of the English-speaking world within 10 years of his death. So everybody everywhere learned his versions. Found a version of "A Red Red Rose" that doesn't derive from his?


Up to the middle of the 19th century literacy was an largely an urban phenomenon and the percentage of people who could read was fairly small

It didn't take many. And we know there were enough to provide a living for itinerant chapbook sellers.


I find the idea of a farmworker going along to the local literate and asking him to interpret the printed words of a song rather.... well!

I can't help your lack of imagination. Anybody who could read the Bible could read a chapbook (though perhaps not all of them would want to). That's not a bunch of elite experts.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 13 Feb 19 - 05:26 AM

"You were. You were describing songs you'd collected."
Actually I wasn't - I was describing information we collected, particularly on local song-making, which had all but disappeared
The songs we collected sung by singers who learned them at the beginning of the twentieth century
We know of the existence of an oral tradition as far back as The Venerable Bede - passing songs orally probably predates that
I doubt if the sipngs Burns collected were sokld in enourmous numbers - his own poetry was but Johnson's 'Musical Museum' was somewhat confined in its sales, I would have thought - immaterial anyway
The people Burns Collected his songs from were highly unlikey to have bought them back as, even in Scotland, rural literacy was thin on the ground
One of the pieces we ded gether was from a Traveller ballad seller (the last gasp of the broadside trade) who described taking songs from the oral tradition (his fathers mainly) and reciting them to a printer who then made ballad sheets of them to be sold around the markets of Kerry - an oral tradition in print
I've been told that English farmworkers were far too busy to spendd time making songs, now I'm being told they had time and money to buy broadsides and run around looking for someone to teach them to him
You seem hell bent on wiping out any idea that working people made their songs - I thought I was the one with the "agenda"
Not convinced Jack, and I can't see wy you are
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 13 Feb 19 - 05:33 AM

In 1907 Cecil Sharp observed that the transmission of folk songs and the forms they took when they were collected and attested was the result of three factors: continuity, variation, and selection. These factors were expanded on in 1954 by the International Folk Music Council, which wrote that:

    Folk music is the product of a musical tradition that has been evolved through the process of oral transmission. The factors that shape the tradition are: (i) continuity which links the present with the past; (ii) variation which springs from the creative impulse of the individual or the group; and (iii) selection by the community, which determines the form or forms in which the music survives.

    The term can be applied to music that has been evolved from rudimentary beginnings by a community uninfluenced by popular and art music and it can likewise be applied to music which has originated with an individual composer and has subsequently been absorbed into the unwritten living tradition of a community.

    The term does not cover composed popular music that has been taken over ready-made by a community and remains unchanged, for it is the re-fashioning the re-creation of the music by the community that gives it its folk-character.


One immediate problem I have here is evolved through the process of oral transmission For the last century at least it would probably more correct to substitute aural for oral. If this is true then variation which springs from the creative impulse of the individual or the group becomes a deliberate reinvention. I would suspect the more accurate interpretation may be that words are misheard and the tune is slightly mistaken as the song travels from one person to another. Today when a mobile phone can capture both sound and vision flawlessly how can such evolution of a song/tune occur unless deliberate? This would take away a degree of spontaneity that is sort of implicit in the traditional view of song evolution and make it a deliberate cold blooded massacre of the original.
The 1954 definition takes no account of the impact of modern technology on it's perception of the folk process.


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Subject: RE: UK 60s Folk Club Boom?
From: Jack Campin
Date: 13 Feb 19 - 05:47 AM

I doubt if the sipngs Burns collected were sokld in enourmous numbers - his own poetry was but Johnson's 'Musical Museum' was somewhat confined in its sales, I would have thought - immaterial anyway

I deal with one consequence of that every week - pricing early editions of his works (which always included the songs he collected along with the original stuff). By the time you get to the 1812 editions they're not worth beans.

There is any amount of corroboration that he was a household word all over Britain, Ireland and North America long before the end of the French war. Allusions to his life and work in letters and newspaper articles never needed footnotes. To a lesser extent you could say the same about Tannahill, Campbell, Moore, Dibdin - singable folk-ish poetry got everywhere.


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Subject: RE: UK 60s Folk Club Boom?
From: GeoffLawes
Date: 13 Feb 19 - 05:49 AM

I remembered incorrectly when above I said I think the commentary of "Travelling For A Living"refers to 2 or 3 hundred folk clubs " the commentator actually estimates three or four hundred clubs, up and down the country. This is said 12 minutes from the start of the film


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 13 Feb 19 - 06:04 AM

Burns was on small collector - you seem to have honed in on him to make a far wider point and ignored everything else that has been said.
Collectors and researchers have never questioned that the fol made their songs - Motherwell even warned about tampering with the songs the people made

If you don't believe the folk made folk songs than you need t say that is what you believe and explain why you hold it
This is shadow-boxing Jack

This, from a newspaper cutting (I thin The daily Express) of around 1960 when the club scene was just beginning to flourish
Jim Carroll

SOME STRANGE FACTS ABOUT THE LATEST CRAZE……
JUST HOW INNOCENT ARE SIGNS LIKE THIS
By PETER BISHOP
A NEW TEENAGE CRAZE IS SWEEPING BRITAIN—FOLK MUSIC. BEARDED, DUFFLE-COATED YOUNGSTERS SQUAT ON THE FLOOR OF CELLAR CLUBS LISTENING TO FOLK SONGS TELLING OF LOVE, OF DEATH, OF OPPRESSION.
There are more than 200 of these clubs in Britain, with 250,000 members. More clubs open every week.
But this boom has some people very worried. For many of the movement's big names—singers, agents or record sellers—are either Communists or they hold extreme left-wing views.
And it is feared that, with folk music attracting more and more young people, there is a danger of their being wooed by Red propaganda. Just how great is that danger? Last week I took a close look at the folk music world.
There is no doubt that the Communist and left-wing element among its leading personalities is powerful.
For example, Topic Records, Ltd., of Hampstead, London, the leading company specialising in folk music, is controlled by a top intellectual Communist.'
He is 62-year-old Alan Bush, a rugged, bearded composer of serious music. His work is familiar and well liked in Russia. He has been there many times as a composer, conductor and as a fraternal; representative at the congress of Communist Composers.
Folk music fans who want to buy the latest records can go to a shop in New Oxford Street specialising in folk songs. It is owned and run by Collet's Holdings, Ltd. Collet's also run several book shops selling left-wing publications.
The company was once described in the Communist "Daily Worker" as a "commercial firm, but not a capitalist one," with its directors taking neither dividends nor profits.
The Folksong Agency, in Paddington, London, represents such top artists in the folk field as Ewan MacColl, Dominic Behan and Peggy Seeger.

'REVOLUTIONARY'
It is run by Bruce Dunnett, a Communist. He told me: "I have been a member of the Communist Party for many years.
"But I can assure you that politics and folk music don't mix.
"There are left revolutionary songs, of course. But then there are also traditional songs, songs of love and songs of protest.
"I am interested only in promoting and developing interest in folk music.
“If I or any other Communist, or Tory for that matter, tried to trot out dogma at a folk music club or concert they would soon tell me to shut up."
Mr. Dunnett agreed that folk music circles have a definite left-wing atmo¬sphere.
"That is because most folk songs have been, and are even now being, created by ordinary working people," he said.
The biggest name among folk singers in Britain is Ewan MacColl, a. bearded ex- playwright from Salford, Lancs, and a Communist,   
He sings in clubs up and down the country on such themes as the sad Irish workmen who laboured on the Ml, and on Timothy. Evans, the man hanged for a murder which some people; believe he did not commit.

CANDLELIGHT
MacColl, aged 45, told me: “Of course there are Communists and left-wing people who go to folk-song clubs.
"But then there are also Tories, Socialists, and Liberals. They go to listen to the music, not politics.
"They are inclined to tie in¬dividualistic, who would make known their objections if they thought attempts were being made to organise them politically or any other way."
Another folk singer is Karl Dallas. He specialises in the guitar and contributes articles to the "Daily Worker."
Now let's take a look at one of the clubs. The 200-strong Swindon Folksingers Club is run by, Ted Poole, aged 37, and his wife, Ivy. Mr. Poole is a Communist. He told me:
"The music we sing is left-wing because it comes from the workers.
"Most of the songs reflect the thoughts, emotions, oppres¬sions, passions and struggles of the working peoples."
The club meets on Friday nights in a candle-lit room at the rear of the Greyhound, Hotel, Swindon. It costs 2s. 6d. to join and admission to sessions is 3s.—non-members 4s
Mr. Poole added: “There is no sinister political motive in the background."
Finally, I talked to 42-year-old Eric Winter, folk singer, journalist, authority on folk music, and editor of a lively folk song magazine called "Sing."    .
He told me: "It's true to say that folk music and the clubs have a strong left-wing atmosphere.
"Many people who enjoy folk music are anti-Bomb, anti-apartheid, anti most things
“They’re not sure what they are for- but they would resent any attempt to introduce politics of any sort.”
So even if the Communist Party is contemplating a planned program to recruit from the folk-singing fans, it seems they will be out of luck.
BUT CLEARLY, IT IS A SITUATION WHICH NEEDS WATCHING


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Subject: RE: UK 60s Folk Club Boom?
From: Jack Campin
Date: 13 Feb 19 - 09:26 AM

The point is not who made them (which is often unknowable and not a very interesting question) but how they were transmitted. You are saying that print never figured in the process. I am saying that it almost always did; that songs moved to and fro between oral transmission and paper. Steve Gardham has documented the process quite thoroughly - you can trace features in orally collected songs which have to have gone through a known printed version.

For tunes, Dunlay and Greenberg's book on Cape Breton fiddle music goes into the sources quite well. So does Alois Fleischmann's "Sources of Irish Traditional Music", though he's less interested in tracing through the whole process.


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Subject: RE: UK 60s Folk Club Boom?
From: Tunesmith
Date: 13 Feb 19 - 09:48 AM

Jack Campin said : "The point is not who made them (which is often unknowable and not a very interesting question)"

Are you saying that knowing something about the person who wrote a folksong is " not a very interesting question"?
Surely, not.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 13 Feb 19 - 10:02 AM

"and not a very interesting question"
Not to you maybe - I think that, if they are to be recognised as 'The Voice of the People' it is pretty important to have some idea as of whether 'the people' wrote them or not
That may not interest you - it does me.

"You are saying that print never figured in the process."
Where did I ever say that ?
I've just described exactly how print figured in the process by the Travellers trade of ballad selling
Steve Gardham has produced earliest printed versions which says nothing whatever about whether they existed before those dates
Some of the ballad motifs occur in Homer we recorded a Cante-fable which echoes a tale dating back to Ancient Egypt, The Constant Farmer's Son/Bramble Briar features as one of Boccaccio's Tales, Lord Gregory has been linked to Chaucer and Lord Bateman to Thomas Becket's father
I these stories have been around that long, there is no reason why they shouldn't have existed as songs
MacColl includes Broadsides as a method of both distribution and creation - I have no argument with that
What I do have an issue with is to what extent.
teve Gardham has now arrived at his late 19th century dating - had he do so in the first place I would have no great is with it though I may quibble about the percentages
He has admitted that the oral tradition/broadside transmission/creation claim is a two-way street I can only see one-way traffic
We simply don't know definitively and can only make an educated guess based on what little we do have and the work of previous researchers, including those who were in the position to find out whether the songs they were researching originated on the then active broadside presses - Child's "diamonds in a dunghill" statement made it clear where he stood
The distressing thing about the new crowd is that they have set about dismantling and debunking he pioneers to fit their own idea in - a process started by the once discredited Dave Harker   
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Jack Campin
Date: 13 Feb 19 - 10:20 AM

You are saying that print never figured in the process.
Where did I ever say that ?


Here:

I've spent the last year or so working on Irish Child Ballads
Some if the ones I have been dealing with were sung by non-literate Travellers who hvae kept them alive for centuries


You're implying transmission was entirely oral.


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Subject: RE: UK 60s Folk Club Boom?
From: Tunesmith
Date: 13 Feb 19 - 10:35 AM

"You're implying transmission was entirely oral"
Really? What about the word "some"?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 13 Feb 19 - 11:01 AM

Thanks tunesmith
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 13 Feb 19 - 12:20 PM

'I'm sorry officer...'

'I wonder if you realise back there you were going Ralph McTell miles an hour in a Ewan MacColl restricted zone. Youg feller me lad, you could have caused a nasty accident causing death or serious injury to innocent folk traditions....'


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 13 Feb 19 - 12:33 PM

The people Burns Collected his songs from were highly unlikey to have bought them back as, even in Scotland, rural literacy was thin on the ground

Not so. One of the greatest benefits of overthrowing the Roman Catholic Church in Scotland's Reformation was the establishment at the insistence of the new Presbyterian Church, of schools in every parish in every village and town. These schools were free and open to all. By the turn of the 17th century Scotland, as far as its general population went was the most literate country in Europe.

Quite a number of songs written by Burns were written to save pipe tunes which due to the times could so easily have disappeared forever. He also sometimes adapted local stories for the lyrics of the songs put to these.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 13 Feb 19 - 12:40 PM

Happy to accept your word on that Guest Don't think it changes my general point though
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 14 Feb 19 - 01:23 AM

though I may quibble about the percentages."
you are a regular quibbler.


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Subject: RE: UK 60s Folk Club Boom?
From: Jack Campin
Date: 14 Feb 19 - 03:48 AM

Quite a number of songs written by Burns were written to save pipe tunes which due to the times could so easily have disappeared forever. He also sometimes adapted local stories for the lyrics of the songs put to these.

That's not true. Burns got his tunes from published sources - he didn't need to write the tune down when sending a song to a publisher, he could just name it and the publisher could easily find it. I don't think there is any song in his entire output that used a Highland pipe tune - the pipe tunes he did use were Lowland ones also current as song airs or fiddle tunes.

He also didn't use rare tunes. He generally picked currently fashionable ones: it made sense to ride the wave when something like "Miss Admiral Gordon's Strathspey" was being played everywhere.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Howard Jones
Date: 14 Feb 19 - 04:23 AM

I started going to folk clubs around 1970, when I was still at school. At that time I lived in Essex, and in addition to the Chelmsford club referred to in Hagman's list, there was also a club in Brentwood (run by Geoff and Pennie Harris) and a singers' club at Blackmore. Later a club started up at Margaretting. There were one or two other fairly shortlived clubs, including "contemporary folk" club in Brentwood. My school had its own folk club in partnership with a couple of other nearby schools, which was where I first began performing. I could easily visit at least three clubs a week, and several more with a little more effort.

Despite the concerns expressed about "left-wing indoctrination" I was aware of very little political activity and most people were interested in singing traditional songs rather than ones addressing modern social issues.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 14 Feb 19 - 06:38 AM

Howard
Unfortunately (maybe) politics of one sort or another goes through both traditional song and the revival as 'Blackpool' goes through rock - the very idea of a 'Voice of the People' is a politico/social statement in itself
The few patriotic songs in the repertoire are poltical statements in favour of the status quo
Our poaching and transportation songs are responses to the enclosures, songs of social misalliance are statements on class differences
The ballad, Tifitie's Annie reflects the changes being wrought when the power of the gentry was being replaced by that of the merchant class...
While not commenting on these situations,they certainly reflect them - some of the singers had no illusions of how political they were
Harry Cox sang 'Betsy the Serving Maid' for Lomax and spat out, "And that's what they thought of us - worthless"

The revival was largely set into motion by politicos, first the Workers Music Association (which later established Topic), Lloyd, MacColl, Henderson... even Luke Kelly wore his politics on his sleeve
It's as hard to separate the early revival from C.N.D. as it is the Civil Rights Movement from its songs
The earliest songs published are the largely anonymous ones to be in Thomas Wright's 'Political Songs of England from the reign of John to that of Edward II
MacColl, Seeger, Rossleson and the rest weer borrowing from a very old tradition to make their songs
I think the problem sometimes is that they disapprove of the "wrong type of political songs".
You want to see political songs at their most effective, try Terry Moylan's magnificent 'The Indignant muse'
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 14 Feb 19 - 07:16 AM

Howard,there were two clubs in Brentwood, the second was not as you describe contemporary, this was at the railway, i used to sing there regularly and i sang trad unaccompanied material, i never saw you there ever, i met you first at chelmsford, there was also a club at havering , where i booked yourself, nic jones,doloreskeane and john faulkner, colin cater tom mconville bob fox, all trad, but the booking policy was mixed


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Subject: RE: UK 60s Folk Club Boom?
From: r.padgett
Date: 14 Feb 19 - 10:29 AM

Was there not a club at The Castle at Brentwood?

Ray


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Peter
Date: 14 Feb 19 - 10:36 AM

@Sandman
I think you are a bit out on the timeline.

The club at The Railway was earlier, I think it had already folded when I first went to Brentwood Folk Club as a teenager in 68. Certainly nobody ever mentioned it as a place to go. The "contemporary" club ran at the Arts Centre in the 70s.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Peter
Date: 14 Feb 19 - 10:40 AM

Ray
That was the club that Howard mentioned, run by Geoff and Pennie around 1970 and previously by Nic Jones,


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Subject: RE: UK 60s Folk Club Boom?
From: John MacKenzie
Date: 14 Feb 19 - 01:40 PM

Do you know. I stopped visiting Mudflap for a long time, due largely to the type pettiness which has sprung up in this thread.
Sadly having decided to return a bit more often, I find the the same people seem to be flaunting the same chips on the same shoulders as they always have.
FFS get a grip, and either grow up or take your inability to see anybody else's point of view, somewhere where it doesn't impinge on ordinary decent folkies.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 14 Feb 19 - 01:46 PM

If you can't discuss folk song on Mudcat where can you discuss it - or maybe we shouldn't and go with the flow?
Jim Caroll


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Subject: RE: UK 60s Folk Club Boom?
From: John MacKenzie
Date: 14 Feb 19 - 02:48 PM

There's discussing folk song, and then there's pontificating, not to mention the inability to admit that someone else might have a valid point. It's not so much the discussion, it's the puerile tone of it.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 14 Feb 19 - 03:03 PM

"There's discussing folk song, and then there's pontificating
No John
There's discussing and there's standing on the sidelines telling others what they should and shouldn't be discussing
Join in or don't - you can't have it both ways
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 14 Feb 19 - 03:08 PM

Isn't it strange that those who shout "folk police" loudest are quite of those who fit the description best ?
Maybe not !
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 14 Feb 19 - 03:32 PM

John Mackenie wrote:-
Do you know. I stopped visiting Mudflap for a long time, due largely to the type pettiness which has sprung up in this thread.

I see this as a real problem on Mudcat. It seems to me that there are fewer people posting on Mudcat than there used to be. I know that I post much more rarely than I used to. I reckon that if I were to leave Mudcat for half a year and then came back, then before logging on I could predict who would be saying what about who actually wrote the folk songs in the first place, about the niceties of definition and who was feeling insulted by who and why. Circumlocutive exchanges from entrenched positions would continue to prevent resolution of discussions.

Meanwhile we would be six months further down the road to Global Warming Armageddon and we still could not be sure which songwriter's compositions were acceptable in folk clubs.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 14 Feb 19 - 03:43 PM

That's what I just can't get to the bottom of, Vic. Why are some contemporary compositions acceptable while some are not? Who gets to decide which is which? If folk clubs are non prescriptive, who enforces what is acceptable? And if it sounds like folk, looks like folk and smells like folk, what the **** does it matter who wrote it anyway?


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 14 Feb 19 - 04:04 PM

I went to folk clubs that everybody seems to have forgotten.


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 14 Feb 19 - 04:04 PM

I went to folk clubs that everybody seems to have forgotten.


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 14 Feb 19 - 04:45 PM

Folk festival do not seem to be doinmg as well as they used to


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 14 Feb 19 - 05:28 PM

And if it sounds like folk, looks like folk and smells like folk, what the **** does it matter who wrote it anyway?

Seems reasonable to me! Surely the boundary between country and folk is also a very amorphous one. The transatlantic sessions would not have worked unless the two were intimately linked.
For example the STREETS OF LAREDO and https://mudcat.org/thread.cfm?threadid=22885


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 14 Feb 19 - 06:51 PM

All this faffing and bullying and not one single response to the fact that the clubs that cater for genuine folk song are fighting for breath (except we are all dying off - probably right of course, but an indication of failure)
EFDSS has walked away from the real thing, the New age researchers have decided we got we wrng or made it all up, plenty of insults and a few excuses
Confirmation enough, I think and not particularly hopeful
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 14 Feb 19 - 06:56 PM

Incidentally - in response to the decades old thread - nobody defined folk - it defines itself by its very nature - the clue is oin two wotrds "traditional" - a process that creates and ploriferates folk song; and "folk" - the people who made it and passed it on
Plenty of books on the subject and enough genuine folk singers on record as having described what we are talking about.
Those who don't know what it is don't want to - nothing much you can do about that
G'night all
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Hagman
Date: 14 Feb 19 - 07:56 PM

From Jim's post above:

"SOME STRANGE FACTS ABOUT THE LATEST CRAZE…… JUST HOW INNOCENT ARE SIGNS LIKE THIS By PETER BISHOP
...
There are more than 200 of these clubs in Britain, with 250,000 members."

So, on average, each club had 1,250 members?

Either the rooms above pubs in those days were really big, or newspaper sub-editing in 1960 was just as bad as it is today.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 15 Feb 19 - 03:02 AM

Sorry to labour the point, Jim, but if you say things like "clubs that cater for genuine folk song are fighting for breath" you need to be consistent about what genuine folk song is. You have said yourself that Ewan MacColl did not write folk songs so anything by him cannot be a 'genuine folk song'. Yet you say his songs are acceptable in folk clubs. If his songs are acceptable then other contemporary songs are as well. I ask once again, who decides what is acceptable and what is not?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 03:21 AM

Hagman
It was an politically agenda-based article reflecting the suspicion of the establishment media towards a strongly independent musical movement that in those days couldn't be controlled or trusted - happy days, as far as I'm concerned.
I have no doubt those figures were arrived at with minimal effort and by someone with total ignorance or interest of either the scene or the music it once represented
The idea that 'ordinary people' (no such animal) could actually put their own thoughts and aspirations into verse must have sent them scurrying shitless for their shotguns and bullet-proof vests
My late friend, Charles Parker, once put it in a nutshell - "A traditional love song well sung is a fist in the face of the establishment"

Now, it seems, many of today's folkies measure success by how many times they appear on the establishment media or how many CDs they can sell or how many paid gigs they can get - not a happy situation for what was once a fresh, new grass-roots movement based on the idea that anybody can sing and our music was as good as any ever produced, if not better

In my opinion, a half decent history of the folk revival has yet to be written
Mike Brocken's effort is far too one-sided and based on gossip rather than researched facts
'Singing From the floor' I found skimpy and, based on my own experiences, superficial and inaccurate
A radio programme on the history of Topic Records, 'Little Red Label' was summed up in one magnificent statement, "Ewan MacColl" (the singer who composed up to three hundred songs, and probably far more) "didn't like new songs".
A knowledgeable but detached history of the revival, such as Peter Cox's history of the Radio Ballads, 'Set Into Song', would help enormously clear up many of the myths, misunderstandings and ill-feeling surrounding who did and didn't do what when....
I've just been given an excellent embryo article on the early days of the folk revival by a friend - I look forward with some interests to see the reception it will get
I can already see the crucifixes, holy water and garlic being got ready
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 03:40 AM

"you need to be consistent about what genuine folk song is. "
I've already done that Dave
I have never at any time said that genuine folk song can't exist alongside songs created by using folk styles as a template - in fact I have repeatedly said I believe it to be essential
I see no reason on earth why someone who can listen to 'The Flying Cloud' with pleasure can't get equal enjoyment out of say, 'Shellback' or 'The Tenant Farmer' or Leon Rossleson's 'World Turned Upside Down'
On the other hand, it is totally beyond me why traditional songs should be lumped in with poor renditions of Buddy Holly or early sentimantal tear-jerkers - or anything anybody cares to hang the 'folk' label on for personal convenience   
If you give your music a name, that name has to mean something or not only are you conning the punters but you are destroying the future of the real thing (as is becoming increasingly apparent)

The separation of traditional and non-traditional song is not necessary for the clubs (as long as they relate to one another in some way) but it is essential for research purposes
I do both - I take great pleasure in singing and listening to folk or folk-related songs and always have, but I am also deeply interested in the role that the folk arts played in the social history of the British and Irish people
I need to be able to recognise and understand the differences between the two if I am going to be able to discuss my beliefs and finding with others
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: John MacKenzie
Date: 15 Feb 19 - 04:48 AM

Now, about this 60's folk club boom mentioned in the title of this thread.
Was that the one where we all sang Tom Paxton, Bob Dylan and Ewan MacColl? Or was it the mythical one, where we all sang Thousands or More,and the Trimdon Grange Explosion, endlessly?


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 15 Feb 19 - 05:08 AM

As I have said before, I first saw Ralph McTell perform streets of london" in the Surbiton Assembly Rooms.
Proclaimed to be the largest folk club in the UK(23000 members at the time it closed)


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 05:15 AM

"Was that the one where we all sang Tom Paxton, Bob Dylan and Ewan MacColl? "
You may have done - we sand MacColl, Enoch Kent, Pete Smith, Miles Wooton... and all the other dozens of writers composing using trditional styles
The Paxtonites and Dylanites had little time for our songss and we weren't particularly impressed with theirs so they set up their clubs and we set up ours - no animosty particularly, just a mutual agreement that we were doing something different
I wentt ot both for a time till the reall stuff began to occupy most of my time and pleasure
Now both have been swept aside by the 'singing horses' and electric soup crowd
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 15 Feb 19 - 05:21 AM

Jim, the choice is not between the obvious folk style and the obvious non-folk style. There are plenty of songs and artists that are somewhere in between Ewan MacColl and Buddy Holly. It is not as black and white as you suggest. There are grey areas in between and it is those that I am questioning. Who decides which is acceptable at folk clubs and which is not? There cannot be an arbitrary line between the two that suits all people so help us out here. What side of the divide do artists like Ralph McTell, Eric Bogle and Anthony John Clarke fall on? Should their songs be sung in folk clubs or not and why?


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Subject: RE: UK 60s Folk Club Boom?
From: John MacKenzie
Date: 15 Feb 19 - 05:24 AM

I saw Ralph at Surbiton too Iain. I was booked there once (only once you'll not be surprised to hear) and was one of the residents in latter days, along with Hector Gilchrist.


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 15 Feb 19 - 05:44 AM

Thanks Dick, I'd forgotten about the Railway. I remember going to a club near Brentwood station to see Vin Garbutt, was that the one? I don't recall while I didn't go there more often.

Your excellent club at Havering was just outside my normal radius so although I visited fairly frequently I was not a regular. I'd thought of this club as one of the others I could reach with a little more effort. i remember also sometimes going to clubs in Romford, Upminster and Southend.

The point I was trying to illustrate was that at that time there was a host of clubs in that area. Between them they offered a full range of music across the whole spectrum of "folk", and there were plenty of opportunities to hear traditional music. The standards were usually reasonably high, and no matter how tiny the room (I'm particularly thinking of Blackmore) floor singers were expected to come to the stage to do their bit. Good days.


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 15 Feb 19 - 05:58 AM

Jim I agree with much of what you say about politics in folk song. Even the songs which are simply about love, work or bloody murder shed some light on social conditions and can be interpreted in a political way. However not everyone sees things through a permanent political prism and many people simply enjoy the songs for their own sake.

It is also a matter of history that the revival in its early days was particularly driven by people who were politically active, and for whom folk music was part of their activism - hence the slightly hysterical "reds under the bed" article someone quoted earlier. You have written about groups you were involved with where the politics were as important as the music. However at the clubs I visited politics as such were seldom openly expressed. I have no idea of the political views of most of the people who attended these clubs, even though I got to know many of them well. We were there for the music.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 06:08 AM

"Ewan MacColl and Buddy Holly"
Sorry Dave - I can see little point in continuing this discussion when we are so far apart
Th two bear bear no relation to each other and there is no common ground between them
One is commercial based and manufactured for sale, the other is narrative based and intended to carry emotions, experiences and opinions
No reason you can't 'like' both (I used to) but they are as different as chalk and cheese and mixing them is bound to damage both
You may as well say that because peol,e like and sing light opera thnn if as a viable candidate for folk song venues
Are you saying that - if not, why not ?

Howard, I was interested in your comments on floor singers - my experience to
Everybody-gets-a-go singarounds were new kids on the block on my scene - you weer expected to have put in the effort before you were lel loose on an audience - fair both on them and you - who enjoys making an arsehole of yourself in public
The number of times I've don that I want to forget
You can strut you stuff among friends without having them make the effort to come out to see you - informal singing can be an incredible way of developing your skills given the good will and ability to discuss your performances
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 15 Feb 19 - 06:53 AM

Jim, you have misconstrued what I actually said once again. I am not comparing the two. Read my post. What I said is There are plenty of songs and artists that are somewhere in between Ewan MacColl and Buddy Holly. It is not as black and white as you suggest. I know that the two bear no relation to each other. That is the point. I am looking at the artists that lie between the two and asking where do you draw the line.


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 15 Feb 19 - 07:27 AM

Dave wrote:-
It is not as black and white as you suggest. There are grey areas in between and it is those that I am questioning. Who decides which is acceptable at folk clubs and which is not? There cannot be an arbitrary line between the two that suits all people so help us out here.

Breakfast time in the Smith house, some time in the early 1970s. Sitting at the table are Vic and Bert Lloyd - he has sung at our folk club the evening before. Vic had been outlining his confusion about what exactly constitituted a folk song and what didn't. His points closely resembled what he has just quoted from Dave. Bert's reply was an analogy that Vic remembers clearly more than 45 years later.
"Look out of your window. I think that we can agree that it is daytime. If we were still sitting here at 10 o'clock tonight, we would look out of the window and agree that it was nighttime. However if you were to ask a hundred people to nominate the exact moment when day became night, you would get a hundred different answers. It is the same with the 'What is folk song?' question.

Wouldn't it be great if we could just embrace Bert's Vive la différence stance? But this is Mudcat so we cannot.
<><><><><><><><><><><><><><><><>

"Ewan MacColl and Buddy Holly"
Sorry Dave - I can see little point in continuing this discussion when we are so far apart
Th two bear bear no relation to each other and there is no common ground between them
One is commercial based and manufactured for sale, the other is narrative based and intended to carry emotions, experiences and opinions


Would anyone know if there is any way of comparing the amounts of money earned from their songwriting of both Charles Hardin Holley of Lubbock, Texas and James Henry Miller of Salford, Lancashire, both before and after their deaths? If we were to have those figures then we would know which had made the most money (i.e. were the most commercial) by researching the facts rather than belief based on unsupported personal preference.
My guess would be that the amounts earned by both these excellent songwriters, both great favourites of mine, would not differ by a great amount.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 07:49 AM

You have to be joking Vic (even if it was material)
Ewan and Peg kept head above water with occasional tours - apart from First Time Ever which came late in life and was a total surprise, the royalties they got from songs was minimal
After Ewan died Peggy gave me a tape of 'First Time' recorded by 'pop names' - they had receive payment for less than half of them
Tey didn't write songs to make money - most of which made zilch
Immaterial - the songs appeal to different people for different reasons
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 15 Feb 19 - 07:51 AM

Thanks, Vic. I'm glad the esteemed Mr Lloyd agrees :-) I am more than happy to embrace the difference but, as you say, this is the Mudcat after all!


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 15 Feb 19 - 08:12 AM

they had receive payment for less than half of them
Sadly this is an all too common experience amongst songwriters of all genres and stages of fame. Then there are the well documented occurrences of artists approaching songwriters to say that they would record their song providing the composing rights were split 50/50 with the singer. I've even seen a letter sent to a songwriting friend of mine which brazenly stated, "After all, a half of something is better than a whole of nothing!" Sad to say, he accepted the offer.
All business tends to be dirty and full of crooks, but the music business is well up near the top of the list.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 08:15 AM

Incidentally,
"James Henry Miller"
The use of a name officially changed by a leading contributor to our understanding and enjoyment of an important branch of the arts nearly seven decades ago - three decades after the singers death, for me sums up the small-minded spite and in-fighting that has often made the revival the unpleasant place it has become - are we now going to have to include Robert Zimmerman in our discussions (why do I doubt it)?
What next - Ethel Gumm and Archie leach maybe ?
It really is time the folk scene embraced adulthood
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 15 Feb 19 - 08:30 AM

I tried an internet searches for "royalty earnings of..." both singers in question and, perhaps understandably, neither threw up any figures and only in the case of Holly were there any significant hits. There were a number of sites detailing how the inexperienced young Texan had been ripped of by the big record labels. The stories are horrific if not unexpected.
A quote from one said, Holly only received 16 2/3s percent of the songwriter royalties from The Crickets first hit, “That’ll Be the Day.” when it was well known that he wrote both the lyrics and the melody.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 15 Feb 19 - 08:32 AM

You keep doing this, Jim. You latch onto one small part of a post and use it as a straw man. You used my 'Ewan MacColl and Buddy Holly' entirely our of the context in which they were mentioned and you have now zoomed in on one small section of Vic's 'Charles Hardin Holley of Lubbock, Texas and James Henry Miller of Salford, Lancashire'. Everyone knows who both are just as they know who Robert Zimmerman, Harry Webb and Reginald Kenneth Dwight are. Buggered if I know Ethel Gumm though.

Alexa, who is...


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Subject: RE: UK 60s Folk Club Boom?
From: John MacKenzie
Date: 15 Feb 19 - 08:34 AM

and tolerance


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 15 Feb 19 - 08:45 AM

Can you explain why mentioning the birth names of Archie Leach, Robert Zimmerman, James Henry Miller, Ethel Gumm and Charles Hardin Holley can be construed as "small-minded spite and in-fighting that has often made the revival the unpleasant place it has become"?

The two birth names that I mentioned were given in the context of recording royalty contracts and I imagine that those were the names that - legally - were likely to appear on those contracts. When my wife is asked to sign any document with "Christine Margaret" as the forenames, she has to pause before she signs it and realises that it refers to her because she has been "Tina" since she was a baby.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 09:28 AM

"You keep doing this, Jim."
Keep doing what Dave - I have challenged you on majotr points and you persistently ignore them take up incidental points yourself
My points are these
Folk song has been regarded a peoples creative art for well over a century
It has been identified, researched and documented and defined as being distinct from all other art forms -
it is unique both in its origins and its sound - easily recognisable
By many/most, it is regarded as a carrier of social history
It comes from a time when people weer active participants in their culture rather than the passive recipients they have become - the makers and re-makers of their songs and music
The fact that it is in the public domain is indication enough of its recognised uniqueness....
Given all this, you argue for lumping it in with commercially manufactured pop songs that have long outlived their shelf life (totally neglecting to even mention the damage and confusion that this has generated on the folk scene)
I referred to it because you brought it up, but Buddy Holly isn't by any means the only one to feature in many fok club performances
I was at a folk concert in Scotland a few years ago when a singer whose singing I enjoy immensely sent the evening crashing in flames by finishing it off with two Cliff Richards numbers - as good as the night was, those are he songs that stick in my memory - a spectacular anti-climax to an otherwise highly enjoyable evening   
Do you know any other art form that would tolerate such bahavour ?
Imagine an evening of Mozart String Quartets being topped off with a couple of Scott Joplin numbers
I love both - in their place - when I go out in the evening I expect to be afforded the choice of what I listen to otherwise I might as well stay at home and listen to may own collection - which, I believe many thousands of folk enthusiasts have long been doing

Vic
MacColl changed his name by deed poll many decades ago - he had his reasons for doing so
hat is the name he operated under and has been long racognised by - it's only crumblies like us who know why Jimmy Miller was over half a century ago, yet his name is still used, along with his war record and a song he made when a large slice of the world people revered the man he was singing about - the world has moved on - some of us haven't it would appear
I don't give a toss whether people share my liking for MacColl and his singing
What I do care about is he fact that MacColl and his co-researchers left an invaluable body of work on folk singing that is nigh near impossible to discuss without having to scramble over this almost impassable heap of personalised garbage
'Tina', 'Jim', 'Vic', 'Dave' are friendly diminutives of real names, Jimmy Miller died sometime in the 1940s yet his name still pops up three decades after Ewan MacColl's death - about time that was put to res too, doncha think ?
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 09:33 AM

Meant to ask John - what are we supposed to tolerate ?
I mt opinion he 'singing horse' approach to folk song has all but killed off the clubs where you could go and hear folk songs
Singers on this forum have described feeling out of place when singing unaccompanied traditional songs
Not so long ago a contribute complained that long traditional ballads weer inappropriate" in the folk clubs he was trying to organise a tour in
Is that what we are expected to tolerate ?
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 15 Feb 19 - 09:45 AM

Gasps of horror on the folk scene and Mudcat!!!!!
Jim, actually has a point, in most of what he has just posted. Leaving aside the personal bickering and the references to birth names which are pretty pointless anyway if you think about it.

Traditional songs in particular are indeed in the most part quite different beasts to those produced during the second revival by the likes of Ewan and all those who followed in his wake. They have evolved in a different way in an enormously different era with different influences.

The 54 descriptors are perfectly good as long as you don't throw around thoughtless words like 'unique'. To be 'unique' every song would have to be one side of the fence or the other and this is daft.

The other meaning of folksong, the one 99% of the population uses, is much broader, but perfectly valid. Most of it hasn't gone through any of the processes described in '54' so cannot qualify for that meaning. That doesn't make it any less valid.

In the 60s and since, most reasonable people have used the adjectives 'traditional' and 'contemporary' to describe these 2 different beasts, both types widely included and accepted on the 'folk scene'.

Now what went wrong on Mudcat that produced about a trillion posts arguing the toss?


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 15 Feb 19 - 09:49 AM

Keep doing what Dave Quoting out of context. As you just did then :-) I explained fully and if you had quoted the full section

You keep doing this, Jim. You latch onto one small part of a post and use it as a straw man. You used my 'Ewan MacColl and Buddy Holly' entirely our of the context in which they were mentioned and you have now zoomed in on one small section of Vic's 'Charles Hardin Holley of Lubbock, Texas and James Henry Miller of Salford, Lancashire'.

I am sure you could have answered the question yourself.

Your other points are quite valid apart from Given all this, you argue for lumping it in with commercially manufactured pop songs that have long outlived their shelf life which is something I have never done. I have challenged you before to show us where I have done this. You failed to do so then and I know you will fail again this time because I have never made that claim.

I have always said that both traditional and contemporary songs can be sung at the same club and I fully appreciate that not all contemporary songs would be suitable. Just as not all traditional songs would be suitable for a 'non folk' audience. What I am desperately trying to get out of you is the answer to my question as to where the line should be drawn. Which contemporary songs are acceptable and which are not.

You are missing the point altogether with the Ewan and Buddy statement so let me try and put it another way. We all know that Ewan's songs are acceptable while Buddy's songs are not. There are literally millions of songs between those two extremes. Which of those can be sung at folk clubs and which can not. Who decides which to accept into the annals of folk and which to reject? I suspect it is the audience that have the ultimate say but I am interested in what other people think.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 10:02 AM

"Jim, actually has a point, in most of what he has just posted. "
Is there any need fro this nastiness Steve
My world was one were we cooperated and shared our ideas and not tried to talk each other down
Dave Harker seems to have left his nasty hand-prints over today's scene
I still don't understand why '54' should be an issue with the new age researchers while most of us old school hardly refer to it
Of course our folk songs are unique - those who think otherwise simply haven't been listening
Nothing like 99% of the population know, care or ever refer to folk song (there go those mythical percentages again) - one of our great failings
"Traditional and contemporary" had its uses even though it didn't stand close examination
We had Traveller singers refusing to sing fifty year old Country and Western songs because the were not 'the old songs' but wite happy to describe Traveller-made songs composed within a year or so of their being made because they considered them traditional artifacts of their culture
All irrelevant to this discussion anyway - we seem to have a revival that prefers Taylor Swift to Joseph Taylor
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 15 Feb 19 - 10:08 AM

i have never heard of taylor swift, but howe many people other than Martin Carthy champion, JosephTaylor


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 15 Feb 19 - 10:09 AM

Any sensible performer wanting to please his/her/their audience would tailor their set to what they think the audience would want to hear. Personally I wouldn't want to sing a 20 verse ancient ballad to a general non-folk audience, unless they were expecting something unusual.
I mostly sing in popular singarounds nowadays, unless booked, and I tailor my songs initially for variety, and dependent on what has just been sung before my turn comes around. Because there is usually a number of visitors there I'll try to sing some well-known songs they can join in with, or something obviously entertaining in other ways.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 10:19 AM

"I have always said that both traditional and contemporary songs can be sung at the same club a"
Isn't this what I have been saying all along Dave - could have swoen I've said it repeatedly
It depends on how they relate to one another - or even if they do,
****** if I can see how Buddy Holly et al fits into all this
Imagine what would happen if you got a bunch of pop fans turning up and being given a night of ballads and narrative songs
The genres not are not only miles apart in their utterances contradict one other - easy listening to attention demanding
Throw in poorly performed pop songs and you've lost them forever
I sometimes think this drive to pass off dead pop songs as 'folk' has more to do with elderly folkies trying to relive their youths raher than artistic reality
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 10:25 AM

"how many people other than Martin Carthy champion, Joseph Taylor"
Quite true Dick - and thereby hangs the problem
In my world everybody knew who he was and what he sang - and Sam - and Harry - and Walter- and Cecilia.... and the rest
I remember being involved in one of these arguments with someone who thought John Strachan was a Scottish footballer - maybe he was, but the one I was referring to was the great Scots ballad singer   
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 15 Feb 19 - 10:30 AM

So, we are agreed that contemporary songs are welcome at folk clubs. That is one bridge crossed. Now, how about the next one.

Which contemporary songs are acceptable, which are not, who decides and how?

Forget Buddy Holly if he just confusing you. His name, along with Ewan MacColl's was only being used to illustrate the different types of contemporary songs anyway.


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Subject: RE: UK 60s Folk Club Boom?
From: Rain Dog
Date: 15 Feb 19 - 10:40 AM

Vic Smith wrote:

"Breakfast time in the Smith house, some time in the early 1970s. Sitting at the table are Vic and Bert Lloyd - he has sung at our folk club the evening before. Vic had been outlining his confusion about what exactly constitituted a folk song and what didn't. His points closely resembled what he has just quoted from Dave. Bert's reply was an analogy that Vic remembers clearly more than 45 years later.

"Look out of your window. I think that we can agree that it is daytime. If we were still sitting here at 10 o'clock tonight, we would look out of the window and agree that it was nighttime. However if you were to ask a hundred people to nominate the exact moment when day became night, you would get a hundred different answers. It is the same with the 'What is folk song?' question."

He said much the same in the documentary

A portrait of folk singer A.L. Lloyd by Barry Gavin at 48:20


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 10:47 AM

"So, we are agreed that contemporary songs are welcome at folk clubs."
Only if they relate - there's has never been an argument about that Dave
About a third of my repertoire is made up of contemporary songs
It's pop songs past their sell-by date and Victorian tear-jerkers I have problem with
The sound and function of the songs is the deciding factor for me - any evening requires a homogeneous whole if it is going to hang together and satisfy those who attend
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,John from Kemsing
Date: 15 Feb 19 - 10:49 AM

Jim,
    Although this point strays from the thread subject, surely a song about a disaster or event that happened many years ago or about an historic, notorious character and was written at that time is in good company with any newly composed song that relates to modern events. Disasters are disasters. I have a tape somewhere with Martin Carthy singing about the Falklands War and I hope he continues to perform contemporary songs.


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 15 Feb 19 - 10:59 AM

I remember being involved in one of these arguments with someone who thought John Strachan was a Scottish footballer - maybe he was, but the one I was referring to was the great Scots ballad singer

I hope I may be permitted to say that they were both the same person. The farmer and ballad singer John Strachan who sang at the first People's Ceilidh in Edinburgh in 1951 and judging by the reception that he received on the recordings of the event by Alan Lomax was outstandingly well received by an enthusiatic audience was in his younger days also a semi-pro footballer in the Highland League.
And taking this diversion of what Stuart Hall called "The Beautiful Game" in 1958 a stage further.....

When was the first live radio commentary on a football game?
1927
Who were the teams and where was it played?
Aberdeen V. Glasgow Celtic played at Pittodrie Stadium
What was the result?
Aberdeen won 2-0
And who was the commentator?
Yes! It was the same..... John Strachan!
No recording obviously, but wouldn't I have loved to have heard John's rich Doric Aberdonian language - very similar to my grandmother's - describing a football match.
...and wasn't the previous matter resolved by the admission that there had been a confusion between John Strachan and one of Scotland's greatest footballers, Gordon Strachan?


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 15 Feb 19 - 10:59 AM

Yes, I fully understand that, Jim. I think you may have answered my question with

The sound and function of the songs is the deciding factor for me - any evening requires a homogeneous whole if it is going to hang together and satisfy those who attend

It is the sound and function for you. Others may think differently.

I am no longer a folk club organiser but when I was we had a fairly successful club. It still is but that is beside the point. If I was still organiser there and wanted to keep my core audience, attract new members and satisfy the needs of a very important visitor, Mr Jim Carroll, what contemporary songs should I showcase and which should I avoid? No need for specifics and take it as read that you don't want anything that has been in the pop charts. What generic sound and function does the trick?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 11:46 AM

"I hope I may be permitted to say that they were both the same person."
Didn't know that Vic - thanks
I'd always assumed he was talking about Gordon Strachan
THe proof of the pudding lies in the eating - if you can think you can lure young people into folk clubs with badly performed and out of date pop songs mixed in with narrative songs that require attention if they are going to work good luck with that one (from what I've seen of your club from your links, it doesn't seem to have worked there
I believe, based on personal experience, that the removal of the identity of folk songs from the folk clubs drove thousands of us away from the scene and led to the dreadful contusion that surrounds the term 'folk'

John
"is in good company with any newly composed song that relates to modern events."
Of course they are and very welcome, but I can think of no pop songs that do so
The songs that did work and fit in perfectly for me were ones like 'The Hull Trawler Disaster' or 'Grey October', or Guthrie's 'Deportees', or Jack Warshaw's 'Grape Picker's Tragedy' or, on a lesser scale, Pete Smith's'Clayton Aniline' - or even the anonymous Munich air disaster song, 'Flowers of Manchester'... many songs of this ilk were regularly performed in our clubs and welcomed with open arms - I sang several of them myself
We have a friend living in our market Town, who is a member of one the great dynasties of traditional singers - a household name
He came to our house a few years ago to discuss some of his songs with a view to making a CD - Pat and I were moved almost to tears to hear his own composition about a refugee fleeing the incredibly nasty situation in former Yugoslavia
He recently told me of his admiration for MacColl's 'Fields of Vietnam' (I suspect he was drawn to it because Ewan used Robert Cinnamon's beautiful epic-sounding air for 'Napoleon Bonaparte'
For us, these are examples of traditional forms being used to create new songs
Whether they will ever become folk songs isn't in our hands, nor should it be - nobody has the right to declare a folk song 'folk" - that's the job of 'the folk'
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 15 Feb 19 - 12:05 PM

... the anonymous Munich air disaster song, 'Flowers of Manchester'...
I always heard and thought that "Flowers of Manchester" was written by Eric Winter, the Editor of Sing magazine. This website would seem to bear this out.


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 15 Feb 19 - 12:11 PM

Buddy Holly probably grew up nearer to folk and rural traditional singers than most people in England. I don't think you would have to look deeply into his early work to discern traditional song patterns.

he sounds like a hillbilly to me.


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 15 Feb 19 - 12:32 PM

from what I've seen of your club from your links, it doesn't seem to have worked there
What links? What club?


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Hootenanny
Date: 15 Feb 19 - 12:33 PM

And Didn't Buddy Holly use the traditional "Shave and a Haircut" rhythmic chanting for one of his songs as used by Bo Diddley and probably many more before him.


Dave,

If Alexa has failed you try the star of "The Wizard of Oz".


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Subject: RE: UK 60s Folk Club Boom?
From: Jack Campin
Date: 15 Feb 19 - 12:41 PM

Conversely, Gordon Strachan the football manager was not the same person as
Gordon Strachan the Church of Scotland radical theologian. I don't think either of them could sing all that well - I knew the theologian slightly but never asked.


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 15 Feb 19 - 01:06 PM

"Jim, actually has a point, in most of what he has just posted. " (SG)
Is there any need fro this nastiness Steve (JC)

Your paranoia coming out again.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 01:55 PM

"Your paranoia coming out again"
"Gasps of horror on the folk scene and Mudcat!!!!!
Jim, actually has a point, in most of what he has just posted. "
You seem to moved on from patronising me to ridiculing me - not what I became used to down the years and totally unnecessary
Niether is necessary - I know my place in the order of hings just I I know yours
Nice editing, by the way
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 15 Feb 19 - 02:12 PM

Since Jim is back could he answer my question about my links and my club for he has left me feeling puzzled?


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 15 Feb 19 - 02:25 PM

You did the editing. I just copied it, but thanks for the compliment!

Basically when we agree with you were being 'nasty'.
When we compliment your work we're being 'patronising'.
Looks like a mild paranoia to me!


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 15 Feb 19 - 02:31 PM

Me too, Vic!

Jim, what links and what club?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 15 Feb 19 - 02:54 PM

!You did the editing.
yOU WROTE IT
"but thanks for the compliment!"
No compliment intended - you need to learn to receive what you dish out
"Looks like a mild paranoia to me!"
Looks like yet another attempt to patonise and insult to me - far too much of that around as it is
"Since Jim is back"
Didn't realise I'd been anywhere - must go easy on the cooking sherry
"What links? What club?"
Sorry Vic - that was intended for Dave who put up links to his club

Off shortly to enjoy a weekend devoted to traditional concertina playing rudely interrupted by a day's traditional singing in the north of the county
When we wrote our letter (entitled "where have all the Folk-songs gone" t o The living Tradition, we were greeted by a barrage of protest not unsimilar to this - one particularity from a group sounding more like a firm of solicitors than a folk group (Boyes Cooper and summat) stood out
They suggested the we were suffering from the boredom of the "long, dark winter nights in Miltown Malbay" - wonder if they're still doing the rounds and how busy they are compared to here
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Jack Campin
Date: 15 Feb 19 - 03:32 PM

Boom and fizzle has been the norm for all kinds of music for centuries, with the cycles steadily shortening since the 18th century. 1815: waltzes. 1842: polkas. 1850s: Highland pipes. 1870s: brass bands.

Those all stuck around for a while. Later on they tended not to. 1900ish: ragtime 1915: jazz - which only survived by becoming something quite different every decade, finally vanishing below public visibility around 1970. The Charleston: maybe ten years from 1920. Foxtrots: not much longer. Instrumentals featuring weird sounds: 1940-1960. String-based easy listening: 1950-1970. Rock and roll: more durable but mainly hung on by fusing with other things. Trippy synthesizer music: 1970s.

Is it really surprising that revived folk ran out of novelty on the same timescale as the Twist?


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 15 Feb 19 - 03:36 PM

Thank you for the clarification and apology, Jim

a group sounding more like a firm of solicitors than a folk group (Boyes Cooper and summat)
(Barry) Coope, (Jim) Boyes and (Lester) Simpson were for quite a number of years the top attraction on the folk club scene in England. The fame that surrounded them mainly due to their wonderful suites of First World War Songs which resulted in their gaining several BBC series to deliver their songs. This made them a major venue attraction with their fees way beyond the means of folk clubs but in spite of this they would fit in visits to our club in Lewes as we had booked them as individuals and as a group even before their rise to fame. I am very grateful to them for doing so.
All three have a very strong background in traditional song and I would rate their album of folk songs Hindsight and their album of folk carols A Garland of Carols as amongst the finest by folk revival singers this century.
Jim & Georgina Boyes have now moved to live in Belgium but Lester and Barry have joined forces with the superbly talented sisters Jo Freya & Fi Fraser in a quartet called Narthen.

Perhaps the oddest thing about your post was that it combined this perjorative description of these very fine performers with a sentence that included the words "you need to learn to receive what you dish out" when actually there is never any call for comments that demean others. Mudcat would be a much healthier place without them.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 15 Feb 19 - 03:38 PM

The only links I have posted are of me performing, Jim. From these you have determined that "it doesn't seem to have worked there". Thanks a bunch. You really know how to bolster a man's confidence.

Don't complain about anyone else being personally insulting again. Just when I thought we were beginning to understand each other.


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 15 Feb 19 - 03:39 PM

Coope. Boyes and Simpson....not my cup of tea but i should have thought they were yours, Jim. Very traddy.

undeniably talented. i should imagine they're all doing okay.


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 15 Feb 19 - 08:06 PM

Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham - PM
Date: 15 Feb 19 - 10:09 AM

Any sensible performer wanting to please his/her/their audience would tailor their set to what they think the audience would want to hear"
Nic Jones once said to me, you dont ask the audience what they want to hear you convince them that they want to hear what you want to perform, that what performing is about, you grab the audience


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 15 Feb 19 - 09:12 PM

Well Nic never grabbed me, He was a fine musician. A great fiddle player. People forget that because his singing and guitar playing were so good.
because He got great reviews for his albums in MM at the time, People turned out to see him - he was definitely on the radar.

But he never spoke much on the stage and presented his songs and explained why he chose them. So it was largely unfamiliar material to the audience, which is asking a lot.

In that period, folk club audiences were always polite and appreciative, but I never seemed to hear gasps of admiration or saw people queuing up after the gig.

He was a better really as a recording artist. The albums have stood the test of time.


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Subject: RE: UK 60s Folk Club Boom?
From: r.padgett
Date: 16 Feb 19 - 03:20 AM

Yes the Folk club boom of the 1960s was multifaceted ~ entertainment ~ singing choruses, see and listening to the likes of Nick Jones with his guitar skills and accompaniments to traditional songs

June Tabor and Maddy Prior ~ the folk entertainers, Tony Capstick, Mike Harding etc

The opportunity to try out songs and get others to sing along ~ a voyage of discovery as to where "we" came from that is our social and family history in song ~ Fred Jordan, The Coppers, The Elliotts (of Birtley) etc

People at gigs may have been hero worshipers but I certainly was too bashful to approach the booked guests!

Must say I still enjoy harmony singing groups ~ Derek and Dorothy Elliott (of Barnsley), The Voice Squad superb

Ray


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 16 Feb 19 - 03:30 AM

agreed.
theres a great little quartet round here of adults old enough to know better calling themselves No Direction.
very jolly!


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 16 Feb 19 - 03:41 AM

Apropos of nothing at all, Derek and Dorothy had a shop in Whitby. Dunno if they still do. It had pictures of Derek with various cast members from Heartbeat on the walls. Funny that a traditional singer was in a TV series with a Buddy Holly song as a theme init... :-D


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 16 Feb 19 - 03:51 AM

Did the average punter in the 60's go to a folk club to be entertained,educated, both,or some other reason?
Speaking for myself I would not want to hear a never ending dirge like the unquiet grave in a folk club, but could happily listen to John Conolly singing selfpenned material about the Grimsby/Hull fishing industry.If I received an education from my experiences it was peripheral and incidental, I was there for entertainment.
I wonder if traditional and contemporary folk music passes the old grey whistle test and would this account for the longevity of certain material?


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 16 Feb 19 - 03:57 AM

Derek was not a traditional singer he was a revival singer who sang trad songs thers a difference.the elliots of birtley are not to be confused with derek elliot


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 16 Feb 19 - 04:12 AM

Not really interested in the firm of solicitors, just their ill-informed rudeness about my chosen home town
Rudeness, envy and back-biting seems to be a built in part of today's folk scene
Nice to add yet another myth (about MacColls hidden millions) to my collection - perhaps one day we'll be able to discuss is work and ideas - should we all live that long!!!

"Any sensible performer wanting to please his/her/their audience would tailor their set to what they think the audience would want to hear"
Dedicated singer (performer sounds far too professional) should realise that the first person to please is themselves - do that and you stand a far better chance of taking your listeners with you
Despite rumors to the contrary, I have firmly come to the conclusion that our folk songs were made to respond to what was happening around them and to record it in song - we've actually been told that by source singers and have recorded descriptions of songs being made
The 'sale' aspect of singing and songwriting was, with very little doubt, always a secondary issue until the hacks entered the picture and, as has been admitted by the print origin lot, that was a two-way street - nobody will ever know which direction the bulk of the traffic moved, we can only use our common sense to decide that - dates men nothing if you don't have all the information

Ray's description of the revival in no way coincides with my experience
We were lucky to have MacColl and Seeger as residents, but we relied on all our residents - booking guests was a break in the normal run of things
Our clubs - there were several - were very much grassroots affairs designed to promote the songs - not the singers - and to encourage the making of new songs
Can't say that any of Ron's first list were among those I'd make much of an effort to seek out
The source singers, most certainly, The Stewarts, Willie Scott, Seamus Ennis, Paddy Tunney, Walter Pardon, Joe Heaney, the Travellers we recorded, Jeannie and Lizzie... I was lucky to see them all and many more
I wasn't there, but Pat remembers the night Harry Cox was the guest and started rather uncomfortably, until he turned his back on the audience, spat his new false teeth into his handkerchief and turned around and transfixed the audience with his singing

The Singers was among the first to stick traditional Irish musicians in front of a folk club audience, we saw the best, McCarthy, Casey, Meehan, McGlinchey, Sherlock...
I still have a recording of the glorious night when Offaly box player, John Bowe formed an instant friendship with Bert Lloyd on the Singers Club stage
A club member asked us to book this new fiddle play he'd just heard, so we booked a fresh-faced young Kevin Burke and his mate, P J Crotty - magic nights that never leave you - I wouldn't swap one of them for all your folk superstars
That's what the revival meant for me.
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 16 Feb 19 - 04:36 AM

So, Jim, do you really think the links I provided of my performances at Swinton prove that the folk club there is no longer working? The songs I linked were me performing 3 pieces at different times. "The old cock crow" unaccompanied; "The harvest of the moon", with concertina accompaniment and a guitar piece of unknown origin that I learnt from my Dad. I would have thought they were just the type of pieces that work in folk clubs. Why do you say "from what I've seen of your club from your links, it doesn't seem to have worked there"?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 16 Feb 19 - 04:42 AM

" there is never any call for comments that demean others. "
My comments were in response to their initial rudeness Vic
You tend to be somewhat myopic when it comes to bad manner and insulting - ignoring the bits that suit you - even describing them as harmless and only objecting when it's from someone you don't agree with
I pointed this out on the 'New Book' thread.
This latest is an example
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 16 Feb 19 - 04:42 AM

If you have forgotten them just Google "Dave Polshaw YouTube" and all 3 appear. The middle one is incorrectly titled "The harvest of the moon".


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 16 Feb 19 - 05:06 AM

How are you ever going to raise the profile of your music if you call each other names.

As I say,   Lester Simpson - i've seen several times. He tells these folk tales. And Coop Boyes and Simpson have been doing their thing about twelve years that I know off. they are your actual arts council/BBC sort of thing. Immensely competent and dedicated.

My boat stays unfloated, but lots of people like them. I'm an old fart pub singer. I dropped the ball sometime after Leapy Lee made number one. you can't expect me to get it.

But these guys are on your side. they would be on your side in any argument.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 16 Feb 19 - 05:25 AM

I know you are on your way out, Jim, but if you can see your way to answering my question as soon as you can I would appreciate it. It is very important to me.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 16 Feb 19 - 06:25 AM

"How are you ever going to raise the profile of your music if you call each other names."
Said the feller who's just referred to several of us as "toadies"
"So, Jim, do you really think the links I provided of my performances at Swinton prove that the folk club there is no longer working?"
That wasn't my point Dave - I was a referring to poorly attended clubs populated lagely by oldies failing to attract new blood
I wouldn't dream of condemning what goes on there on the basis of a couple of clips
It's what you argue should happen at folk clubs that divides us
A folk club that fails to make folk song its main feature simply isn't doing its job
The question of standards is an important one but judging that needs a wider picture than a couple of clips can give

One thing that strikes me is that the internet may be a way of critically discussing performances with a view to improving them
The barrier to that of course is in making clear that positive criticism is not insulting or condemnation - not when it's delivered on a "good bits and bad bits" basis
THe other hurdle is the cloak of invincibility parts of the reivival has wrapped itself in - evidence of it here with good singers (ie, singers the poster happens to like) are above criticism, summed up by the old joke"
What would you do if you came home to find your missus in bed with Georgie Best   
Throw on another blanked 0- you don't want the bugger catching cold before Saturday

Nobody should ever be above criticism
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 16 Feb 19 - 06:53 AM


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 16 Feb 19 - 07:03 AM

Ah, OK. Thanks Jim. The clips I posted do not show what you seem to say and the chap taking the videos was in fact a young man so, if your impression was that Swinton was failing to attract new blood you are only partially right. There was certainly not many younger people but there were some. That seems to be the way of things and you will find that there are not many oldies at a rave!

It's what you argue should happen at folk clubs that divides us
A folk club that fails to make folk song its main feature simply isn't doing its job


Once again I am at a loss as to your meaning. The clips I linked are of me (and a number of others if you look) singing folk songs so, once again, how were we "failing to make folk songs a main feature"? Which of the songs I mention above are not folk songs and why? If we need to improve things we need to know what!

Also, again, I have never argued that "anything should go" at a folk club and you have failed to provide any evidence or where I am supposed to have done so. If you cannot back up the statement please stop making it, Repitition does not make something true as I think you pointed out to someone else once.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 16 Feb 19 - 07:17 AM

"That seems to be the way of things and you will find that there are not many oldies at a rave!"
Whataboutism is no excuse
I was twenty one when I became involved and by three years younger sister did so at the same time
I was still buzzing from Duane Eddy, Buddy Holly, Rickie Nelson et al, and for a while continued to do so
It is more than a litle dismissive to claim that young people can' be involved
We sat in a room alongside the two generations of late friend Tom McCarthy - Clare piper and concertina player
His daughters daughters, their spouses and their six/seven (too many to count) children - all superb musicians sat and listened whie Toomt Keane (pipe spuse of one of the daughters) gabe a two hour talk on Tom's music - then followed by a mini-concert by family members
A truely magic night dominated by youngsters just as at home in a session as they are at a rave
We misjudge the youth if we believe them to be incapable of incapable of our music, and we do ourselves no favours either
Once again, I made no comment on either the standard or the content of your club
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 16 Feb 19 - 07:50 AM

Try and follow this one:-

From: Jim Carroll - PM
Date: 15 Feb 19 - 02:54 PM
When we wrote our letter (entitled "where have all the Folk-songs gone" t o The living Tradition, we were greeted by a barrage of protest not unsimilar to this - one particularity from a group sounding more like a firm of solicitors than a folk group (Boyes Cooper and summat) stood out
They suggested the we were suffering from the boredom of the "long, dark winter nights in Miltown Malbay"

In an effort to reduce unkind comments on this thread, Vic writes ...

From: Vic Smith - PM
Date: 15 Feb 19 - 03:36 PM
Perhaps the oddest thing about your post was that it combined this perjorative description of these very fine performers with a sentence that included the words "you need to learn to receive what you dish out" when actually there is never any call for comments that demean others. Mudcat would be a much healthier place without them.
Jim defends himself by saying....

From: Jim Carroll - PM
Date: 16 Feb 19 - 04:42 AM
My comments were in response to their initial rudeness Vic.
Vic thinks about this. He checks, using the Mudcat member search facility to see whether Barry Coope, Jim Boyes or Lester Simpson have ever posted on Mudcat. None of the three ever have. This brings another question to Vic's mind....

None of these three people are likely to read your comments about them on this forum as there is no evidence that they ever visit here. If their comments, made in the magazine Living Tradition, about the "long, dark winter nights in Miltown Malbay" are so hurtful to you, why don't you take them up with the magazine rather than posting them here? After all, the editor of that magazine also makes her home in the western part of the fair land of Erin and probably suffers as badly from the blasts of Boreas, the shivers brought by Jack Frost and the other spirits that control the shorter daylight days. She may have sympathy for your cause.
We have enough problems with home-grown Mudcat insults without importing them.


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 16 Feb 19 - 08:06 AM

the point is that Coope, Boyes and Simpson are very much on the traddie/purist wavelength, like yourself.

I've never pretended to be.

I just thought a bit of group solidarity might reduce the need for uncritical toadyism.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 16 Feb 19 - 08:24 AM

Ok, Jim. So your comment "from what I've seen of your club from your links, it doesn't seem to have worked there" was only aimed at an apparent failure to attract young people. I can see that now and apologise for my earlier misinterpretation. In my defense, it can be difficult to follow your posts at times but I will try harder. However, what you failed to see on the clips is that it was a young man that recorded the songs and there were other young people in the audience that were not captured on video so your assumption is wrong.

I will also point out that as the club is run in a pub and does not get underway until around 9pm we did not expect children to attend. By young people in this case I mean 20-40. I have never suggested that young people can't be involved either so I have no idea where your statement that it was dismissive came from.

We now go on to address your line "The question of standards is an important one but judging that needs a wider picture than a couple of clips can give" and I agree with that. One cannot condone or condemn the actions of a folk club on the evidence of a couple of clips or on pure hearsay. You need to go to the club a number of times to be able to judge how they are faring. With that in mind, I ask you how many folk clubs in England have you attended recently?

I eagerly await your response.


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 16 Feb 19 - 08:51 AM

The clubs I went to in the 70s were filled mainly with young people in their 20s and 30s, although there were a few older ones as well. That generation is the still the one I see in the clubs I go to now. However young people haven't given up folk music, they are starting up their own clubs, just as my generation did, and presenting the music their own way, again just as my generation did. I don't see anything wrong with that.

As for folk clubs not featuring folk songs any more, I think that is a consequence of the shrinking club scene. Like it or not, the term "folk" covers a fairly broad spectrum, and the clubs I wrote about earlier all covered a range of music. If the music at one club didn't suit you there were plenty of other clubs which would. Now that choice isn't there, so everyone is forced together. They may be performing songs which may not be to everyone's taste, but they have no alternative.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,RS
Date: 16 Feb 19 - 09:02 AM

The folk clubs in Reading that I went to in the 60s were wonderfully eclectic in their range of performers, & leaned more towards the blues/Jansch side (courtsey of the likes of residents such as Mike Cooper, Derek Hall, Bill Boazman etc ) - if they'd been more trad in nature, as I later discovered was the case in many places, I reckon they'd've been less appealing to many of us - I was luckier than I knew.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 16 Feb 19 - 09:11 AM

" With that in mind, I ask you how many folk clubs in England have you attended recently
Been there, done that Dave - the internet has made that totally irrelevant
When somebody names a good singer who, with a little search, turns out to be a crap singer singing crap, you know something is not right
Equally, when people argue for clubs being venues for songs not remotely relating to folk you know that all the visits in teh world are not going to change what you will find
The same applies to using crib sheets, having no standards... and all the other things argued for here and elsewhere, the idea that all is not well is confirmed
ou only need to look on the EFDSS website and could that with Rod Stradling's editorial, you have to admit something is sadly amiss at the very place that should be at the helm
Meaningless and often insulting comments like "purist" and "folk police" are indications that people are turning away from folk song and using the term to mean something else, which by and large they are totally unable or unwilling to define (including you BTW) are indications that the scene has become directionless
"Long ballads" being "inappropriate" is an out of hand dismissal of the cream of the folk repertoire
Fall in attendance, reduction in number of clubs, often described discomfiture at singing unaccompanied songs (or even old songs) - all suggesting a terminal decline
The shift from competent resident to paid guest, festivals taking over from locally based clubs.... how much evidence do you want ?
Folk clubs with out folk songs are not only pointless, they do damage to the future of our art (that really is what it is)
I love singing, I have always loved listening to good songs reasonably performed, but my interests go far beyond that   
Last nights trip to town to hear the children and grandchildren of a twenty year dead piper friend play superbly left me waling on a cloud
A couple of minutes on Mudcat has brought me back to earth with a bump
Never mind, off to here another dead friend being discussed and demonstrated in an hour or so
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Sol
Date: 16 Feb 19 - 09:22 AM

Clubs nowadays are tending to descibe themselves as "acoustic music clubs" rather than "folk clubs". This provides a clear open door to all genres (Americana, blues, trad, etc.) Anything involving applification is still regarded as a no-no however, I have witnessed a few discrete 'plug-ins' here & there.


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 16 Feb 19 - 10:11 AM

Equally, when people argue for clubs being venues for songs not remotely relating to folk you know that all the visits in teh world are not going to change what you will find
The same applies to using crib sheets, having no standards... and all the other things argued for here and elsewhere, the idea that all is not well is confirmed
ou only need to look on the EFDSS website and could that with Rod Stradling's editorial, you have to admit something is sadly amiss at the very place that should be at the helm


Rod is not the person to go to for opinions about folk clubs. When we were at his place in Stroud last year, he told me that the only folk club that he had been to in the last fifteen years was ours - and that was because we had booked him. This does not mean that he is no longer involved in live music. He plays in his dance band, he is a regular at song and tune sessions in his area and he was raving to me about a concert that he has just seen in Bristol by Eliza Carthy's latest band. He finds concerts with hearing loops and small sessions more suitable and acoustic folk clubs in larger rooms more difficult with his hearing loss problems
I have more sympathy with his current position with the EFDSS and I feel that there is some sense of loss of direction since Malcolm Taylor retired. There are still great things being achieved by them in terms of the archiving of recordings of traditional song. The Full English is utterly admirable and the society hosts the vital and vast Roud Folk Song Index. I really like Katie Spicer the current CEO and she has worked wonders in terms of major fund-raising from the ACE and the HLR as well as attracting corporate funding. All this comes with strings attached so the emphasis has moved to sponsoring projects and to putting singers, dancers and musicians into schools - especially those that are finding it difficult to attract full-time music teachers. The evaluation asked for by these organisations calls for analysis of numbers of those attending, so when, as a member, I press for the Thomas McCarthys and Will Nobles of this world, it is explained to me why this is not always viable.
Unlike Rod, I remain a member of the EFDSS and will press for any action that supports traditional music. I vote in their elections and am very pleased to see people I know and respect like Alistair Anderson, Fi Fraser, Nicola Kearey, Mike Heaney and Corrine Male on the Governing Board.
I have no sympathy for those who criticise the EFDSS without joining to try to being about a change in direction. Similarly, those who do nor regularly visit and support folk clubs and encourage the organisers when they feel they are doing something well and expressing doubts about what they are less engaged by will never achieve change. I know that as an organiser I always was guided by club regulars and acted on suggestions that I thought helpful.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 16 Feb 19 - 10:55 AM

Been there, done that Dave - the internet has made that totally irrelevant

Sorry, Jim, but it doesn't make it irrelevant at all. There are a number of ways of measuring most things. The style, quality and general demenour of folk clubs being one of them. I agree with you entirely that the internet has a place in making these judgements but, as you said yourself, "The question of standards is an important one but judging that needs a wider picture than a couple of clips can give" (Emboldening is mine). There are clips on the internet, there is anecdotal evidence and there is experiencing things for yourself. All these things go to make up the larger picture. I am not saying that the evidence that you present is not right, but it is not the whole picture. Just as mine is not because I can only report what I see in the clubs I am familiar with.

You say the whole folk club scene is in dire straights because of the evidence you have gathered. I say it is not because of the evidence I have gathered. If we put our evidence together we will probably find that the situation is somewhere in between where not everything is failing but there is considerable room for improvement.

Neither of us is wholly right or wrong and that is something I think we can work on.


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 16 Feb 19 - 12:58 PM

Dave and Vic, well put. I'm in total agreement.


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Subject: RE: UK 60s Folk Club Boom?
From: r.padgett
Date: 16 Feb 19 - 03:06 PM

I am pleased that some ppl had the good fortune to see and hear some traditional singers at their folk clubs in the 1960s and 1970s on a regular basis ~ I think that most like me were happy to see and hear revivalist singers and the odd opportunity to meet the likes of MacColl, Bert Lloyd, Arthur Howard, Frank Hinchliffe, Vin Garbutt, Cyril Tawney, Bod Davenport and others who were around ~ of whatever ilk showed the range of ppl around at the time!

Of course there is a fine body of upcoming ~ nay established professional artist and groups doing the rounds at the moment

Festivals and concerts and as I mentioned before vinyl records and sleeve notes were a great source of knowledge and information

Ray


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 16 Feb 19 - 03:18 PM

Agreed, Ray
I can be as nostalgic as the next person when it comes to remembering the 60s, but if I am being honest and realistic the current performers, including the current crop under 40, are at least as good and as numerous, and, dare I say it, more knowledgeable of the background to the music simply because there is infinitely more information readily available.


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 16 Feb 19 - 03:28 PM

Steve i disagree, we had closer contact to tradtional singers willie scott etc, and no i do not think they are any better, the standard is much the same, but the standard of floor singers now is lower


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Subject: RE: UK 60s Folk Club Boom?
From: Jack Campin
Date: 16 Feb 19 - 03:59 PM

Steve has put a lot of effort into discovering the historical background to traditional music. So have I, and I agree entirely that the message has got through - younger players have a much better idea of where the stuff they play came from than those of a generation ago. Partly a change of attitude and partly what the Internet makes possible - a fiddler today coming across a wacky tune like "Catharsis" might well think, what was that all about? and if they ask the question it's only going to take minutes to find the composer's story about it in her own words. And it's a good story, well worth using in a performance. The charm of wilful ignorance wears off pretty fast.


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 16 Feb 19 - 04:44 PM

Yes, Dick, we did have access to traditional singers in the flesh, but today's youngsters have even greater access to their singing as much more is available online and on albums, thanks to many websites which make this available, Mustrad, EFDSS, ITMA, Kist of Riches, Yorkshire Garland, Farne, Sussex Traditions, etc. etc.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 03:35 AM

EFDSS gives only a bunch of singer songwriters in sound and, according to Stradling, have totally abandoned anything traditional in their magazine
The editor of Mustrad has pointed out that, unless are some radical changes, Musical Traditions with have to rethink what they are doing
ITMA is part of the rise in the fortunes of Irish Music due to dedication that appears to be missing from the English scene
The School of Scottish Studies is a wonderful site but , as all such resources, can only be useful if there is back-up work to assist its use
At one time, the club scene was once very much a part of that work - no longer the case with a revival which no longer seems to know what folk song is and, even worse, does not even want to talk about it.
These sites are for people who already know about folk song; it has already been claimed that th cause of low sales and disappearing clubs etc is that the old folkies are dying off

EFDSS
It is as old as the hills to argue that you shouldn't criticise if you are not prepared to join
I was a member for a time and I did a great deal of work in helping archive what they has, along with Malcolm I helped produce several albums of traditional singers and storytellers - all now deleted
I helped get The Carpenter Collection into Britain along with the then Librarian (Theresa Thom) and Bob Thomson
Been there - done that, and was ground down by the ignorance, apathy and opposition emanating from 'them upstairs'
In those days it was largely because the Society was dance orientated
Christ only knows what motivates the present lot - it most certainly ain't folk song
The Journal is the only saving grace of EFDSS and you don't have to be a member to get that
Nobody in their right mind would join any organisation in order to expend your energy in reforming it rather than on furthering the cause of the music it claims to represent
We have the CCE in Ireland as a perfect example of how futile an exercise that is
Tilting at windmills may have been fine for Don Quixote....
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 03:41 AM

Dave
I see no point in us arguing further
Your arguments are little different than those below the line who argue that I have no right to discuss UK politics because I no longer live there
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 17 Feb 19 - 04:16 AM

I am not sure that crticism from someone who has only been in a folk club once in fifteen years is informed criticism, how is it acceptable to make statements and pontificate about folk clubs if you have only been to one once in fifteen years, it is in fact no different from me pontificating about church services when i have not been once in fifteen years, its reminscent of alice in wonderland or the mad hatters tea party.
as for tilting at windmills, i can think of only one mudcat member who does that regularly.
CCE in ireland has been partly responsible for the promotion of irish tradtional music as has the Willie Clancy summer school, this is not opinion it is fact, that does not mean that i like the compoetitive side of CCE,
CCE also funds trad music festivals that are not competitive and sponors trad sessions. it is important to make informed and accurate criticism, to criticise for the sake of criticising and to make uninformed criticism of anything is reminscent of Don Quixote
CCE is the largest group involved in the preservation and promotion of Irish traditional music. We’re a non-profit cultural movement with hundreds of local branches around the world, and as you can read in our history we’ve been working for the cause of Irish music since the middle of the last century (1951 to be precise). Our efforts continue with increasing zeal as the movement launches itself into the 21st century.

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What We Do

Because we’re so many different things to different people, it can be hard to keep track of the true scope of our activities! You might have been involved with a Comhaltas event and not even known it.

    If you’re a student of Irish music, you might know about the music, dance and language classes that we teach through our network of branches. If you’re interested in learning the music, you might want to find which one of our 1,000 weekly classes is closest to you.

    For musicians who like to play socially, you might be interested in finding a local Comhaltas music session. And if you’re not sure, how about just going along to listen?

    Audiences around the world have seen our touring groups bringing Irish music, dance and storytelling on annual tours.

    We also run the definitive system of competitions for Irish music, called the “Fleadh Cheoil” (literally “feast of music”). Musicians compete in a series of qualifying rounds, culminating in the annual All-Ireland Fleadh Cheoil na hÉireann.

    We’ve collected an archive of thousands of hours of Irish music recordings, a large print library and a growing collection of videos. You can get a sample of some of this material in the Music section of our website.

    In an effort to promote the music of Ireland, we publish recordings, books and tutorials of Irish traditional music. You might want to take a listen over in our shop.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 17 Feb 19 - 04:34 AM

Good grief, Jim. Where did that come from? Spilling over from the things mothers said thread, have you seen your arse this morning or something?

I have no more said you have no right to discuss anything than I have said anything goes at folk clubs. You have never provided any evidence of me saying the latter and you will find no evidence of me saying the former. In fact in my last post I specifically say

I am not saying that the evidence that you present is not right, but it is not the whole picture.

And go on to conclude

Neither of us is wholly right or wrong and that is something I think we can work on.

Now, if you believe that to be the action of someone who wants to exclude you from the discussion then, yes, there is no point continuing because you are, dare I say it, speaking a different language to me.

I have accepted, and seen, that there are faults in the folk scene. I have seen the phone mumblers and the introspective singers who think that everyone is interested in the forlorn fourteen year old love. And don't get me going on the performance poets with their overflowing ring binders. Why can they not even remember their own words?

Can you just not accept that there is also a lot of good stuff that can be built on?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 05:01 AM

You have suggested that unless I attend clubs I have no right to comment of the state of the revival Dave - or hat's how I took your question on how many I attend - Dick has just repeated your suggestion

As for being right or wrong - I really have no idea what you and many others regard as 'folk song' and until I do, we'll continue to go around in circles
I am arguing that folk song has been edged out of the club scene to make room for some nameless product that bears little resemblance to the real thing
hat do I have to be 'tolerantt about, or 'compromise' on
Folk clubs should never be an end in themselves or a place to go and meet your mates - they can be many things, bu their over-riding role should always be to promote a specific type of music
You seem to apply conditions on folk song that you would not apply to any other creative activity - I ask you all anain - is running a Jazz club to exclusively play and listen Jazz "restrictive", ""narrow", "purist" or "jazz policing"
If not, what the hell's wrong with folk song that it should be treated the way these people treat it   
Beyond all logic to me
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 05:03 AM

Dave
There's no animosity or ill-feeling on my part, far from it - I just don't see the point in running around in circles and I get very tired of always being on the defensive
It's about time we got some answers here
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 17 Feb 19 - 05:21 AM

Dick, I don't know if you've seen it but I've just come across this website of some folk clubs around Essex which we both used to attend. Lots of familiar names there. Not sure who JKD is.

http://romfolk.com/romfolk.com/Home.html

Essex Record Office has lots of tapes of folk club performances from that period, in particular those made by Jim Etheridge and Dennis Rookard as well as those mentioned by JKD. Sadly they're not online.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 17 Feb 19 - 05:57 AM

I fully understand that there is no I'll feeling, Jim, which is what makes these discussions far more enjoyable than the shite we get off some. But if you think I have ever suggested that you have no right to comment then you are seriously off target. My point about you not attending clubs is that you do not have the whole picture and, because I only attend a handful of clubs, I do not have the whole picture either. Between us, and through these discussions, we have a better idea of what is going on and, from what I gather, there are the issues you mention but there is also lots of good stuff. Like everything else in life, it is not black and white but contains lots of grey areas.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 17 Feb 19 - 05:58 AM

Oh, and 200!


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 06:07 AM

Same thing really Dave
There is enough evidence in Stradling's letter alone to suggest something has gone seriously amiss - many of the arguments here confirm that in their own negative and hostile way
The idea of embarking on a folk club pilgrimage to see how many clubs actually do present folksong might be enjoyabe but, as far as I' concerned, totally unnecessary - every "folk police" and "purist" further makes such a journey a wast of time and energy
Now - how about responding to some of the things I've claimed (not just you Dave)
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 17 Feb 19 - 06:28 AM

Remind us, Jim. What specific claims?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 07:12 AM

Oh come on Dave - plenty of them
Why are pop songs valid as consideration for consideration as folk songs will do for a start ?
Why should badly performed pop songs or Victoria tear-jerkers or early pop songs attract young people to folk music ?
What is it intolerant to expect to hear folk songs at a folk club

You might try explaining how you would describe a folksong to a newbie - I asj=ked this ages ago
Your starter for ten
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 17 Feb 19 - 08:06 AM

Why are pop songs valid? Many pop songs are now over 50 years old and have been assimilated into a particular folk community. They have become songs belonging to the folk of that community. In addition, many pop and other songs tell a story in the same style as folk music. They are no different to the songs written by, for instance, Ewan MacColl.

Why should badly performed etc. songs attract young people? They dont. I have never made such a claim.

Why is it intolerant etc? It isn't. I expect to hear folk songs at folk clubs. I have never been disappointed.

How would I explain a folk song to a newbie? I would say it is a song of a certain type of meter that, often, tells a story. I would go on to give examples from sources as diverse as the Copper family and Ralph McTell then come bang up to date with Cohen Braithwaite-Kilcoyne and Granny's Attic to demonstrate that it is a living and evolving tradition.

I have made most of these points before but because you disagree, I suspect you have ignored them.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 08:16 AM

"Many pop songs are now over 50 years old and have been assimilated into a particular folk community."
The folk singing tradition has been more or less moribund since th beginning of the 20th century
How on earth have fifty year old songs been absorbed into a process that is dead as a Norwegian parrot
Age has sfa to to with folk song creation - repetition is not absorptopn

"I have never made such a claim."
Others have, fairly common in modern folk clubs
"Intolerance"
The very term 'folk police" exudes accusations of intolerance - wanna guess how many times it is used

Your description doesn't even begin to define folk song - especially as Ralph McTell doesn't even sing folk songs
Streets of London comes with a little (c) which makes it the property of Ralph McTell so it can never belong to the folk; their songs are in the public domain
No cigar Dave
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Vic Smith
Date: 17 Feb 19 - 08:24 AM

Beyond all logic to me
... and to me! How someone thinks that improvement can be brought by persistant repetitive and badly-researched negativity is beyond me. The two central administrative bodies of the countries whose music he is involved with are both awful; they are beyond redemption so much so that he won't work with them. He pours scorn on them.
My attitude could not be more different. I recognise faults and shortcomings but think that by taking small steps and concentrating on the positives, I feel that improvements can be made.
It reminds me of my professional career of 40 years in education, the last 30 at senior manager, head teacher and advisory level. Two of the schools that I arrived at were in a pitiful state, but by becoming involved with a strong team at senior level and by taking worrying issues one at a time, improvements were made and a culture of "We are getting better" developed and staff and pupils thought better of their establishment. In the term after I retired, there was yet another Ofsted inspection and my last school became the first special school to be given "outstanding" status. Well, perhaps the fact that I was no longer there helped but anyone who has been involved will know that this is the result of hard consistent graft.
One of the questions I always asked when I was interviewing for new staff was what the interviewee did outside their working hours, What I wanted to hear was about something that they were totally involved in. something that took them out of themselves, that fulfilled the role that folk music has done for me.
Tina and I completed 50 years of running weekly folk clubs together in 2014 and we both brought the same attitudes to this. If, for example, a singer came along and wanted to read a song to our audience, I would praise them for coming, praise what they had done but say how much better they would communicate with the audience if they had learned and absorbed their song and this was what we were used to and expected. They either did not come again or they took the bother to learn their song, but being a source of encouragement was always at the centre. One of the reasons that I stopped running a club was because of the increase in sessions of song or tune or both were increasing in frequency and standard - both Jim Bainbridge and myself have detailed this earlier in this thread. The folk scene was growing to maturity and folk clubs were no longer the important prop that the scene needed.

Now, I am afraid to say that as much as I am enjoying this futile, stuck discussion which does not seem to have made much progress in, what I see, is now over 200 posts, I have to go and pack my cases to fly out to West Africa where for a lot of the time, I will beyond the reach of electricity never mind the internet. I will be taking lots of batteries so that I can again record Manding jalis singing and playing their koras and balafons and others, I hope, will be new to me. A traditional jali will come from a family of heriditary musicians. He is a traditional singer and musician, but unless he creates within the strict structures of their traditions. If he is not giving a moral commentary of society as he or she sees it; if he is not composing praise songs for those making major contributions or events in their society then he won't be listened to. I expect I will be hearing songs of the people who have built the recently opened new road bridge over the River Gambia that will bring great economic benefit to towns like Soma or Farafeni at either end of it.
What I won't hear is complaints and negativity.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Kenny B
Date: 17 Feb 19 - 08:24 AM

Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 07:12 AM

Oh come on Dave - plenty of them
Why are pop songs valid as consideration for consideration as folk songs will do for a start ?
Why should badly performed pop songs or Victoria tear-jerkers or early pop songs attract young people to folk music ?
What is it intolerant to expect to hear folk songs at a folk club

You might try explaining how you would describe a folksong to a newbie - I asj=ked this ages ago
Your starter for ten
Jim

This is a thread about the UK60s Folk Club Boom
If I was Dave i wouldn't reply to this thread drift by asking the poster to start 3 individual threads on the topics where he can debate each suggestion in turn without thread drift


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 17 Feb 19 - 08:27 AM

Like I said, Jim. Just because you disagree does not make it untrue. You asked the questions. You have my answers. I cannot answer for things others have said.

MacTell's songs are as much contemporary folk as MacColl's are. There are plenty more of his songs other than Streets of London. You asked for a definition of folk music. Not traditional music.

No cigar? I wasn't aware it was a competition in which prizes are won. Are you sole judge and jury in this arcade game? I think not.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 08:30 AM

Bit of a cop-out Kenny
This 'thread drift' has been a natural part of the discussion from the beginning
"Too late, too late", the maiden cried
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Kenny B
Date: 17 Feb 19 - 09:18 AM

"Too late, too late", the maiden cried"

well done but you should have quoted the whole verse, much more appropriate to the proceedings


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 17 Feb 19 - 09:36 AM

better late than never as the actress said to the folk singer


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 09:48 AM

I know several versions Kenny - most of them obscene
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Hootenanny
Date: 17 Feb 19 - 09:55 AM

Jim
Re your post at 6.18.

Are you telling us that copyright of a song lasts for ever?

If so that must be a recent change.

Ralph McTell was trying to make a living as a singer / songwriter. Why shouldn't he copyright his product?

I have seen material written by Mr MacColl that has been copyrighted and I have seen traditional material with words and music arranged by Ewan MacColl.

Surely singers and songwriters shouldn't give away the fruits of their labour any more than electricians would.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 10:11 AM

"Are you telling us that copyright of a song lasts for ever?"
How long ago did McTell write Streets of London - not Forever ago, surely
It was a reference to mentioned singer
Copyright is not really an issue - only an indication of the unclaimability of modern songs
One of the issues it does raise is how claiming modern written songs to be 'folk' has opener the door to the public performance jackals demanding payment from folk clubs"Why shouldn't he copyright his product?"
Who said he shouldn't - not me ?
I just said that it can't belong to him and to 'the folk'
I have no idea if Ewan continued to copyright traditions arrangements - I know some of his agents did at one time but we both know the disputes he had with them at one time or another
At no time did he ever claim his own songs were 'folk' - he ever refused to call his clubs 'Folk Clubs'
The only bust-up Ewan ever had with Luke Kelly is when the Dubliners began copyrighting folk songs
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 17 Feb 19 - 10:34 AM

I have answered 4 questions from you, Jim. Will you answer just one from me. If you went to a folk club and were treated to an evening of songs written by, for instance, Ewan MacColl, Vin Garbutt and Cyril Tawney, would you complain?


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 17 Feb 19 - 10:39 AM

Should have said, there is no right or wrong answer to this. No cigar to win. Not a trick question. Just bear in mind all the songs you will hear have a little "c" after their titles.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Hootennanny
Date: 17 Feb 19 - 10:51 AM

You stated that McTell's song could never be a folksong because he had copyrighted it. That is your personal belief.

Re the "Jackals" that you mention. Admittedly I don't attend Folk clubs that often these days but I have never yet seen anybody completing a PRS form and never been asked to complete one myself.

As an aside I should point out that when I worked for one of the "jackals" organisations I was able to make possible royalty payments to a traditional singer on behalf of their work and that of a parent. Not a fortune but an amount that was very much appreciated. They had never registered.

I don't defend the middlemen in collection of royalties but is there better practical way?

With regard to Ewan and disputes with "some of his agents". We do NOT both know, or at least I don't.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 11:19 AM

"That is your personal belief."
Not really Hoot, unless you think we stall have a living tradition
While the copyright exists it will still be the property of the holder
If children parody it and make their own versions, their creations may become folk songs possibly
But beyond that....
None of this is "my personal belief" - - that's what folk song is
It may be your "personal belief" that the song is a folk song, but you are going to have to argue for it
Feel free
You know as well as I do that royalties paid to 'folk'writers are pittances unless the industry can make something out of it first

As far as agents are concerned - NONE SO DEAF.... ...
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 17 Feb 19 - 12:47 PM

So, Jim, would you complain about the situation I described? I did answer your questions straight off...


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 12:56 PM

Sorry
I missed you post
I would enjoy such an evening but I don't think that's what the scene needs at present
Once you lose your roots you've lost the flower - these are all offshoots rather than the actual plant

Actually you didn't answer my points - or if you did, you ignored everything I said
I don't regard MacColl's songs as folk - neither did he - your constantly referring to them as such not only goes against my analysis, it goes against the composers
You have yet to give a defiition of folk song - what you gave was a personal stab at what one sounded like - not the same thing
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 17 Feb 19 - 01:03 PM

I have answered every single one of your points, Jim. That I have not answered them to your satisfaction is not my issue. Sorry.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 17 Feb 19 - 01:19 PM

It seems then that you are quite happy with some copyrighted material but not all. So your definition of what copyrighted material is acceptable at folk clubs is based on your own personal tastes. That is entirely subjective I'm afraid.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 01:32 PM

"It seems then that you are quite happy with some copyrighted material but not all. "
How do you make that out Dave ?
Copyright doesn't come into what goes on in the clubs, just what constitutes a folk song
You really are not ansering my points

I have no problem with using the tradition to make folk songs - They won't become folk songs until they are absorbed into an oral tradition and become the property of 'the folk' but that doesn't stop them being sung at folk clubs
As far as I am concerned, using the tradition to make new songs is essential - a continuance of the tradition, if not part of it


Excuses are not answers - one more time - how do you define a folk song
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 17 Feb 19 - 01:36 PM

Of to spend an evening watching crap on tele ("how dare you call, 'Call the Midwife' crap sir?")
Feckin' exhausted after three days of superb concertina music
Sleep well girls
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 17 Feb 19 - 02:43 PM

Ihad a great night lst night,in the best pub in ballydehob ina dalys still run by an old woiman six of us singning the old songs and now listening tmargaret barry amnd other trad music on lyric in an interview of myles o reilly, bury me in rural ireland when its my time


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 17 Feb 19 - 04:26 PM

thanks howard dear denis rookard , he was alovely man


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 17 Feb 19 - 04:27 PM

jkd john durrant


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Hootenanny
Date: 17 Feb 19 - 06:38 PM

Jim,
I did not say that McTell's song was a folk song. It is a song written by a singer. The songs that you prefer were "written" by somebody at sometime and you are happy to call them folk. If McTell's song shows up at some considerable time in the future what differentiates it? Oh I know he wasn't a downtrodden horny handed son of the soil.

Personally I can't stand the song but I did admire Ralph's guitar playing elsewhere.

I don't know any "Folk" writers, I thought they were all dead. Could you name any of the ones that you refer to who have been paid pittance.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 18 Feb 19 - 03:07 AM

I answered all your questions, Jim. 17 Feb 19 - 08:06 AM Not my problem if you didn't like the answers.


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 18 Feb 19 - 03:35 AM

could this be check mate?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 18 Feb 19 - 04:01 AM

" 17 Feb 19 - 08:06 AM Not my problem if you didn't like the answers."
That was a rough description Dave - no a definition
As far as I am concerned the definition of a folk song lies in the two inseperable terms Folk and Traditional
"Tradition" is the largely oral process that first led to the making, remaking and changing of the songs whose origins are virtually untraceable and unattributable
"Folk" was a term applied to the people who almost certainly made and used the songs down the ages to express aspects of their lives and experiences   

The structure of folk songs reflect their characteristics and their probable origins unlike most pop songs, the personnel tend have names, identities, occupations and description
They are farm-workers, soldiers, sailors, weavers..... labourers...real people with real lives and real problems - they are two-dimensional rather than the flat, lifeless stereotypes created by the music industry - or the broadside presses, for that matter
The songs indicate a working knowledge of the backgrounds of the characters, tools, trade terms, customs lore, and their experiences are universal rather the introspective, which is why they survived as long as they have and, in my opinion, are still relevant - they express experiences that we can all relate to, to some degree
They often contain information that would otherwise have been lost or forgotten, which is what makes researching them so enjoyable and fulfilling
Nowhere can you find the depth of information on the experiences of 'ordinary' people that you can in the folk songs - it was hardly considered important enough to record
That's my take on what folk songs are and why they are important - now tell me how yours measures up
As I have said - folk song is defined clearly in the two words "folk" and "tradition"
If it didn't belong to the folk and hasn't passed through a traditional process it ain't a folk songs
This doesn't mean we can't still go on making songs and enjoying singing them at folk clubs - must sing you 'Hippies and the Beatniks' (Miles Wooton?) or Doneill Kennedy's 'O'Reilly and the Big McNeill' sometime - or any other of the near 100 I can still remember
As long as they fit into a folk song evening they are an essential additive - but that's what they are - additions

Hoot - I call what I believe to be folk songs "folk" - that doesn't include MacColl's (of which I still sing about a couple of dozen) or Cyril Tawney's or Enoch Kent's... or all the others who composed using folk styles
"Folk song" is a genre far too well researched and documented not to be understandable
As far as I'm concerned, those who don't know what it is don't want to know what it is - "the answer lies out there" as they used to say in 'The X Files'
JIm


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 18 Feb 19 - 04:09 AM

"could this be check mate?"
Or 'Fools Mate" maybe :-)
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Jack Campin
Date: 18 Feb 19 - 04:44 AM

Re Jim's insistence on the social/historical concreteness of folk sing lyrics.

Look at the type specimen of English folk song, the one that started it all:

Seeds of Love

The gardener is a bit part in the symbolism, nobody else in it has an occupation and nobody has a name.

Lady Gaga has songs with more real-world narrative.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 18 Feb 19 - 05:08 AM

Your exact question, Jim

You might try explaining how you would describe a folksong to a newbie

And I did.

No mention of tradition. As far as I am concerned folksong encompasses both traditional and contemporary. Many others agree. Perhaps the contention is that your definition of folk music only encompasses traditional song. If so, fair enough, we can agree to disagree.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 18 Feb 19 - 05:09 AM

Full of recorded folk symbolism Jack - try Thisslson Dyer's 'Plant lore'
If you dig out his Folklore of Shakespeare you'll find some of the lore was current then
Poets from Shakespeare to Burns used the same symbolism - condemn 'The Seeds of Love' (which, I have little doubt, Steve Gardham will claim origniated on the broadsides) and you condemn all poetry throughout history - or maybe you believe that they were inferior to the facile outpourings of Lady Gaga !!
Even if you were right, you can always find example unrepresentative of the main body - who would compare the lyrics of Tutti Frutti to Lennon and McCartney compositions - certainly not me
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 18 Feb 19 - 05:11 AM

...And I think it more likely to be stalemate:-)


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 18 Feb 19 - 05:17 AM

Jim says, "As far as I am concerned the definition of a folk song lies in the two inseperable terms Folk and Traditional". The problem here is that, as we have discussed many times, these terms have come become separated. "Folk" has come to mean much more than "traditional". Much as you may deplore it, it cannot be denied or avoided.

In the context of what you might expect to hear in a folk club, this has always been far wider than traditional music. My experience of clubs began at the very end of the 60s, but my experience during the 70s and 80s was that as well as traditional songs you could expect to hear music hall, poetry, comedy, singer-songwriters in both contemporary and traditional styles, and much more. And yes, even "pop", particularly in the sense of Donovan, Simon and Garfunkel and of course Dylan.

We have also gone over many times how to define "folk" in this broader sense, and all I can say is that it is easier to recognise than define. Tt comes down to what would be tolerated in a folk club, but that would depend on the tastes and policies of individual clubs' organisers and preferences of their audiences. Fortunately in those days there were so many clubs that it was usually possible to find at least one whose musical tastes matched your own.

As clubs, and club audiences, have become fewer they have had to broaden their musical policy. We have also seen the rise of the "open-mic", which imitate the folk-club format with no limitations on genre. Perhaps some of these describe themselves, incorrectly, as folk clubs, perhaps some folk clubs have evolved into these in order to survive.

My experience of clubs these days is far more limited and infrequent, but I seem to have had a better experience than Jim in that I still hear mainly traditional songs performed. I think he may have been unlucky in his recent experience of folk clubs if this was not the case for him.


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 18 Feb 19 - 05:28 AM

jim answer this one you accepth the 1954 definition?
you agree you said this?Hoot - I call what I believe to be folk songs "folk" - that doesn't include MacColl's (of which I still sing about a couple of dozen) or Cyril Tawney's or Enoch Kent's... or all the others who composed using folk styles.
check mate, fields of athenry a composed song using a folk style is sung by football crowds, so according to the 1954 defintion it is a folk song CHECKMATE


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 18 Feb 19 - 05:31 AM

Facile. Lacking depth or complexity.

Are you really saying that popular songs have no depth or complexity while folk songs do, Jim?

I think we can find both facile and complex in both camps.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 18 Feb 19 - 05:52 AM

"Does anybody out there have an idea of how many folk music clubs existed in the UK at the height of the 60s folk music boom?"
So that will be a "no", then.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 18 Feb 19 - 05:55 AM

this is Mudcat. Whatever the title of the thread it is just the same people having the same arguement.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Hootenanny
Date: 18 Feb 19 - 05:55 AM

Jim,

Must admit that I hadn't clicked on to your link "None so Deaf". I just did.
What was this meant to illustrate? Just how good Ewan was at attempting a Scottish accent? just how good a songwriter he was? I am puzzled.

Was this written before or after the problems with agents which you incorrectly claimed that you and I both know about?

You mention MacColl, Kent and Tawney, I assume that this is in reply to my asking you the names of writers who get paid a pittance in royalties. Could the reason be that Folk and "Folk" song/music is a minority sport and therefore earns little in royalties.
I can't believe that Ewan was only paid a pittance for his most well known composition.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 18 Feb 19 - 06:16 AM

"What was this meant to illustrate? Just how good Ewan was at attempting a Scottish accent? "£
Ewan grew up with a Scottish/Salford acccent as did many Irish children I knew in Liverpool and London - his mother told me that and when I stayed with then for a time conversations between mother and son were virtually impenetrable
Pat always knows when I am talking to my sisters on the phone because I lapse into the Livrpoolese I grew up with unconsciously   
He adapted his natural accent to hi love of Scots songs as an actor does in order to gain popularity for them - particularly the ballads
Does a teacher or a computer programmer sing in the language of his songs
Lat's face it - is a Glaswegian singing an Aberdeenshire ballad not adapting his or her natural way of speaking to sing the ballad?
I got my lifelong love of the ballads by hearing Ewan singing and prozletising for which I will be eternally grateful so any snideswipes any his accent tend tot be water off a duck's back   
The song was, as far as I'm concerned, a healthy satire on an iffy attitude to folk song by a shark
Believe what you want about Ewan and Paggy's royalties - Peggy is still with us so you could always ask her

"Are you really saying that popular songs have no depth or complexity while folk songs do, Jim?"
absolutely Dave - that's why they come with a sell-by date and are replaced as often as they are - just like chewing gum
There may be a few exceptions of course but in the main, they contain nothing and are replaced because it is profitable to do so
Many of them are having a second life in being used to sell everything from toothpaste to sanitary towels

Howard, my experience was very much not yours but the points you make are important ones so, rather than knock of a quick response I would much rather think about what you wrote and reply later
Up to my arse in Irish Child Ballads at the moment
Thanks
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 18 Feb 19 - 06:33 AM

"Whatever the title of the thread it is just the same people having the same argument."
Nobody is stopping you joining in - the more, the merrier, as far as I'm concerned
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 18 Feb 19 - 06:33 AM

if one want to hear good scottish singing accents ,one would find more accuracy listening to dick gaughan jeanie robertson alex campbell andy stewart[scottish soldier,wheres your trousers]


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 18 Feb 19 - 07:28 AM

You probably wouldn't understand a good Scottish accent Dick or, if you are lucky enough to be able to, there are plenty who can't
I couldn't understand many of the Scots singing accents when I first heard them and my dad was born in Glasgow
I remember hearing Matt McGinn playing the gatekeeper in MacBeth at The Edinburgh Festival - couldn't understand a bloody word - he needed subtitles
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 18 Feb 19 - 11:14 AM

Well, sorry Jim, but there are more than a few exceptions to trite lyrics in popular song just as there are more than a few exceptions to complex lyrics in folk music. I'm not going to get into an examples war but just ask you to contemplate how many fol-de-rolls and buttercups and daisies crop up in traditional music :-)


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 18 Feb 19 - 01:34 PM

" how many fol-de-rolls and buttercups and daisies crop up in traditional music :-)"
Only in Sharp's and Baring Gould's re-writes for schools Dave
Try finding them in field recordings
Still no definition then ?
There is much more n what I said about folk song - surely you're not going to ignore that !
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 18 Feb 19 - 02:41 PM

A) You did not ask for a definition
B) You did say "You might try explaining how you would describe a folksong to a newbie"
C) I answered that 17 Feb 19 - 08:06 AM
D) I have already said, at least three times, that just because you do not like my answer does not make it less valid
E) How many times do you want to go round this loop?

One more time now...


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 18 Feb 19 - 02:45 PM

Jim you are ptronising, why would i not understand a good scottish accent , i have played many times in scotland, have many scottish friends and even had scottish girlfriends[ there was no misunderstandings in the scratcher].


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 18 Feb 19 - 03:05 PM

"Jim you are ptronising, why would i not understand a good Scottish accent ,"
Most people I know hve problems with a good Scottish accent Dick - nothing patronising about that
Brits are notoriously bad with both accents and languages

Dave
I asked for a definition - your highly vague description doesn't even count as a good description
I have just given the definition I believe to be the valid one - what's yours
Where does "tradition" and "the Folk" come into your description
I've also gone to great length to describe aspects os folk song to b unique - and answer, came there none
Try again
18 Feb 19 - 04:01 AM
Until you either start responding to what I wrote or come up with an alternative this game of musical chairs will continue
I really don';t mind being the opportunity to sound off - can't see what you're getting out of it
I intend to deal with Howard's posting tomorrow
'The Irish Revolution (magnificent TV series) calls
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 18 Feb 19 - 03:18 PM

Jim i am english , i have no problem understanding scottish singers


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 19 Feb 19 - 03:21 AM

How many more times, Jim? Your exact words were "You might try explaining how you would describe a folksong to a newbie". It's up there for all to see. As is my response.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 19 Feb 19 - 04:00 AM

And I'm saying it is inaccurate and you need to define the term folk if you are going to show you have a case
You wouldn't open a greengrocer's shop if you didn't know what the term meant - why should opening a folk club be any different ?
THe constant misuse of the term (often deliberately) has, in my opinion, not only all but destroyed the club scene, but it has put at risk one of the most important art forms we have
The behaviour of the New Age Researchers seems to have signed the demolition order
Folk song can have no future (other than being hidden away in cupboards until future generations with more sense that the present one) find the key treat it seriously
It has been a source of enjoyment and inspiration for most of my lifetime - now I read about lovers of folk song feeling uncomfortable singing unaccompanied songs or "inappropriate long ballads" at a folk club
You have Rod Stradling's experience and, as far as I can see, there is hardly anybody doing serious work in the U.K. distributing real folk song material that his magazine is
Your description is meaningless in terms of the subject - as much as I enjoy discoursing with you, we rally are going in circles and, unless you respond to my points, will continue to do so
I've responded to every point (and even the abuse) that has been aimed at me - it's somebody else's turn now
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 19 Feb 19 - 04:27 AM

But I'm not going to open a folk club. My point is that I have responded to your request to describe folk song to a newbie. It is there for you and everyone else to see yet you keep saying I have not responded. The fact that you dislike and disagree with my description is irrelevant.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 19 Feb 19 - 04:27 AM

By the way Dave
"A) You did not ask for a definition"
I asked for a definition way-way back - you said you didn't have one
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 19 Feb 19 - 04:51 AM

rod stradlings experience is based on one visit to a folk club in 15 years


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,jim bainbridge
Date: 19 Feb 19 - 05:23 AM

My turn....
1      only some kind of eejit would even try to define 'folk'!- as I've said before, it's a subjective judgment & it doesn't really matter anyway- my view is as valid as Jim Carroll's if a little less abrasive!

2 There's no such thing as a Scottish accent any more than there is an Irish or English one- it's total nonsense--- I'm a Geordie- do I have an English accent?


3 I'm not a frequent purchaser of Rod's excellent material on MT, but what he's done over the years is a huge contribution to the archive of less commercial music of the people & his attendance or non-attendance at folk clubs is irrelevant.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Howard Jones
Date: 19 Feb 19 - 05:55 AM

The question should be not how "folk" should be defined, but what sort of music one can expect to hear at something describing itself as a "folk club". For at least 50 years (from my own personal experience) this has always been considerably wider than only traditional music. The meaning of the term has also widened from when it was originally coined by the early researchers into folklore and folk music - this may be regrettable, but how language evolves is out of anyone's control. "Folk" no longer means traditional music, although it of course includes it, and hasn't for decades.

The exact balance has always varied from club to club. Even back in the day there were clubs who specialised in the sort of "contemporary folk" which essentially means a singer-songwriter with a guitar - not my cup of tea, but fitting in with what the general public now understand by the term "folk". It would be unusual to hear a traditional song in those clubs, but in those days there was probably another club nearby with a different balance, so there was plenty for everyone.

I understand and sympathise with Jim's frustration at going to a "folk club" and not hearing a traditional song. Especially if what is being performed is stretching even the wider popular meaning of "folk", when it should probably be more accurately described as an "open-mic". However old habits die hard, and an open-mic event might imply an emphasis on popular music and actually put off someone wanting to perform traditional or even "folk" songs. At least these days many clubs have a website or Facebook page where you may be able to get some idea what to expect before you go.

Times have changed. Yes,there are far fewer folk clubs, and many of the old clubs are struggling and have had to adapt to survive, and this may not always be for the better. However there are still opportunities to hear and perform traditional songs. Plenty of young people are involved in the music, they are just doing it their own way (as our generation did) so there is no need to fear for the future of folk music, even if it may not resemble what we are familiar with (which would have been equally unfamiliar to previous generations).

Thanks to Rod Stradling, Topic, Veteran Records and others there are more opportunities than ever for people to listen to traditional singing and playing, and again young people are taking advantage of this, as well as listening to our generation who had the opportunity to hear it directly from traditional singers when they were alive.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 19 Feb 19 - 05:58 AM

"   only some kind of eejit would even try to define 'folk'!"
It's been defined for over a century and a half - history is full of "eejits"
"There's no such thing as a Scottish accent "
Couldn't agree more - my point about Glaswegians singing Aberedeenshire Ballads
Rod probably can't sell his excellent productions of folk material because nobody seems either to know or care what folk song is

Next !!
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 19 Feb 19 - 06:05 AM

there are scottish accents, and IMO Ewans attempts were not very accurate, and peope do corractly refer to somebody having a scottish accent and yes your wearside accent is an english accent just as geordie is and cockney is.
the point is Ewan IMO failed to get any of the scottish acents accurately


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 19 Feb 19 - 06:18 AM

Ah, Ok, Jim. I sort of assumed that you were saying that you had asked for a definition on this thread. Not referring to ancient history. I have no recollection of that nor of what my response was. If you can point me in the right direction as to where and when this happened I will happily accept that your memory is correct. In the meanwhile, presuming that you want a definition, rather than a description to a newbie, how about...

Folk music is the product of a musical tradition that has been evolved through the process of oral transmission. The factors that shape the tradition are: (i) continuity which links the present with the past; (ii) variation which springs from the creative impulse of the individual or the group; and (iii) selection by the community, which determines the form or forms in which the music survives.
The term can be applied to music that has been evolved from rudimentary beginnings by a community uninfluenced by popular and art music and it can likewise be applied to music which has originated with an individual composer and has subsequently been absorbed into the unwritten living tradition of a community.
The term does not cover composed popular music that has been taken over ready-made by a community and remains unchanged, for it is the re-fashioning and re-creation of the music by the community that gives it its folk character.


:D


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 19 Feb 19 - 06:26 AM

Great Dave - long time since I look at '54
How goes that fit in with your arguments ?
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 19 Feb 19 - 06:29 AM

Should have added - and then we can go onto all the points I made about what distinguishes folk song from all other forms
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 19 Feb 19 - 07:03 AM

What arguments shall I try to fit it into, Jim? Let me know what you believe I am arguing for or against and I will have a go.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Jack Campin
Date: 19 Feb 19 - 07:19 AM

[Seeds of Love]
Full of recorded folk symbolism Jack

So was Schoenberg's "Gurrelieder", or Stravinsky's "Les Noces", or the little songs to folk texts that Webern wrote in the 20s and 30s, or Harrison Birtwistle reusing Gawain. Using that symbolism does not make something a folk song in anybody's reckoning.

the facile outpourings of Lady Gaga !!

Try reading her stuff. She is prolific and very wide-ranging, and a lot of her songs are anything but facile. They don't really fit into any Anglophone folk model but they sometimes aren't so far from the expressive world of Italian folksong (and she is of Italian extraction).


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 19 Feb 19 - 07:28 AM

Not being obtuse btw, Jim. I just want to make sure I am not barking up the wrong tree.


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Subject: RE: UK 60s Folk Club Boom?
From: Stanron
Date: 19 Feb 19 - 07:29 AM

'Folk Music' and 'The Tradition' are conceptual constructs of 'Western Art Music'. The terms described material that has survived outside the mainstream, sometimes for centuries. If you pare away all the intellectual encunberage, we are talking about 'old songs' and old tunes' and nothing else.

People like me who came across folk in the 60s got it from radio, TV and college and university. It made sense of the explosive changes we were seeing in popular music and took 'community' from the sole province of the church and out into our own informal experience. It got taken up by commercial music and by politics, in quite different ways.

At it's essence it is still 'old songs' and old tunes'. It has also been a vehicle for creative people to comment on current society and some of that will, almost inevitably, eventually attain the 'old songs' and old tunes' status.

As for the arguments, some people will argue about anything, even if no-one else is bothered. It doesn't change the fact that these are old songs and old tunes and I like them.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 19 Feb 19 - 09:12 AM

Stanron
A little more than that unless you disregard the likelihood of people making songs to record everyday events, experiences, emotions and aspirations
I can think of no other group of 'old songs and old tunes'
Songs created following the Irish famine and the period up to Irish independence represent a large body, if not the majority of the Irish folk song repertoire - they bristle with social history and aspirations
The tunes are incidental

"So was Schoenberg's "Gurrelieder", or Stravinsky's "Les Noces","
My point exactly - not imressed with Schoenberg particularly, but I wouldn't write off his or anybody's cmpositions as being insignificat to the human condition as you have "Seeds of Love"
In factJohn England's rendition is a latecomer on the scene; part of a line of versions stacked full of folk imagery - try 'THe Gairdener Child', the song at its best

I just want you to respond to the description I have given and, if you have no quibble with it, let me know how that fits in with what you expect from a folk club - I think you talked about "somewhere between MacColl and Buddy Holly
Not sure what you mean, especially as neither wrote folk songs and the latter was a million miles from doing so
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,jim bainbridge
Date: 19 Feb 19 - 09:20 AM

No Dick, my accent is Tyneside, not Wearside- South Shields, my hometown is at least 5 miles from Sunderland, with a seriously different accent- Sunderland is the nearest point on Wearside- I might be a mackem in supporting Sunderland FC but I don't talk about it.....


I don't agree there is such a thing as a Scottish accent- it's just as daft as referring to an English accent!! Or an Irish one, nor that matter- you should know that- I certainly do after living in West Cork, Leitrim & Fermanagh!!


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 19 Feb 19 - 09:39 AM

I have no quibble with your description other than you seem to be talking about traditional folk song while I am encompassing traditional and contemporary, which is where our wires seem to be crossed.

Please clarify your phrase that you can go to a folk club and hear no folk songs. Are you talking about hearing no traditional songs or hearing no folk songs of either type?

You have recently agreed that you would be happy with an evening of Ewan MacColl, Vin Garbutt and Cyril Tawney songs at a folk club. You would obviously unhappy with an evening of Buddy Holly songs. My point about "between MacColl and Holly", as I have explained before, is that there are millions of songs between those extremes. I was trying to determine at which point does contemporary music become unnacceptable at folk clubs.


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Subject: RE: UK 60s Folk Club Boom?
From: Stanron
Date: 19 Feb 19 - 10:06 AM

Jim Carroll wrote: Stanron
A little more than that unless you disregard the likelihood of people making songs to record everyday events, experiences, emotions and aspirations
May I refer you to my third paragraph.

"It has also been a vehicle for creative people to comment on current society and some of that will, almost inevitably, eventually attain the 'old songs' and old tunes' status.
"

Woody Guthrie did this, I'm not sure about Tom Lehrer, McColl did it retrospectively as did Eric Bogle. Many 'Singer Songwriters' put themselves forward and only time will tell who gets to last a long time. The famine, and also the Scottish clearances were such traumatic events it would be surprising if no songs survived. Time, and work such as yours, allows the cream to rise to the surface.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 19 Feb 19 - 10:36 AM

I wouldn't write off his or anybody's cmpositions as being insignificat to the human condition as you have "Seeds of Love"

I didn't say it was insignificant. (I didn't say Lady Gaga was insignificant, either). I said it didn't fit what you claimed were the basic features of traditional song texts - named people with identifiable occupations doing things that fitted into the traditional economy. [18 Feb 19 - 04:01 AM, I'm not going to quote it all].


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 19 Feb 19 - 11:27 AM

Thanks fro your explanation Stanton - my mistake
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 19 Feb 19 - 11:33 AM

Stanron - of course
Isn,t Stanton in New Jersey (according to Brecht)
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 20 Feb 19 - 06:49 AM

Quote ""Tradition" is the largely oral process that first led to the making, remaking and changing of the songs whose origins are virtually untraceable and unattributable"

I like this definition. It is a pity, though that we will never be able to credit the talented broadside makers who composed so many of them.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 20 Feb 19 - 07:01 AM

"the talented broadside makers who composed so many of them."
The broadside "hacks" earned their title because they were poor poets working at great speed - the collections of their works show that pretty clearly
There is viritually no evidence as to which folk songs started on the presses and which were taken from already existing forms and rewritten for urban audiences   
The themes and structures of our folk songs, the insider knowledge and the use of vernacular suggest that most of them came from the communities they depicted
The question of literacy still needs to e discussed fully
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 20 Feb 19 - 01:30 PM

Quote - "The broadside "hacks" earned their title because they were poor poets working at great speed"

No 'I think that....' No 'It could be that...." Just statements of opinion given as fact. Who is this man? I was thinking of joining this forum but I think this will be my last visit.


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 20 Feb 19 - 01:42 PM

[ Guest]Jim Carroll was a close friend of MacColl, he has also done some collecting of songs from travellers, he gives the impression of having a hot line to the almighty at times, on the oither hand he does give people on this forum helpful information regarding singing technique etc


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 20 Feb 19 - 02:52 PM

"Just statements of opinion given as fact."
Well no actually
The term 'hack' was applied to broadside poetry centuries ago to describe their bad poetry - the writers were expected to work at conveyor-belt speed tu churn out songs for profit- largely it is trite, artless and formulaic
As a singer I spent many weeks searching our own published collections of broadside (about 30 volumes, for songs to sing and came up with zilch   
The few that were singable were almost certainly the other way of the "two way street" described by the New Age researchers - but nobody knows which was which for certain
Child came up with a perfect description of them "Dunghills with a few diamond in their midst"
Not my opinion - a very common one
Do you really have to reduce this to personal insults Dick - pack it in please
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 20 Feb 19 - 04:45 PM

Jim I have not insulted you, youwere a friend of MacColls, you do give useful help on the other hand you do on occasions give the impression of a know all or someone who has a hot line to the almighty, cop on Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 20 Feb 19 - 04:54 PM

Guest: You're going to be put off by one person's opinions? Please note that this is one person shouting from the wilderness. There are very few here who follow that doctrine.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 21 Feb 19 - 02:22 AM

"Please note that this is one person shouting from the wilderness"
How arrogant can you get
Mudcat is a tiny corner of a rapidly diminishing folk scene in Britain Steve
If all you have to offer are disparaging comments like this it you are representative of the wilderness
No wonder folk song is in the state it is in The UK
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 21 Feb 19 - 02:38 AM

I'll look in later to see if anybody has anything to offer other than personal insults
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 21 Feb 19 - 04:33 AM

Someone is being precious about their precious!


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 04:41 AM

a rapidly diminishing folk scene in Britain

Only according to some. Others disagree as we can see from this thread


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 21 Feb 19 - 04:51 AM

" Others disagree as we can see from this thread"
Yeah well - they would wouldn't they
Unfortunately, their own arguments contradict them - as do the figurs
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 05:08 AM

What arguments and figures, Jim? The arguments of those that actually attend folk clubs maybe? And the only figures I have seen indicate that we are in the process of a growth in folk music and changes to how it is presented. What figures do you have that indicate otherwise. All I have seen from you is anecdotal evidence.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 21 Feb 19 - 05:58 AM

The attendance figures have plummeted - Can't remember if you are one of them, but some have excused this as 'oldies dying off' so someone seems to agree with me
The clubs have diminished in number - acknowledged by people who clain that festivals are the thing now or people are singing at home (this information has been gathered by spy cameras presumably)
THere can be litle doubt that people have turned away from folk song by the number of people who make excuses for there being no guarantee to hear a folk song in a folk club any more
Not anecdotal Dave - actual statements here
I started a thread based on Rod Stradling's declarations of plummeting sales - more figures
People are not only not willing to discuss this situation, but resort to insults when the matter is raised
You are one of the 'good guys' as far as I'm concerned, yet your persistent complacency depresses me - "if you want to hear good folk songs come to Yorkshire" is just that
EFDSS had always been the butt of jokes - now they have even ceased to be funny
An the research side, we have ivory tower researchers who respond to criticism with patronising and insulting and seem to have dedicated themselves to tearing down all past work to make room for their own - Dave Harker's 'Hit-list technique.
Discussions like this have made me more-or-less write off the English folk scene - my concern is now for the survival of what I consider the most important of our art forms
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 06:02 AM

I started a thread based on Rod Stradling's declarations of plummeting sales

That is anecdotal, Jim.

anecdotal
Dictionary result for anecdotal
/?an?k'd??tl/
adjective
adjective: anecdotal

    (of an account) not necessarily true or reliable, because based on personal accounts rather than facts or research.

I agree entirely that the heady days of the 60s folk club boom is well gone but since the turn of the millennium the folk scene has been showing a steady growth. Albeit not in the direction you want it grow.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 21 Feb 19 - 06:07 AM

How can a declaration by a site owner that his sames of traditional material be 'anecdotal' Dave - maybe he doesn't count how many he sells !!
The scene levelled out after the 60s and created a foundation for folk music
That was still reasonably healthy well into the 1980s and beyond
This depressing situation is very much a part of what is happening today
Think I'll go out for some fresh air
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 06:33 AM

I agree that his CD sales are down but I thought we were talking folk club scene, not CD sales, Jim. How can CD sales from a web site be indicative of folk club attendance?


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 06:55 AM

I can also refer you to the Wiki article which you previously dismissed that states

The decline began to stabilise in the mid-1990s with the resurgence of interest in folk music and there are now over 160 folk clubs in the United Kingdom, including many that can trace their origins back to the 1950s including The Bridge Folk Club in Newcastle (previously called the Folk Song and Ballad club) claims to the oldest club still in existence in its original venue (1953)

Going on to say

The nature of surviving folk clubs has also changed significantly, many larger clubs use PA systems, opening the door to use of electric instruments, although drums and full electric line-ups remain rare. The mix of music often includes American roots music, blues, British folk rock, and world music as well as traditional British folk music. From 2000 the BBC Radio 2 folk awards have included an award for the best folk club

You can dismiss Wiki articles all you like but, until you come up with a valid alternative, I am going to take this one at face value.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 21 Feb 19 - 07:28 AM

" can also refer you to the Wiki article which you previously dismissed that states"
You can - and it's full of folk superstars with no reference to the clubs
Desperate measures Dave
You have the alternative - dwindling clubs, disappearing membership, desperately low sales of traditional material - and all the excuses that have been put up here
As far as folk song proper, the scene is virtually dead - even EFDSS has walked away from it
Of all the things I have put up, what is inaccurate - low numbers, disappearing clubs, a shift to paid performers, hostility towards traditional songs..... all from these arguments
Have I lied - have I dreamed these arguments ?
Wiki my arse
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 07:33 AM

it's full of folk superstars with no reference to the clubs

Jim, did you not even read the bit I posted? The one that says

The decline began to stabilise in the mid-1990s with the resurgence of interest in folk music and there are now over 160 folk clubs in the United Kingdom, including many that can trace their origins back to the 1950s including The Bridge Folk Club in Newcastle (previously called the Folk Song and Ballad club) claims to the oldest club still in existence in its original venue (1953)

How is that not referring to folk clubs?


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 21 Feb 19 - 07:40 AM

If you measure the strength of the folk scene only by the number of folk clubs you'll get a very misleading view of what is going on. Whilst the old-style folk clubs are diminishing in number (along with the old-style folkies who attend them) the folk scene is developing in other ways. There are still plenty of clubs in the old style, run by younger people, but also more concerts in venues other than the back room of pubs. House concerts are widespread, but are often only advertised by word of mouth so they remain under the radar. The programme of folk festivals is full throughout much of the year, and these range from large concert events with headline names to small sessions of traditional singing and playing. There is plenty going on, with something for everyone.

As well as performances, there are plenty of workshops in singing and playing at venues all around the country, so the opportunities to learn are much greater than when I started out, when I had to teach myself.

Young people are involved in large numbers, and often sing and play to a far higher standard. They're just not doing it in the old folk clubs.

Young people in particular don't buy CDs, they download music to their phones. More than 1/3 of the sales of my band's CD have come via the internet, although admittedly that includes purchases of physical CDs. Our music has been listened to in more than 30 countries world-wide, thanks to being online.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 07:55 AM

We also have the issue of what is defined as folk. I think Jim will correct me if I am wrong but I think he is defining folk as traditional only and that could well be on the decline. But the rest of us are, I think, encompassing contemporary folk as well. As I said before, we all could be part right. Maybe traditional folk is being superseded by contemporary folk just as the old style folk clubs are being superseded by the new. Not good if you want to preserve the old songs but good for the development the new!


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 21 Feb 19 - 08:25 AM

"160 folk clubs"
My point exactly Dave
There were that many within a driving distance of my home in London at the beginning of the 1990s - and I would guess that would be the case in all the major cities
Taking the examples of what constitutions 'folk song' and add that to what is being argued for here, I would think a quarter of that figure would be a generous guess at how many of those 160 clubs cater for folk song lovers (I know what I mean by folk song - nobody has come up with an alternative yet) You are dinging yourself into a very deep hole here.
There is not enough traditional song on line to even scratch the surface of the riches that have been commented
Where can I 'download' any good traditional material - I can listen to a little
The fact that Terry Yarnell and I can't give away one of the largest and wide-ranging collections of traditional song, music, workshops, articles, films.... of traditional music in private hands says what needs to be said about the current interest in it.
I am talking about traditional and traditional based songs - anybody can write a song in any form and call it folk - the term has become totally meaningless
Most newly written songs cone with a little (c) which confines their use to where the copyright cowboys can't reach
I am concerned about folk song; full stop - you have yet to define what you are talking about
Folk song as an art form, reaches far beyond the DWINDLING clubs - it is what is says it is THE VOICE OF THE PEOPLE
That is what is being silenced by this apathy and indifference
Both irresponsible and sad
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 08:46 AM

Jim. The article clearly states that "The number of clubs began to decline in the 1980s, in the face of changing musical and social trends. In London Les Cousins in Greek Street, where John Renbourn often played, and The Scots Hoose in Cambridge Circus, were both casualties.[13] The Singers Club (George IV, Lincoln's Inn) closed its doors in 1993.

The decline began to stabilise in the mid-1990s with the resurgence of interest in folk music..."

So, the early 90s to which you refer were already on the decline and reached it's low in the mid 90s. As well as the decline through the 80s, it also makes the point that folk clubs are changing so, even though you may not accept that, it is a fact of life. Given what Howard and a number of other people have said about new venues, concerts and all sorts of other options there is plenty of actual evidence from people on the ground here in England that the picture is nowhere near as bleak as you paint it.

Sorry that you have lost a number of traditional clubs and feel that you can no longer participate in the music you prefer at folk clubs but there is still plenty of good quality folk music, of all types, for the rest of us to enjoy.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 08:46 AM

Oh, and 300! :-)


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 21 Feb 19 - 09:06 AM

If the hoary handed sons of the soil in days of yore had the same   opportunities as available today, they would have been after copyright and a few bob just like rats up a drainpipe. The world has changed. To have traditional means of generating folksongs means to be trapped in a timewarp. To use a word such as traditional has the implicit meaning that the genre is fossilized.
What gives anyone the right to say that a modern derivative is in some way pseudo or even fake.
The car has replaced the horse. Does anyone have a problem with that?


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 09:10 AM

you have yet to define what you are talking about

I have defined what I was talking about on a number of occasions and you keep denying it. The latest was 19 Feb 19 - 06:18 AM It is there for all to see so why do you keep saying I have not defined it?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 21 Feb 19 - 09:23 AM

Dave,
I see litle point in continuing a discussion with anybody who believes 160 Folk clubs represents a healthy scene - especially as most of them have little to do with folk song proper
Your definition is the 1954 definition which, for all its weaknesses, bears no resemblance to what happens in the majority of your 160 clubs in your healthy folk scene.
I see little point in all this - when I get time I'm going to deal with Howard's earlier posting amnd his interesting question on the toxic thread
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 09:40 AM

Clubs are now only part of the picture. You seem to keep missing that point. The 160 clubs are in addition to the hundreds of other ways that live folk music can now be enjoyed.

Your definition is the 1954 definition which, for all its weaknesses, bears no resemblance to what happens in the majority of your 160 clubs

The 1954 definition includes contemporary folk song and songs which have been absorbed into the community.

The term can be applied to music that has been evolved from rudimentary beginnings by a community uninfluenced by popular and art music and it can likewise be applied to music which has originated with an individual composer and has subsequently been absorbed into the unwritten living tradition of a community.

Your definition specifically excludes contemporary folk song. That is the whole bone of contention. I am happy to accept this definition and can confirm that music that fits this definition is readily available at many places, including but not limited to folk clubs, all across the country.

As long as you keep making sweeping statements about the current folk scene that I disagree with I shall keep pulling you up on it. And if you keep saying that I have not defined it or I am happy with any old rubbish I shall keep refuting that too. Sorry but that is the way I am.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Hootenanny
Date: 21 Feb 19 - 09:51 AM

Jim,from your post above

"Most newly written songs cone with a little (c) which confines their use to where the copyright cowboys can't reach"

What is your problem with a songwriter copyrighting his/her own work?

If Ewan hadn't done so with "The First Time Ever" I am sure that he would have been considerably less well off than he was following the hit recording. With luck his estate is still earning reasonably well and why shouldn't it?

From what Peggy states in one of her books she and Ewan were pretty chuffed when they received the first royalty cheque from that song.

Do you have any personal knowledge of how royalties collection works?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 21 Feb 19 - 10:28 AM

"What is your problem with a songwriter copyrighting his/her own work? "
None whatever, but while it is owned it will never be a folk song

"You seem to keep missing that point."
No Dave - you are - this is the point
"been absorbed into the unwritten living tradition of a community."

The 45 definition (which I never discuss or use) talk about songs being adapted and changed and taken on by communities as their own - that can never happen to copyrighted songs - they always belong to someone other than 'the folk'
It is the changes and adaptations that that create folk songs, not repetition
Much more to it than that, of course

As long as you keep putting forward 180 cli=uns as a healthy scene, we have no grounds for discussion
A scene dominated by Festivals and paid singers is the antithesis of a healthy scene
Howard raised an important question on the toxic thread concerning how you follow up the idea that 'anybody can sing' (which I heartily agree with) by not upsetting audiences that come to hear a reasonable level of singing
Quite honestly, I think it far more fruitful to follow that uo rhater than go around in these ever-decreasing circles and ending up disappearing upour own jaxies
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Jack Campin
Date: 21 Feb 19 - 10:33 AM

Illustration of Dave and Howard's point: an event I played at last year was a party-cum-house-concert that was never advertised in any public medium. In a large top floor flat, it must have had more people packed in than Edinburgh and Leith Folk Clubs could ever have fitted into their venues put together (one guy in our band is a civil engineer who specializes in the conservation of historic structures - he spent much of the evening gripping the windowsill calculating floor loadings in his head). Almost all the music played fitted the 1954 definition though none of it was from the British Isles or North America (that might well come, some other time). I can't imagine anybody there would have thought "pity this isn't a folk club".

The impression I get from the early publications of the postwar folk scene is that nobody involved expected clubs to be more than a transient phenomenon. They were right: the clubs had a job to do, they did it, end of story.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 10:46 AM

It is the changes and adaptations that that create folk songs, not repetition

Of course it is. What we disagree about is "that can never happen to copyrighted songs". Of course it can and has on many occasions. The definition contains no such exclusion. In fact it specifically says it can likewise be applied to music which has originated with an individual composer. Any song after copyright was introduced is likely to be copyrighted by the individual composer and many of those have now been absorbed into folk communities. Are you trying to tell us that "The Manchester Rambler" has not been absorbed into Manchester folklore? Or that "Fiddlers Green" is not sung as a folk song in venues all around the coast?


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 21 Feb 19 - 11:22 AM

I think the figure of 160 clubs is suspect. A quick look at the North West Federation of Folk Clubs website shows around 50 in this region alone.

http://www.folknorthwest.co.uk/club_page.htm

These are only clubs which are members of the federation so there are probably others.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 21 Feb 19 - 11:56 AM

"that can never happen to copyrighted songs".
Of course it can't today Dave - how can it ?

Moving on
Howard - been meaning to respond to your point for some time
The scene you describe was certainly not mine the ealy clubs based themselves largely on what became available after the BBC project - there may have been quibbles as to how that should be performed but there was little argument as to what it was.
Music Hall and Victorian parlour ballads hardly ever featured - the Topic output is evidence of that
I can'r recall hearing much in the four three cities I've lived in
When Dylan arrived on the scene singing songs based on folk songs the clubs divided - in Manchester, you wanted traditional stuff you went to one of Harry Boardman's clubs (I was resident at two - you wanted singer-songwriter stuff you went to The Shaespeare Head or the MSG (on nights where they booked em' - they kept si.S. and trad separate
I desperately tried to like Dylan because al my mates did but found his compositions trite and meaningless
His early protest songs I could take or leave (lovely article by a writer who called himself 'Jack Speedwell' summed him up perfectly in one of Dallas's magazines.
I stopped trying to like him when I read an article by American actor/singer Theodore Bikel describing how this 'protest singer' refused to accompany Seeger and co South to take part in the sit-in Civil Rights Protests until he was handed his fare publicly and couldn't refuse
When Baez's biography came out Dylan was exposed as using his friends as a stairway to stardom - in the end he found his place in history a a pop singer - 'It's all Over Now, baby Blue' was his exit song
The two styles of 'folk' co-existed rather than co-operated
Sing-around clubs were virtually unheard of

You raised an interesting point on the toxic thread - how can you bring new singers on without offending audiences who turned up to hear reasonably sung songs
After the setting up of The Critics Group, a dozen or so similar ventures sprang up I ran one in Manchester before I left for London
MacColl and the Critics were urging clubs to assist less experienced singers and people began to volunteer to do so
I'd been in London about a month when Dick Snell knocked on my door asking could we work together
I agree with you totally that anybody can sing - but this needs encouragement and practical help - you really won't get that on a scene based on festivals and paid gigs
Sorry if I missed anything else you asked
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 21 Feb 19 - 12:16 PM

but this needs encouragement and practical help - you really won't get that on a scene based on festivals and paid gigs"
i can give you two examples that contradict this statement, southend folk club which at that time was run by red and myra abbott, gave and paid for singers, out of club funds the opportunity to go to festival workshops to improve their singing
LEWES FOLK CLUB, runs workshops to encourage and help singers and musicians
Fastnet Maritime AND FOLK Festival , WHICH FOR 8 YEARS PROVIDED SUBSIDISED WORKSHOPS, to help and encourage musicians.


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 21 Feb 19 - 12:20 PM

Fiddlers green, caledonia, two comosed modern songs ,hav been mistaken by many as folk songs, and have been sungs with an assumption they were irish trad songs at cce competitions and GAA IRISH SONG COMPETITIONS, and the judges never realised


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 21 Feb 19 - 12:27 PM

Dick
In my experience, Festival workshops consist of groups of people being handed song-sheets of songs they may or may not know or even like, and asked them to sing them parrot-fashion
In a weekend festival situation, there is no time for the necessary follow-up work - it really can't be done in a matter of hours.
Lewes has a club wich is what I'm advocating for
These workshops, once established are simplicity itself given the generosity of those prepared to help and the trust of those wanting to be helped
It can actually be done on a one-on-one basis, but groups are far more efficient - that way, both helpers and helped benefit
Pat and I set up a couple when we gave talks at the two Ewan MacColl weekends in Salford - enjoyable and productive but each time, desperately in need of follow-up work
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Hootenanny
Date: 21 Feb 19 - 12:30 PM

Jim,

It would appear that copyright on a song at present lasts until 70 years -it used to be much less- after the death of the author. Therefore it would appear that in 40 years time any of Ewan's songs if they are still sung would be non-cop and could be considered folk songs.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 21 Feb 19 - 12:31 PM

Can I just add that at present, I'm exploring the possibility of setting an on-line workshop in cooperation with our local heritage group - OaC, exchanging both ideas and recorded material
My technical knowledge is extremely limited but I think i might be possible
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 12:47 PM

Are we in a pantomime Jim? Oh yes it can. Oh no it can't! :-)

Of course copyrighted songs can be absorbed into folk communities. I gave you two examples and there are many more.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 21 Feb 19 - 01:14 PM

" they are still sung would be non-cop and could be considered folk songs."
They can only be "considered" folk songs if they are absorbed as part of communities with a living tradition that enables them to become folk songs
Surely you're not suggesting that every song over 7 years old is or can become a folk song
Dave - Manchester hasn't had a living tradition since at least the middle of the Industrial Revolution
You don't "age" into a folk sog, you evolve into one - passively receiving and repeating parrot fashion would make 'God Save the Queen' and 'Happy Birthday to you folk songs - absorption, acceptance and ownership are part of the proicess
Sorry - unless we stop repeating things at each other I really have no desire to continue this
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 02:15 PM

If you really want to end this circular argument, stop stating that the folk scene is dead then! As long as you keep repeating that, I will keep disputing it. It is no good you saying you want to end it and then coming up with the same old thing at every opportunity


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 02:18 PM

And what's this new nonsense about Manchester not having a living tradition? There is an unbroken record of scrapping with Scousers :-)


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 21 Feb 19 - 02:33 PM

Dave- you gave me the figures - 180 clubs
If it's not dead it's on life support - I've seen Cancer patients gasping their last in better health than that
And even over half of those figures almost certainly have SFA to do with folk song proper
Can I suggest that if we are going to discuss things like "folk" and "tradition" you dig out 'Folk Song in England' - Bert's not the erzatz one
Then we might stop talking at cross-purposes
It's highly readable and fairly precise - and it doesn't come with an agenda (even though it falls short sometimes)
When have Mancunians ever been able to hold their own with Scousers ?
Certainly not in my time
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 02:46 PM

Ey up. Fightin' talk!


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Hootenanny
Date: 21 Feb 19 - 03:02 PM

Jim,

If you checked what you post here before hitting the send key it might save time and confusion.

It might also help if you read other peoples posts and digested them before firing off at half cock.

I did not state 7 year old songs nor even 70 year old songs.

I doubt also that even the songs which you are happy to call folk songs survived without being repeated. Walter Pardon would never have learnt many of his songs without hearing his uncle repeatedly singing them unless he had a photographic memory. AND before you misconstrue that I AM NOT belittling Walter.

Also I did say "could be" and not "would be".


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 21 Feb 19 - 03:08 PM

Jim, we have clearly had very different experiences. My experience was of clubs outside the cities, in towns and villages mainly around London but also further afield. Also, it touched only the very tail end of the 60s and really covered the 70s and 80s, so we were separated by both time and geography, although not by much. Most of these clubs had started up in the 60s and I doubt they had changed very much by the time I started going to them.

As well as the clubs around Essex where I grew up. I then went to university in Reading and attended clubs there. Later, I travelled a lot for work, and took the opportunity to visit other clubs all around the country. I even gigged at a few. Eventually I moved to Cheshire and went to clubs there and in Manchester. I have experienced quite a lot of clubs all around the country and I feel these were typical of clubs at that time.

All these clubs were broadly similar in their approach and most operated the floor-singers with guest structure. The range of music was similar to that which DgT quoted from Wikipedia, including American roots music, blues, contemporary folk, and world music, although traditional British folk music dominated the clubs I went to. None of the clubs in my experience provided the kind of intellectual approach that you describe - we were there for entertainment and never discussed the music in a club setting.

If your experience was typical of how clubs were in the early 60s, it suggests to me that most had evolved into something different by the end of that decade. The folk clubs continued to thrive through the 70s and 80s. I suspect the reason they then went into decline was that their core audience became preoccupied by family and professional commitments - that was certainly my own reason for stopping.


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 21 Feb 19 - 03:11 PM

A sensible and fair posting as always, Howard.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 21 Feb 19 - 04:01 PM

Glad it's not just me :-)


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 21 Feb 19 - 04:43 PM

Dave, your medal's in the post!


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 21 Feb 19 - 05:45 PM

I had the same experience as Howard, in fact the first folk club , i walked in to in themid sixties aged 14 was Downe folk club , the first people i saw a split gig joe stead and ralph mctell, inhose days ralp mctell played blind blake songs , joe stead sang a lot of pete seegers repertoire joe hill etc


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 22 Feb 19 - 03:18 AM

"If your experience was typical of how clubs were in the early 60s, "
My Experience stretched into the mid to late eighties - mainly in London, but visits elsewhere suggested that London was not untypical
If yours was an example of 'evolution' (I would choose the term deterioration) it wasn't happening there
I can think of many clubs that specialiased in the real thing - 'The Empress of Russia', 'Herga', 'The Fox', The Kings Head', 'Croydon', 'The Railway' at Stratford East ...
where you were guaranteed to hear folk songs
There weer others that did other things
I was actively involved in several - 'Court House Sessions', 'The Tradition Cub', 'The Metropolitan'.... never an introspective navel-gazer to be heard mumbling his/her incomprehensible angst into a guitar
My main base was 'The Singers' because I knew I could wuld never fail to hear good traditional songs well sung, along with new ones not designed to give you jet-lag because they were so different from the rest
That included until shortly after Ewan died, till Peggy returned to America.
The 'evolution' you describe, by presenting non-folk songs, robbed us of our right to choose what we listened to - it was a misuse of a well-established term
That misuse, along with lowering standards and the lazy contempt of singers who couldn't be bothered learning the songs they sang, drove me and thousands like me out of the clubs
I was lucky - right into the present century I had our Traveller singers to listen to and continue to receive information from
That luck continued when we moved to Ireland, where we could continue to hear good folk music and songs that have become part of our lives - never though I'd say it, but here in Miltown Malbay, sometimes too much to choose from
Ireland is rapidly building a love and respect for its traditional arts, whereas it seems England (can't speak of Scotland) seems to have lost what they had of it.
I can only think of one club in London, my old home, that I can now confidently go to hear the music I want to - The Musical Traditions Club - can't really think of another
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 22 Feb 19 - 03:54 AM

I think we just move in different circles and like different things, Jim. Nothing wrong with that but sadly, for you, you seem to be in the minority. I am lucky in that my likes and my locality do include what is, for me, a great mix of trad and contemporary. As seems to be the case with most posting on here. Just down to personal taste. You either like the music that is being presented or don't. I do.

I think all I can say to conclude is that I accept that the music you like has suffered at the hands of the music that others like. I can apologise for that but I am not in a position to do anything about it.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 22 Feb 19 - 04:29 AM

"Nothing wrong with that but sadly, for you, you seem to be in the minority. "
Depends on how far you look Dave
I don't believe for one minute that those who left in despair lost their love of the real thing
I do wish you'd stop using the term "like" as if his is based on personal taste
Folk song is a long defined and established form which I believe has been hijacked and replaced by something else - go into the Vaughan Williams Memorial Library - they have lined the walls with it
If you, who holds the social and humanist views I believe you do, don't understand its importance compared to the replaceable pap churned out by the music industry, then you've missed out
This really does have nothing to do with 'like' but I believe it has a great to do with dislike and failure to understand or care
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: r.padgett
Date: 22 Feb 19 - 05:05 AM

Well I would simply beg to differ ~ hijacked is perhaps too strong a word "traditional song" and songs collected from all sorts of singers in the dim and distant have been recorded by collectors and digitized and put into books are just that and form a ready source for up and coming and established singers too to perform

And long may it be so ~ however certainly in my living memory other "new" folk songs (or however you would wish to call them) have existed and not just from the popular (o dear) singers such as Bert Lloyd, MacColl, Tawney, MacTell, and of course we cannot ignore the likes of other guests who may or may not have Americana, blues and other musics which they performed in folk clubs in the 1960s

Folk song ~ depending upon how you define it ~ must include songs which comment on the doings of the day or recent past ~ often newsworthy but always so!

Folk song is and always was meant to be entertainment for the masses ~ before the age of Newspapers (no doubt it can be argued that Broadsides were indeed early Broadside Newpapers!)

"Masses" may of course need to be qualified


Ray


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 22 Feb 19 - 05:07 AM

I would prefer to see more folk clubs providing singing workshops and instrumental workshops.
I do not want to go to a folk club and hear buddy holly,cliff richard, rockj and roll.
i do not mind clubs advertising as folk blues or singer songwriter only or trad only, at least we know what we might be in for.
although most clubs in the past found a mixture of the last two to be a successful formula.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,jim bainbridge
Date: 22 Feb 19 - 05:22 AM

I once heard Fred Jordan sing 'Oh Boy' in his lovely quavering traditional style- how does that fit in?

'All my love, all my kissin'
You don't know what you been missin'


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 22 Feb 19 - 05:42 AM

compared to the replaceable pap churned out by the music industry

Absolutely agree, Jim. Where we disagree is that not all contemporary music comes under the heading "replaceable pap" and there is plenty contemporary folk music that sits very comfortably in folk clubs. And that is where likes and dislikes come in to it.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 22 Feb 19 - 05:50 AM

....Jim Copper and his brother John sang "Old Rockin' Chair" learned from a Louis Armstrong 78. Several such pop songs in the original Copper Family song book. They all shared one quality with the older songs in the book in that they were bloody good songs to sing..... Vic Legg singing great Everly Brothers' songs alongside "The Game of All Fours"... Johnny Doughty's pub repertoire.....


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 22 Feb 19 - 06:09 AM

At all the clubs I went to you could expect to hear mostly traditional songs, if that is what you mean by "folk". You could also expect to hear other songs which fall within the wider meaning of "folk" - I know you deplore that usage and I sympathise, but it is now how the word is generally understood,and the clock cannot be turned back.

I don't think I've ever heard a Buddy Holly song performed seriously in a folk club, although I have once or twice heard one done tongue-in-cheek as an encore after a set of largely traditional songs.

I went to the Empress of Russia a couple of times when I briefly lived in London, and I distinctly recall Bob Davenport singing several songs which I would not regard as traditional. However that was around 1980 so perhaps it had 'deteriorated' by then.

There were certainly a few clubs known for having a "trad only" policy but they were regarded as something out of the ordinary. I don't think the term "folk police" had been invented then. I think you must have been fortunate to be able to attend clubs which had this, or something close, but except possibly at the very beginning of the folk club boom (which I didn't experience) I doubt they were typical. Through most of the boom period, which I regard as having continued through the 70s and 80s, I would say clubs of the sort I attended were more typical - predominantly British traditional song but with a variety of other stuff. That seems to be the experience of others too.

I strongly disagree with your claim that this broader interpretation of "folk" prevented me from hearing and performing traditional songs.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 22 Feb 19 - 06:20 AM

"Jim Copper and his brother John sang "Old Rockin' Chair"
So ?
"and form a ready source for up and coming and established singers too to perform"
You have to create an interest for that material - that's what the revival did and that interest was destroyed by a hostile takeover
Most of the best of the collected material remains unavailable except to those who are knowledgeable enough to know where to look
The power of the club days was that the enjoyment of folk song could be shared and discussed - not the same as experiencing it on i phones and computers
Dave
Some pop songs may have merits but their life span tends to suggest not many - try asking the views of a youngster today of a vople of years old hit-parader
Beside the point anyway, anybody with a tase for pop music will go to the cream (with a small C) for it rather than sit through wannabes making a fifth rate balls of it

"'All my love, all my kissin'"
Heard a cruelly misogynistic rewrite of this concerning breast cancer once
I suppose some would regard it a 'folk song'
"trad only,"
Not my taste but it's perfectly acceptable that some clubs confine themselves to the real thing if that's what they wish - they certainly aren't breaking any commitments they make by calling themselves 'folk'
At least you know what you are getting compared to.....
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Observer
Date: 22 Feb 19 - 06:48 AM

Last night's offerings at a "session" night at our local "Folk Club" (Yes that IS how it is how it is titled) consisted of an all songs evening that lasted for four hours and in all that time I only heard two songs that I would call "folk songs". The rest, for the most part, were meaningless ramblings, devoid of any narrative or message that in terms of tune or lyric were instantly forgettable.

As Jim Carroll has repeatedly stated, it has indeed been a long time since "Folk Clubs" did what it says on the tin.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 22 Feb 19 - 07:12 AM

It's that repeated experience that drove so may out of the club scene, given the response here, I think it's set fair to continue unles those who care do something about it   
I actually heard a fairly competent singer apologise once for interrupting the session by singing a folk song - I took her as being ironic
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: r.padgett
Date: 22 Feb 19 - 12:49 PM

"You have to create an interest for that material - that's what the revival did and that interest was destroyed by a hostile takeover

Most of the best of the collected material remains unavailable except to those who are knowledgeable enough to know where to look"

Nope the interest for folk song had already been there ~ yes the revivalist singers were able to access material from many sources including EFDSS publications, Lloyd, MacColl, Seeger (Pete), Donegan ~ the place for performance was of course by and large the folk club movement ~~ as a natural extension of Jazz clubs and skiffle and of course music halls and the usual Saturday night home made music round the piano ~ Hostile ~ well I don't recognize that quality ~ ppl have enjoyed making music themselves for generations as entertainment

I do think that the Traditional music collections should be made more available and that is "Our" mission and that of the likes of MT and EFDSS (among others)


Ray


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,jim bainbridge
Date: 22 Feb 19 - 12:50 PM

Howard -The Empress of Russia had famously catholic tastes in the music, and made no apology for it either. That's maybe why I was asked there often enough despite my repertoire including my own versions of songs also sung by Buddy Holly, the Drifters & Paddy Roberts, with melodeon accompaniment.

nb haven't mentioned 'traditional' or 'folk' in this post- too provocative in some quarters.....


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 22 Feb 19 - 12:57 PM

Some pop songs may have merits

I'm not talking about pop songs. I am talking about contemporary folk songs. Things like "Claire to here", "Sammy's bar" or even "Dirty old town". I suspect you know that and are just being awkward.

Teribus. Why do you keep going then?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 22 Feb 19 - 01:11 PM

" I am talking about contemporary folk songs."
Sigh
Why put them up; they are contemporary songs using folk forms (except the first) - nobody is objecting to them being sung in folk clubs
I'm talking about the crap that has nothing to do with Folk song in any shape or form
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 22 Feb 19 - 05:03 PM

I have always been talking about contemporary folk song. You know, like the ones I just mentioned. The ones that are copyrighted, like the songs you say can never be folk songs. Where is your dividing line between what should and should not be sung at folk clubs. Why could I sing Ewan MacColl's Dirty Old Town but not Ed Sheran's Gallway Girl? Just what is the difference between the two apart from you like one and not the other?


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 22 Feb 19 - 05:14 PM

Oh, just noticed the comment about Clare to here. Can anyone explain to me, a non musicologist, why Dirty Old Town is a contemporary folk song while From Clare to here is not? This is the bit I really don't understand.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Hootenanny
Date: 22 Feb 19 - 05:16 PM

The Empress of Russia was a great venue. Saturday lunchtimes were very enjoyable a good mixture of singers and musicians. I don't know if the organisers were the same folk who ran the regular club but it was a very enjoyable place to spend an hour or two before or after visiting the west end record and book specialists.

I happened to be at the final night of the club a few days before the "Empress" closed to be converted into a restaurant. That night was mostly old time fiddles and banjos with a couple of bluegrass pickers thrown into the mix.

I may be mistaken here but doesn't this club still continue as the Islington Folk Club which has operated from several different pubs around the Islington area for years.


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 23 Feb 19 - 03:33 AM

Howard , you obviously did not hear Andy Caven.
Jim Bainbridge, I dont care whetherthe singer was a traditional singer or a revival singer, i can here pop songs anywhere, when i go to folk clubs i want to hear songs of a certain genre,m thats my choice i am quite happylistening to martin carthy leon rosselson or a blues singer under my own defintiuon this is all folk music, cliff richard, buddy holly,beegees is not what i want to hear. if i went to a jazz club i do not want to heardanielo donnell, ok


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 23 Feb 19 - 03:44 AM

"why Dirty Old Town is a contemporary folk song while From Clare to here is not? "
Who said either was a "folk" anything - you are the one who attaches the label to newly written songs made using the folk techniques, not me
I beileve one uses folk techniques in its make up, while one is singer-songwriterish, but it's probably nit-picking and unimportant
Neither are folk songs
You keep talking about what you "can and can't" sing - you carry the rule-book, not me
This is basically the dishonesty of these arguments - you invent "rules" that people have to adhere to
Can you find anything I have written which says that
When MacColl, Seeger, did the Radio Ballads they based the music on folk styles - mainly, 'John Axon' used jazz forms - even well known jazz instrumentalists
Singing the Fishing - mainly folk forms, but slap in the middle - a bit of Gilbert and Sullivan
'On the Edge' - pop song techniques of the early 60s
One of the best evenings I attended in the early days was around the time MacColl was given a part in a television series, 'The Borderers' and invited the star, Ian Cuthbertson, along to the club to do a night of poetry and song swapping - half of the evening had very little to do with folk

A healthy folk scene can experiment in all directions - it can broaden its influences and horizons by doing so
We don't have a healthy folk scene (how many clubs again?)
The problem is that, as Observer indicated, the basis of o=the folk scene - folk song, has been edged out to make room for something else - that 'something else' has no identity because it has no homogeneity - anything goes and 'folk' has become meaningless.

The other thing that has gone seriously wrong is that it has returned to the very thing it was set up to escape from
We first took up skiffle to make our on music - a way for us all to express ourselves freely without having to wait till the industry decided what was to be the next 'flavour of the month'
What we did happened o a weekly basis and was spread around so wide that we could fill our week visiting different clubs if we wanted
Now people talkk about 'annual festivals' as being a substitute and the god-awful media 'folk-singer-of-the-year' often mediocre displays of 'excellence' as an aim


Will you please stop keep suggesting that I am making rules - I am not
I am suggesting that the folk scene bike has a bad puncture which needs repairing      
As a researcher I will endevour to be accurate when talking or writing about what I know to be folk song - if I ever forget what it is there are thousands of places I can go to remind me
As a singer and listener, I am quite happy to go home having heard enough folk or folk-based songs for the evening to have lived up to its original description - a few diversions don't matter too much as long as there are not too many for the objective to have been lost
When push comes to shove, it is folk song that matters - the enjoyment that comes with it is an essential bonus - the petrol that make it go

Hoot
We seem to be at cross purposes
The Empress of Russia events I am referring to were Thursday(I think) nights devoted largely to traditional singing
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 23 Feb 19 - 03:53 AM

Dick, what about Martin Carthy singing "Rave On", "Nothing Rhymed" or "The lonesome death of Hattie Carroll"?


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 23 Feb 19 - 04:06 AM

No, Jim. I am trying to get to the bottom of an apparent contradiction.

You complain that you do not hear folk songs at folk clubs yet you have confirmed that you would be happy going to a folk club to listen to Ewan MacColl, Vin Garbutt and Cyril Tawney songs all night. You are now saying that those songs are not and never can be folk songs. You cannot have it both ways.

I think when you complain about not hearing folk songs you are talking about traditional folk songs. If that is the case I could accept that. What you will not commit yourself on is which contemporary folk songs you are happy listening to. You would be happy with Ewan, Vin and Cyril, but not with, for instance, Ralph McTell. Why is that? To me, and many others, they are all contemporary Folk.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 23 Feb 19 - 04:08 AM

"Rave On",
You seem to be coming around to my point of view
What the **** has Rave in got to do with folk song and why should it be inflicted on a folk audience ?
If I wanteds to hear it again I could easily search out the good version by The Crickets rather than a naff one from Marin Carthy
Everyone to his own
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 23 Feb 19 - 04:12 AM

"Everyone to his own". So we're done then.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 23 Feb 19 - 04:15 AM

Just getting Dick to clarify, Jim. He says he would be happy with Martin Carthy but not with pop songs. Yet I have named 2 pop songs and one commercial (Dylan) song that Carthy sings. Is it the performance or content that is more important. These are the grey areas that I am interested in.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 23 Feb 19 - 04:38 AM

The two po songs have no place in folk clubs in my opinion - leave them to the experts in the field
I was never interested too much in Zimmerman's stuff (if people insist in talking about Jimmy Miller I think I'll give Zimmerman and John Pandrich a try) and wouldn't break my neck to listen to it - it doesn't resemble folk as I know it ut as I say - you're the one carrying the rule book - not me
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 23 Feb 19 - 04:40 AM

Should have added
Nit-picking such as this helps avoid the real discussion on the responsibility of the clubs who call themselves 'folk' to the music whose name they have stolen
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Tunesmith
Date: 23 Feb 19 - 04:45 AM

I went to my local folk music recently, and at the end of the evening it ocurred to me that the only trad song sung all evening was the opening number ( whichis always the same song).
   As to whether a Ewan Mccoll composition is more acceptable than a Ralph McTell song, well,I would say, that Ewan did try to write most of his songs "in the tradition".
Of course, there is that famous story that McColl tells about singing his composition "The Shoals of Herrng" to a trad singer ( Sam Larner?), and the trad singer saying that he remembered the song from his youth ( i.e. long before McColl wrote it).
   We can never, I don't think, get back to the days when trad songs dominated the folk club repertoire but I think we would all like to hear a lot more trad songs in our local folk song clubs.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 23 Feb 19 - 05:01 AM

Ewan always took Sam's remarks as a compliment
'Shoals' was largely taken from actuality recordings of Sam and Skipper, Ronnie Balls talking about the old days -
You can trace much of it from the recordings - the tune was an adaptation of a ballad tune from The Greig Keith collection 'Famous Flower of Serving men' - Ewan used it for a number of his songs
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 23 Feb 19 - 05:15 AM

Dave , my opinion is that hattie carroll is a badly written song, although good subject matter, nothing rhymed is imo a well written song, rave on is not a song i wish to hear in a folk club, i have not heard carthys version, andy caven sang the song well,but it is not what i want to hear.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,keith price
Date: 23 Feb 19 - 05:16 AM

Tunesmith if we're talking about the same club and I think we are. I sang and played trad, other than that I agree with you.


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 23 Feb 19 - 05:18 AM

dave the gnome , why are you asking me this?i have never objected to well written songs in a folk style?,


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 23 Feb 19 - 05:21 AM

Jim,

Just to clarify re the Empress of Russia, I did say that I didn't know if the Saturday sessions were organised by the same folk that did the regular club.

The final night that I referred to was a regular club night.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 23 Feb 19 - 05:22 AM

If someone suggests that they can no longer hear folk songs at folk clubs it is not nitpicking to try and find out what they consider to be songs that they are happy with at folk clubs. I, amongst many, consider contemporary folk songs to have their rightful place in folk clubs. I think that you agree. And we are in complete agreement over what constitutes a traditional folk song.

What I am trying to get to the bottom of is what you consider to be a contemporary folk song and why. We know you think MacColl, Garbutt and Tawney write songs employing "folk techniques" but you do not consider that McTell or Sheran do. This is what I really do not understand.

When I hear, for instance, "Hiring Fair" or "Gallway Girl" I hear distinct folk undertones. Do you not? If I am hearing them "wrong", can anyone tell me why? What about two of my favourites, Richard Thompsons, "Vincent Black Lightning" or Anthony John Clarke's "Irish Eyes". Are they contemporary folk or "replaceable pap"?

As to rules, nah, I don't have a book. I can go to any folk club and hear folk songs. It is you saying that you cant!


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 23 Feb 19 - 05:27 AM

Dick, I was trying to find out if it was anything by Carthy or if it had to be a certain style. You have answered that and went on to say "Nothing Rhymed" would be ok but not "Rave On". That fits in with what I am asking Jim. How do you decide what is in the folk style and what is not?

Thanks in advance.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 23 Feb 19 - 05:34 AM

https://youtu.be/gJ39vYSMVzU


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 23 Feb 19 - 05:35 AM

"and find out what they consider to be songs that they are happy with at folk clubs"
How about folk songs - that would be a good start
You don't go into a greengrocer's and be told "we don't do vegetables anymore - wuld you settle for paraffin?"
"McTell or Sheran do. "
No - whAt particular folk styles do you think they use - particularly Sheran
McTell can be said to have some traces of blues in his compositions, but f.a.l. to do with British folk styles
Why the hell should those looking for folk have to negotiate an alternative - what sort of outfit are you running?
As you say - you go to a club to hear folk songs not anything other than which has the folk label hung on it
It's a pity the Trades Descriptions Act doesn't apply to the folk scene - you's all be in Carey Street !
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 23 Feb 19 - 05:37 AM

Btw, Rave On is on a Steeleye Span compilation of here on YouTube.

And, no, I am not keen before anyone asks. It is just a novelty recording like "To know him is to love him" with David Bowie on sax or "New York Girls" with Peter Sellers on uke and strange voices :-)


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 23 Feb 19 - 05:38 AM

i can tell you when things are well written, and hattie carroll imo is not
,well of course this is a subject that deserves a different thread [go and start one] there are certain melodic guidelines as to what most people consider in the uk folk revival consider a folk style , i have certain opinions as do other people so its subjective , but so is most peoples decisions as to what they want to hear in folk clubs. And lets get one thing clear Martin Carthy singning rave on, how many times has this happened and how long ago or is this just gnome goobledeegook


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,jim bainbridge
Date: 23 Feb 19 - 05:47 AM

Sandman- it's down to your preferences and it's as simple as that. If you talk about 'folk' clubs or 'traditional' singing you may argue that when you pay your fiver & are disappointed that it's not what you expected, you're asking the impossible, i.e. pleasing ALL the people ALL the time. I try to do that but it's very difficult!
   These terms were used by some of the earliest & most successful clubs like Newcastle and Swindon, but there was always a great variety, the Davy Lamp & Birtley a few miles apart were very different, but interestingly, attracted many of the same people- and although one-off visitors may be misled/disappointed, local punters will surely KNOW what kind of club the local one is & what the general ambience is?

   Jim Carroll, the folks at the Empress of Russia had their own idea of what the music was about & acted accordingly- it WAS on a Thursday night & along with Jake Thackeray & Tom Robinson, guests included the Old Hat Band from Suffolk and Johnny Doughty- I well recall driving him up from Camber for the night- so really we're back to your idea of what music or performers are good/valid/traditional/folk & we've been there before- I know what I like & so do other people- get used to it!


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 23 Feb 19 - 05:50 AM

I'm not running anything, Jim. I'm trying to determine just what it is that constitutes a contemporary folk song for you and why it is different to what constitutes a contemporary folk song for me.

Why do you say MacColl's "Dirty Old Town" is written employing "folk techniques" but Sheran's "Nancy Mulligan" is not?


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 23 Feb 19 - 05:58 AM

of course its my prefernces,that is why i choose to go to certain clubs and not others.
however when i ran a club i had two considerastions my prefernces and regular members prefernces. hence i booked andy caven , my policy when i ran clkubs was too book 60 per cent of what i liked and forty per cent of what regular members might ask for.
that does not mean when i turn up at a folk club that is what i want to hear, but its easy enough a little research on a computer.
when i pay my fiver to hear martin carthy i know what i am getting and it is not [ despite [gnomes statement... buddy holly].
in my opinion the more important problem is the low standard of performing at some singers clubs at guest booking clubs my experience has been better.
When has Carthy sang buddy holly songs?


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 23 Feb 19 - 06:03 AM

to paraphrase the great fred trueman , i would ask people who want to sing buudy holly to jump off a bridge but i am a kind man i wouldhave keith fletcher to stand below to catch them


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 23 Feb 19 - 06:11 AM

Dave
Can you link me to anythng folk that vaguely corresponds to THIS
OR THIS
Is that a Devon or a Yorkshire accent he's singing in ?
For Christ's sake
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 23 Feb 19 - 06:13 AM

to clarify fletcher was a cricketer called the gnome, so maybe it would be more apt if i said i would send buddy holly singers to jump off the nearest bridge, but being a kind man i would have dave the gnome to catch them at at the bottom


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 23 Feb 19 - 06:19 AM

I've just checked Sheran's Wiki entry (as you seem to be afan of the site)
Not one single reference top him being linked to folk (though it does say he performed with Elton John - maybe he's a folk singer too!)
This - as the Goons often used to say to close their show - "is all in thee mind - you know"
You appear to be claiming off your own bat that Serin is a folk singer
Has the scene really reached that depth ?
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 23 Feb 19 - 06:34 AM

What I find confusing is that Jim sometimes insists that "folk" means "traditional"., but he then admits that folk-like songs are acceptable, and that one of his best nights in a club didn't have much to do with "folk". So the question then is where to draw the line between "folk" and other forms of music. That boundary will always be vague and to a large extent a question of personal taste. However if you regard traditional songs as having a particular quality because of the way they have come to us, then the only distinction between composed songs is one of personal taste. You may prefer a McColl song over one by Donovan because one is closer to folk forms, but that doesn't make it a better song.

Personally I could never see what connection there was between say Nick Drake or Donovan, or Simon & Garfunkel for that matter, and folk, except that one interpretation of "folk" has come to mean a singer-songwriter with a guitar. That's possibly of American origin, in the Woody Guthrie tradition, but whatever its origins it has stuck.

I think what is acceptable to put before a folk club audience depends at least as much on content and attitude as provenance. A song with a message or a story, with words up front and with a connection to the audience will often go down well. As for actual pop songs , it depends on context. If a floor singer started to turn up at a club and sang only pop songs every week, then no matter how good they were someone should probably have a quiet word. When an established performer of traditional songs throws one in, it's a bit of fun and not meant to be taken seriously - lighten up. Or sometimes a different interpretation can shed new light on a song - I think the Tabor/Oysterband cover of "Love will Tear Us Apart" is streets ahead of the original because they make it feel more personal, but I know many will disagree.

I don't think any folk club audiences want to hear a night of pop songs, but in my (admittedly now limited) experience of folk clubs I don't think this happens very often. I think Jim may have been unfortunate in his own experience of modern clubs. Where I do agree is that poor performance standards are a greater threat. I can't see why anyone would want to submit themselves to that, except for the opportunity to sing themselves, and I don't think they are a good advert for folk music. However in places where good standards are encouraged I think they are higher than ever, as singers and musicians now have far more opportunities to obtain instruction.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 23 Feb 19 - 06:43 AM

I have always tried to answer your questions honestly, Jim, but you seem to be avoiding mine.

To me, both the songs in those links seem to have been written employing "folk techniques". Please note that I am talking about the songs, not the presentation. Take away the showbiz razzamataz, imagine someone like Christie Moore singing them, then tell me how they are not written in a folk style.

I would be happy to see Mr Sheran, on his own with a guitar, performing those songs anywhere. I am not a big fan of his other stuff but he does make a good job of some traditional songs btw.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 23 Feb 19 - 06:47 AM

...And I have never claimed that Ed Sheran is a folk singer. You are, once again, putting up a straw man. Please stick to the point. In what way are those songs different to other contemporary folk songs.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Jack Campin
Date: 23 Feb 19 - 06:51 AM

Sheran's Wiki entry

"Sheeran" might have worked better.


Not one single reference top him being linked to folk

So look harder. Is "the Parting Glass" not a folksong?

Like Ewan MacColl, some of his songs are more folky than others, and he seems to be getting more interested in traditional material as time goes on. I doubt he's ever gone as far from tradition as MacColl did with that godawful schlocky piece of Cole Porter pastiche "The First Time Ever". (Come to think of it, "Dirty Old Town" is basically American too - the tune might be straight out of Vernon Dalhart).


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,jim bainbridge
Date: 23 Feb 19 - 06:59 AM

I can recall Martin singing Rave on- probably not in a folk club though- he also did a fine version of Proud Mary & good for him....
Creedence Clearwater were a great band, with a lot of musical credence (sorry about that!)-I've done their stuff as well as Buddy Holly IN MY OWN WAY & certainly not all night- no apologies for that....It's only PART of something bigger, like Johnny Doughty or Margaret Barry, so I have no intention of jumping off a bridge just yet... Keith Fletcher used to drop as lot of catches, didn't he?

yes Dick, it was a nice wee session out on the Marsh- not sure whether to go to Tenterden this year but we might repeat it if I do?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 23 Feb 19 - 06:59 AM

"So look harder. Is "the Parting Glass" not a folksong?"
Of course it is - but not sung like that
Is Rod Stewart a folk singer because he sings Wild Mountain Thyme or George Butterworth a folk composer because he used 'Bonnie Annie to compose 'Banks of Green Willow' ?
Wouldn't have either of them a any folk club I frequented (despite the fact I think Butterworth's composition to be one of the most exquisite orchestral compositions)
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 23 Feb 19 - 07:27 AM

I drop catches too, Jim(B), but I am pretty soft to land on :-)


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 23 Feb 19 - 07:35 AM

Combining songs and singers from the last couple of posts, what's wrong with this, Jim?


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 23 Feb 19 - 07:40 AM

jim b , i think you should go and sid has promised to take me to the marsh


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 23 Feb 19 - 07:47 AM

dave,
it is ok but i have heard better and worse, to be fair guitar is accompanying rather than singer follwing accompaniment.
i am not sure if he was not so well known whether he would be good enough to book , but of course he would bring bums on seats regardlessof how good he is


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 23 Feb 19 - 08:16 AM

"what's wrong with this, Jim?"
Maybe I don't understand what you're on about Dave (other than avoiding the fact that Sheren has as much to do with folk as has Maria Callas)
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Tunemith
Date: 23 Feb 19 - 09:21 AM

I remember when Fairports, a million years ago, used to end with a rock'a'roll medley and it would get the biggest applause of the night. The audience's reaction used to drive a real folkie friend of mine crazy.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 23 Feb 19 - 11:24 AM

"used to drive a real folkie friend of mine crazy."
Can't see why - that's what they did best
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 23 Feb 19 - 01:38 PM

ok, eds version is ok, i have heard better and have heard much worse, however he would put bums on seats in folk clubs and if he was singing trad songs like that , that would be a good thing and might introduce a lot of people to the music and folk clubs


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 23 Feb 19 - 01:42 PM

jim b, if i book Martin Carthy ,i do not do so to hear him sing rave on, i would be selling tickets and people would expect him to sing the material he is renowned for. i would not book leon rosselson and expect him to sing buddy holly songs neither would people buying tickets for the concert


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 23 Feb 19 - 01:47 PM

Just that you should not judge someone on their image, Jim. And you are far more skilful at avoiding the issue than me. You have still not explained the difference between the various contemporary folk songs that I have listed. Other than you like some and not others. Which just boils down to personal taste.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 23 Feb 19 - 03:05 PM

"And you are far more skilful at avoiding the issue than me. "
I have answered avery single point you and anybody else has made
You have yet to tie up your '54 definition with what you think a folk club should put on
Love to learn how Ed Sheeran (thanks Jack) fits into that one
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 23 Feb 19 - 03:50 PM

I have answered avery single point you and anybody else has made

Oh no you haven't!

Go to 23 Feb 19 - 05:22 AM for an unanswered question. Repeated since. Very simply, why do you consider some contemporary songs suitable for folk clubs but not others?


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 23 Feb 19 - 05:16 PM


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 24 Feb 19 - 02:43 AM

That should be contemporary folk songs of course.

Do we think the discussion on contemporary folk should be on a thread of its own or is it part of the changing UK folk scene?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 24 Feb 19 - 03:24 AM

"23 Feb 19 - 05:22 AM"
What have I not answered there Dave ?
I did do by putting Sheeran's song up - - if you can't tell the difference between his song and those others you listed then there is no point in our continuing - I'm not sure there has been for a long time
The most unique and important aspect of traditional song is that it is word based - the songs carry the stories, ideas, emotions, appropriations, experiences..... of 'the folk' - the people who made and carried them they are narratives with tunes
The song makers you listed, "MacColl, Garbutt and Tawney", make songs make songs using a similar form - you might have added Eric Bogle, Loon Rossleson, Jack Warshaw, Enoch Kent, Miles Wooton, Pete Smith, John Pole.... and the many, many others who used the same composition techniques
To my untrained ear, those you listed are indistinguishable from pop songs, if I wanted to listen to them, I would be listening to music that happened to have words
What words tere are are either drowned out by what should be the accompaniment but, rather, dominates the performance
Joust listened to Thompson.... the narrative - if there is one, in unfollowable, the words are turned to gibberish by having not making grammatical sense... broken up to make room for long gutar
breaks... if you removed the guitar the piece would he less than half the length
One of the great problems of much accompaniment of traditional songs is that, as skilful as it may be played, it swamps the narrative - you could go for a piss between lines
Our folk songs are statements in verse - your music is as far away as you can get from that
I've said this over and over again - your examples bear no resmblence to our folk song repertoire - if that is what you are selling as folk you're conning the punters and, while you're at it, you are destroying a people's art form
Sory Dave - we are not sppeaking the same language - you are arguing for the hostile takeover that hast taken place
I have no intention of climbing fences at my age - go read Lloyd's classic
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 24 Feb 19 - 04:02 AM

Ok, Jim. Your phrase "To my untrained ear, those you listed are indistinguishable from pop songs" sums it up. You cannot explain to me why some contemporary folk is ok while some is not so It seems that it is all down to personal taste as I have said all along! On that note, I shall take this discussion elsewhere to see if someone else can explain it. Look for a thread called "Different types of contemporary folk". Feel free to join in if you like but unless you have anything extra to add I think you may find it boring:-(

What I would like to add is my thanks for a well mannered and interesting discussion. Isn't it nice to be able to disagree strongly without the rancour and bitterness we see so often from some below the line.

Cheers

Dave.


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Subject: RE: UK 60s Folk Club Boom?
From: r.padgett
Date: 24 Feb 19 - 04:33 AM

Yes we seem to have meandered off the topic UK60s Folk Club boom

I would suggest that times do change and that word meanings have and do change

Not everyone wants to nor needs to change their thinking, others will argue that is not necessarily good think to ignore passage of time and how things have changed

Folk song ~ to many like me includes traditional song, however it is defined ~ it does not exclude Contemporary folk song ~ yes agree sometimes difficult to separate contemporary folk song from popular music and certainly whilst pop artist use traditional song to arrange and record and entertain audiences it is bound to get worse in the future

Time is a respecter of no man ~ we are all getting older and audiences are younger and looking to modern ways ~ hopefully still respecting the sources of their music

I do applaud the arrangements by musically gifted artists of traditional song using the folk instruments such as fiddles, guitars concertinas et al as well as the unaccompanied singers which is still very popular in dedicated sessions

Ray (over 70 btw)


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 24 Feb 19 - 04:48 AM

Lots of sense in there, Ray. I think 99.9% of the population would agree with you. I certainly do.


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 24 Feb 19 - 04:49 AM

This post is in anticipation of the next one if it succeeds>


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 24 Feb 19 - 04:50 AM

400. OOOOh I cheated!


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 24 Feb 19 - 04:54 AM

"I would suggest that times do change and that word meanings have and do change"
If we are to continue to communicate any changes need a consensus
When you are talkig of a specific historically based music you cannot arbitrarily change its definition to suit personal taste otherwise you lose it
99% of the population either understand or care what folk music is so it is 'poulist' to rely on their non-surveyed views - that's what gave us Brexit and the "many" referred to are in fact very few and dwindling rapidly so even erzatz folk is losing out bu not having an identity
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 24 Feb 19 - 05:13 AM

Best post on this thread by far is the following from Jim Carroll:

"The most unique and important aspect of traditional song is that it is word based - the songs carry the stories, ideas, emotions, appropriations, experiences..... of 'the folk' - the people who made and carried them they are narratives with tunes
The song makers you listed, "MacColl, Garbutt and Tawney", make songs make songs using a similar form - you might have added Eric Bogle, Loon Rossleson, Jack Warshaw, Enoch Kent, Miles Wooton, Pete Smith, John Pole.... and the many, many others who used the same composition techniques
To my untrained ear, those you listed are indistinguishable from pop songs, if I wanted to listen to them, I would be listening to music that happened to have words
What words tere are are either drowned out by what should be the accompaniment but, rather, dominates the performance
Joust listened to Thompson.... the narrative - if there is one, in unfollowable, the words are turned to gibberish by having not making grammatical sense... broken up to make room for long gutar
breaks... if you removed the guitar the piece would he less than half the length
One of the great problems of much accompaniment of traditional songs is that, as skilful as it may be played, it swamps the narrative - you could go for a piss between lines
Our folk songs are statements in verse - your music is as far away as you can get from that
I've said this over and over again - your examples bear no resmblence to our folk song repertoire - if that is what you are selling as folk you're conning the punters and, while you're at it, you are destroying a people's art form
Sory Dave - we are not sppeaking the same language - you are arguing for the hostile takeover that hast taken place"


Dave the Gnome was correct the first time when he typed - "Go to 23 Feb 19 - 05:22 AM for an unanswered question. Repeated since. Very simply, why do you consider some contemporary songs suitable for folk clubs but not others?"

Nobody writes contemporary FOLK songs they write contemporary songs that they hope will be commercially successful - certainly applies to Sheeran, McTell and Dylan. I think Brian McNeil is the only person I know who would not fit into that mold. Whether they become FOLK songs is not down to the writer of the song it is down to those who hear it and the process it then goes through. And in this Jim is again perfectly correct:

"The most unique and important aspect of traditional[Folk] song is that it is word based - the songs carry the stories, ideas, emotions, appropriations, experiences..... of 'the folk' - the people who made and carried them they are narratives with tunes

Traditional folk instruments in relation to UK folk music - Guitars? Don't think so they only really became massively popular in the UK AFTER the Second World War with the arrival of skiffle.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 24 Feb 19 - 06:01 AM

quote:- "Loon Rossleson"

Rather unkind, wouldn't you say?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 24 Feb 19 - 06:04 AM

"Nobody writes contemporary FOLK songs they write contemporary songs that they hope will be commercially successful -"
Thank you guest - those words need to be carved into stone
When we have researchers who produce unresearched percentages of non-involved people to make their case, folk music really is in trouble
The appalling thing is that people in general almost certainly know less as to what constitutes folk song than they did a century ago
Sharps generation at least had the anodyne adaptations that were edited to be served up to children - Miss Pringle bashing out 'Cherry Ripe' on the school piano was closer to folk song than what goes on in many folk clubs today
The Folk Boom, for all its shortcomings, was relying on the researches carried by the Lomaxs in the States and the BBC team working in the first half of the Fifties
Now even the researches have abandoned that pioneering work and have decided that the pioneers were "starry-eyed romantics", Child was an incompetent researcher who couldn't distinguish between his various subjects and singers like Walter Pardon, Mary Delaney, Tom Lenihan.... and all the other source singers who expressed views on their songs down the decades, didn't have a clue what they were talking about - Ivory-towerism gone ballistic.
If you are seriously researchinga a subjct, you dont stand at the bus stop waiting for the next fad to come along like a cultural commuter - you should know the subjct you are researching
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 24 Feb 19 - 06:15 AM

Traditional music is not just word and story based through. To say so ignores a massive culture of music that has no words whatsoever! And I think anyone would be hard pushed to say something like "Music for a found harmonium" is not traditional unless they knew the background of it.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 24 Feb 19 - 06:19 AM

Sorry, intended putting a link to the Patrick Street version.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 24 Feb 19 - 06:39 AM

Traditional music is not just word and story based ....."

Talking about songs here, so what part of the following did you fail to grasp?

"The most unique and important aspect of TRADITIONAL SONG is that it is word based"


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 24 Feb 19 - 06:54 AM

I disagree people write songs for anumber of reasons not just to be commercially succesful, examples MacColl rosselson,
these words need to be carved in stone with the words Carroll Codswallop, are you going to tell me thatMacColl wrote first time ever [ to be commercially successful, didhe writedirty old town thirty foot trailer my old man to be commercially successful, did leon rosselson write world turned upside down anf aberfan to be commercially succesful. Jim you have inadvertenly insulted your old friend, you are losing the plot


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 24 Feb 19 - 07:04 AM

, to paraphrase the great fred trueman quote which sums up this thread.
Unless something happens that we can't predict, I don't think a lot will happen”


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 24 Feb 19 - 07:28 AM

"Traditional music is not just word and story based through"
Yes it is Dave - whatever bands like Patrick Street do it it - it is a set of peoetic words set to a tune - not a tune, as any band may do to ti
This really is inane
I think you're better off on the other thread talking to a New Age Researcher - you'll get no more form me I'm afraid
You have established quite clearly where you stand, sadly
"Carroll Codswallop,"
If you have only abuse to offer the same goes for you Dick
Who suggested any of those for money - certainly not me ?
Stop making things up
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 24 Feb 19 - 08:21 AM

Incidentally Dave
What has a piece of CLASSICAL MUSIC got to do with this discussion
Is that what we can expect from your club ?
If so - I much prefer the real thing rather than Patrick Street's agonisingly bad rendition (hope I don't meet Jackie Daly in the local bar when I go out for a pint tonight
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 24 Feb 19 - 10:08 AM

>>>>>>Nobody writes contemporary FOLK songs they write contemporary songs that they hope will be commercially successful -"<<<<<<<

That is absolute piffle! I know hundreds of contemporary folksong writers who write for a great variety of reasons, love of the music, trying to get a message across, political beliefs, to enhance local and national heritage etc. etc. If their songs are taken up by others or put out on a CD the commercial aspect is simply an add-on. Some of these are brilliant writers and their songs will stand the test of time.
For most of them the greatest accolade is having their songs sung by others.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 24 Feb 19 - 10:45 AM

"I know hundreds of contemporary folksong writers who write for a great variety of reasons,"
Only if you abandon any semblance of the term "folk" Steve, as you obviously have
Once again, you forgot to add "in my opinion"
This gets crazier and crazier
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 24 Feb 19 - 10:54 AM

jim, you agreed that "they write contemporary songs that they hope will be commercially successful -" that is absolute rubbish , that comment made by guest anon is   intellectual masturbation


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 24 Feb 19 - 11:07 AM

I was responding to his statement that nobody writes folk songs - I'n not interested why they write anything
Unless you want to kick down over a century' scholarship, some done while the tradition was still alive (as some desk-jockeys apparently do) - nobody can write a folk song - it has to go through a process to become one
The term 'folk;' is totally meaningless if that's not accepted
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 24 Feb 19 - 11:47 AM

There was also plentiful scholarship in Nazi Germany. Many find flaws in some of its findings. Some research for perpetual motion.
The quest does not bring the certainty of accurate conclusions,no matter what its nature.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 24 Feb 19 - 01:16 PM

Sorry, Jim. Where have I abused you? If you provide the date, time and what you felt to be abusive, I will unreservedly apologise.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 24 Feb 19 - 01:20 PM

And guest 24 Feb 19 - 06:39 AM, which bit of "traditional music is not etc" did you fail to understand?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 24 Feb 19 - 01:54 PM

"Where have I abused you?"
You- haven't - unless it was you who wrote "Carroll Codswallop" - which was what I was responding to
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 24 Feb 19 - 02:02 PM

BTW, Jim.

Classical music

serious music following long-established principles rather than a folk, jazz, or popular tradition.
(more specifically) music written in the European tradition during a period lasting approximately from 1750 to 1830, when forms such as the symphony, concerto, and sonata were standardized.


Music for a found harmonium was written in 1984 by Simon Jeffes. My point was that it you did not know that it would sit happily in any traditional music (not song) session and is indeed included in the BBC's virtual session.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 24 Feb 19 - 02:12 PM

...And thanks for the clarification. I obviously mis-read something so apologise for that anyway :-)

It gives me chance to come back with a bit of light relief that I had not spotted on the BBC session comments page before.

Re: Origins of Music for a found harmonium?
It sounded good when Mr P. Street once did it but it sounds awful in sessions. That key-change is a bit on the esoteric side, and I can’t play the bloody thing on a diatonic harmonica.

# Posted by Steve Shaw 8 years ago.


A Steve Shaw who plays harmonica in sessions. Who do we know like that? :-)


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 24 Feb 19 - 02:24 PM

"Music for a found harmonium was written in 1984 by Simon Jeffes. My point was that it you did not know that it would sit happily in any traditional music (not song) session and is indeed included in the BBC's virtual session".
It feckin would not.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 24 Feb 19 - 02:25 PM

Sez you! :-)


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 24 Feb 19 - 02:37 PM

I'd be very happy to hear it played well in a session but I don't think there would be many joining in.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 24 Feb 19 - 02:48 PM

"Music for a found harmonium was written in 1984 by Simon Jeffes"
My mistake - but if you compare both - he seems to leaned heavily on Bach for his composition - some would call it plagiarism if Bach hadn't been dead for so long
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 24 Feb 19 - 04:00 PM

Bach from the dead?

:D


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 24 Feb 19 - 04:14 PM

Tell you what though, Jim (checking in during commercial breaks in Endeavour). It must be a clever bit of music to be many things to many people :-)


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 24 Feb 19 - 04:42 PM


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 24 Feb 19 - 04:47 PM

When i use the phrase Carroll Codswallop, i am not abusing you ,iam refrrin to a silly statement that you made, if i called you a nincom poop , that is personal abuse, but i have not called you a nincompoop, codswallop and its possible origin
The story goes that a man by the name of Hiram Codd patented a bottle for fizzy drinks with a marble in the neck, which kept the bottle shut by pressure of the gas until it was pressed inwards. Wallop was a slang term for beer, and Codd's wallop came to be used by beer drinkers as a derogatory term for weak or gassy beer, or for soft drinks


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 24 Feb 19 - 05:00 PM

Eeeee. He's a clever bloke that young Endeavour Morse. Good taste too. Shaun Evans who play him is a Scouser though so my Manc heritage stops me from praising him too highly :-)


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Subject: RE: UK 60s Folk Club Boom?
From: r.padgett
Date: 25 Feb 19 - 04:27 AM

There is no such thing as Contemporary Folk Music

So there is ONLY Traditional folk song

Righto

Ray


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 25 Feb 19 - 05:05 AM

Ok... ???


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 25 Feb 19 - 05:41 AM

"When i use the phrase Carroll Codswallop, i am not abusing "
Then you need to invest in a dictionary Dick
Forget it
"It must be a clever bit of music to be many things to many people :-)"
As is The Flight of the Bumblebee - doesn't make it a candidate for a folk night
"So there is ONLY Traditional folk song"
Folk refers to the people who made it, made it their own within communities until the original maker is forgotten or has become insignificant and freely passed it on without restrictions for others to do the same
If that still happens, there is contemporary folk music
If it doesn't, there is no contemporary folk music as we have become passive recipients of our culture
If we're lucky, there will be plenty of songs made using the unique structure of folk song, but a glance above suggests that that's not going to happen very soon
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 25 Feb 19 - 05:46 AM

I just had an idea! Maybe after brexit when England gets back to her former glory we will see a return to the heady days of the 1960's. After all, folk clubs were far better out of Europe :-)


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 25 Feb 19 - 06:10 AM

After all, folk clubs were far better out of Europe :-)

That might isolate you from Celtic cousins! Otherwise you might forget your celtic p's and q's


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 25 Feb 19 - 06:11 AM

Whoops keyed too soon

https://www.youtube.com/watch?v=x6DzGKNYaqM


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 25 Feb 19 - 06:47 AM

Just poted this to a friend off-line
I thought I'd share it

I think that, while the folk scene continues to be a dumping ground for songs that people can't be arsed to find another name for, and while we are plagued with arrogant megalomaniac academics who seem hell bent on burning over a century's worth of research, a vital working people's art form has little chance of continuing to be enjoyed and appreciated - may it RIP
It really was great while it lasted
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 25 Feb 19 - 07:02 AM

If we were to take the 1954 defintion seriously Tradtional folk song has become a museum piece,and only now exists in the form of football chants


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 25 Feb 19 - 07:15 AM

Sandman that has been my argument all along. Ancient methods of creation, transmission and alteration have been rendered obsolescent by the modern world. A rigid definition encapsulating only traditional folk has the implicit acceptance the genre is pickled in aspic or fossilised in amber. you aint going to create a sea shanty when the modern world relies on pushing a button or keystrokes, the same with folk music.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 25 Feb 19 - 07:31 AM

"If we were to take the 1954 defintion seriously"
Iwonder why it is only those who oppose the '54 definition are the only ones ever to raise it !!
Folk song is far simpler define than that
Tradition - a process that absorbs, changes and distributes a song until it becomes ownerless
Folk - the people who put it through that process
Take that as your starting point and you have little need to go further
The making of new songs using 'folk' forms and presenting them together not only them as museum pieces, but it allows both to survive and continue by building a foundation
Everything lse is opportunistic and destructive bullshit - by using pop forms to create so-called 'modern folk songs' will win no new enthusiasts (it hasn't so far) and is quite likely to take on the 'self-destruct to make room for the next one' ethos of the genre
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 25 Feb 19 - 08:13 AM

It strikes me that a scene that I have just described above is far more 'up-to-date' with the constant creation of new songs than the poor performances of decades old pop songs that are only significant to those who weer around when they were being well sung
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: r.padgett
Date: 25 Feb 19 - 12:24 PM

Folk ~ are people ~ people who make and craft songs & poems~ play music to entertain and inform the result is Folk songs ~ songs of the people by the people for the people!!

Traditional folk songs ~

Tradition - a process that absorbs, changes and distributes a song until it becomes ownerless
Folk - the people who put it through that process ~ traditional folk songs

Ray


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 25 Feb 19 - 12:32 PM

"Folk ~ are people ~ people who make and craft songs & poems"
Meaningless Ray
The term was applied to the largely rural working people in order to identify, first their unique superstitions and customs and later their stories, songs and music - Child used the term 'popular "of the people
Your re-invention of the term makes Bach a folk Composer, Maria Callas a folk singer, Jeffrey Archer a writer of folk stories and Rudolph Nureyev a folk dancer - and 'The Birdie Song a folk song
Please don't be silly
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 25 Feb 19 - 01:16 PM

Folk ~ are people ~ people who make and craft songs & poems~ play music to entertain and inform the result is Folk songs ~ songs of the people by the people for the people!!

Trite meaningless twaddle Ray

The only factual bit there is - Folk ~ are people ~ Full stop. Among those folk there will be a few who make and craft songs and poems. The reasons and motivations for them doing this will vary enormously.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 25 Feb 19 - 01:30 PM

"Folk ~ are people"
In which case, we have no way of distinguishing the folk arts from any other art form
Funny - vever had any trouble up to know
The term was created to do just that and it seems an act of cultural vandalism to misuse it - we really were here first - why not get your own term (difficult, I suppose, as the incomers seem totally unable to identify what they are now selling as folk)
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 25 Feb 19 - 02:05 PM

How about "open mic night" for those that do not do folk music?

Oh, hang on, someone has! :-)


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 25 Feb 19 - 02:29 PM

It seems that, as what is being now claimed as 'folk music' has in particular identity, open mike is as good as any
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 25 Feb 19 - 03:08 PM

Remind us then, who exactly are 'the folk' and when was the term first applied to their artefacts, song in particular?


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Subject: RE: UK 60s Folk Club Boom?
From: r.padgett
Date: 26 Feb 19 - 03:18 AM

Your re-invention of the term makes Bach a folk Composer, Maria Callas a folk singer, Jeffrey Archer a writer of folk stories and Rudolph Nureyev a folk dancer - and 'The Birdie Song a folk song

Maria Callas is/was am opera singer ~ Rudolph Nureyev was a ballet dancer Bach was a composer of orchestral music ~ they fall into a different class
~ Jeffrey Archer is a novelist!

Folk music is music of the people, basic compositions as is folk song, carrying on the tradition without actually being traditional!

Folk song is a living entity whether it is deemed traditional or Contemporary folk song

We are all people ~ I hope!

Ray


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 26 Feb 19 - 03:33 AM

we are all people,but some of us are also pillocks


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 26 Feb 19 - 04:29 AM

"Folk song is a living entity whether it is deemed traditional or Contemporary folk song"
No it isn't
It died when 'the people' ceased to be active participants in their culture and became passive recipients of what somebody manufactured and owned
Folk song has been carefully documented and reproduced for over a century - it's that 'folk song' that we took up a lifetime ago and it's that which continues to hold rights to the title
If this were a trial I would be ably to provide many thousands of example of examples of what real folk song is - can you produce a single validated argument other than the opinions of a disappearing group of people who want what they do to be fol song?
Where is the evidence for your claim ?
Simple question (again)
The most commonly song sung today is researched to be Abba's 'Waterloo' and 'The Birdie Song'
Are they folk songs - if not, why not?
Jim Carroll
By the way - if Bach, Callas and Archer are not 'The Folk' who exactly do you mean by The Folk?


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 26 Feb 19 - 05:19 AM

Apologies to Jim Carroll for what appears to be a misunderstanding. When I wrote that Folk ~ are people ~ Full Stop I was using the word "folk" in it's broadest and archaic meaning given in the dictionary as people in general. I hope that clears that up.

Today "People in general" do not write poems, do not write songs, do not play musical instruments, do not dedicate years of their lives to some clearly defined art form because the vast majority of "People in general" are too busy just getting on with life. Now back in the time long before jazz and before it's offshoot - skiffle, "people in general" worked the land and sailed the seas and the work they did was manual and labour intensive. Part of them "just getting on with life" involved collective effort and to give that work rhythm and co-ordination they sang or chanted to improve the efficiency of what they were doing and to relieve the boredom of it.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 26 Feb 19 - 06:00 AM

Guest
No apology needed
Here we are discussing a specific body of songs which were attributed to a specific section of the population - that description has remained valid right up to the present day and will continue to be so until someone replaces it with another to describe a unique culture, which also covers music, dance, tales, customs and lore.... the disciplines are inseparable
I agree the people no longer create, but I don't accept that it is because they are too busy -
People still need diversion - they have gone elsewhere for it - now they have become customers rather than participant swhich, to a degree, minimises their role in society
Theit voice has been removed from the equation so they no longer have a platform for self expression
I've told this several times before, but it's worth repeating
Some time ago I discovered a whole body of songs among those we recorded here in Clare which could only have been made locally and during the lifetimes of the singer
They covered every subject under the sun concerning life in the early part of the 20th century - shipwrecks, land disputes, political warfare, drownings, arranged marriages..... right through to a local railway and fashion - all anonymous and all locally made
An old singer (still with us and now aged 98) summed them up perfectly when he said, "In those days, if a man farted in church someone made a song about it".
We've since found that practice was common throughout Ireland
You want to hear examples of these songs, look up 'The Quilty Burning', or 'The Bobbed Hair', or 'The Rineen Ambush' or 'The West Clare Railway' , or 'The Leon'..... and several more
CARROLL/MACKENZIE COLLECTION
People need to express themselves rather than pay someone to do it for them
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 26 Feb 19 - 08:44 AM

Jim, what you appear unwilling to accept is that there is a large body of fairly recently composed songs which don't always follow traditional forms but which are not "pop". They were widely accepted as falling within the broader understanding of "folk" and have been a normal part of the folk club repertoire for several decades, without being seen as a threat to traditional music. If I understand you correctly, you appear to regard most of these songs as falling into the category of "pop" rather than folk.

Your pessimistic view of the future of folk music seems to be at least in part affected by a somewhat narrow view of what you consider to be "near-folk",ie not traditional but close enough to be acceptable. Even at the height of the folk club boom, this would have excluded the vast majority of clubs, most of which had a broader policy which would allow most contemporary folk whilst still not (as a rule) including pop.

This thread and others like it can never reach a conclusion because we are permanently at cross-purposes. Most of us have a wider tolerance of what can be expected in a folk club (even though it may not be to our own taste). You are of course entitled to your own views but most other contributors see a wider folk scene and one which is in far better health than you would have us believe, albeit one which is changing to meet new times and a new generation of enthusiasts.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 26 Feb 19 - 09:13 AM

"recently composed songs which don't always follow traditional forms but which are not "pop"
Happy to accept that fully Howard but how can they be "widely accepted" by a dwindling 'folk scene' that only has a claimed 180 clubs - who are the 'widely'
That some folkies do accept them as such doesn't mean a damned thing in the grand order of things   
Acceptability to whom ?
The future of folk music lies in it being recognised as such in all its aspects - once that has been established you can begin to rebuild what was once a very healthy movement based on the real thing
I'm at a bit of a loss here - can you specify what songs you mean and why they resemble folk
I have no problem with songs made using folk structures and having the same objective - storytelling, communication of experiences and emotions using narratively structured words -
For research purposes, they will never be folk songs until they go through a process, but that's beside the point
In the main, newly composed songs using such techniques have always been accepted
People began turning away in their thousands when they attended clubs which were dominated by songs that bore no resemblance to those they thought they would hear - the homogeneity had disappeared their choice of what they wished to listen to had been removed, the magazines, shops and labels disappeared
That continues to be the case
You can hardly claim that the shift has been a success and our chance of passing on what gave some of us a lifetime to pleasure and stimulation to the next generation was severely damaged
Try applying this attitude to any other musical form - well it "sounds a bit like" jazz, classical music, blues, pop..... and see how ridiculous it sounds
What's so different about folk song ?
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: r.padgett
Date: 26 Feb 19 - 11:35 AM

I suggest that the thread be returned to the title above

I do follow what Jim is ascertaining, however people will continue to make music and arrange both old and new songs which may or may not continue to stand the test of time

My view is that the English language will continue to recognise the terms Traditional folk songs and Contemporary Folk songs and some of us will understand what is meant even if the terms are not correct to others

Ray


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 26 Feb 19 - 11:40 AM

Hard to discuss the 50s boom without including what made it eexplode in the fist place
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 26 Feb 19 - 02:24 PM

Remind us then, who exactly are 'the folk' and when was the term first applied to their artefacts, song in particular? (Repeat of post 25th Feb, 3.08 p.m.)


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 26 Feb 19 - 02:49 PM

I had another thought. Digging up a bush in the garden today must have jolted my brain!

Folk clubs were not a natural venue for traditional folk song. Those songs were sung in the fields and barns and on the ships. They were sung in pubs and peoples houses and at fairs. Before the 1950s the concept of a folk club did not exist. When they formed they gave the people the chance to experience the music without the hard work that it should be associated with. As an entity they are less than 70 years old. Hardly a traditional!

Anything wrong with that train of thought?


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 26 Feb 19 - 03:30 PM

No, Dave. That's why we call it a revival. We were reviving the music using a completely new format. The whole thing was a false construct. It was not continuing anything that had gone before other than the music itself and that was taken out of context. Even the traditional singers who were occasionally brought in were performing in an alien environment to an almost entirely new audience. But those realists among us were happy with this new music and it helped knowing it was collectively part of our heritage; and we embraced the whole scene, song, music, dance, drama. Those of us who stuck with it for the last 50 years or so were, and still are, inspired by it.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 26 Feb 19 - 04:08 PM

Thanks Steve.


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 26 Feb 19 - 04:23 PM

>>>>Hardly a traditional!<<<<

When scholars talk about a tradition' and use the word 'traditional' not a single one has put actual time parameters on this, and that is perhaps how it should be. Just as we look at these music genres using Venn diagrams we have no collective concept of a timeline in which something moves from not being traditional to being traditional. To give an example, we talk about passing on from one generation to another which in the terms of families is about a 25-year period on average, but in terms of children in the playground a generation is just one year group passing on to lower age groups and I suppose the same applies to children in the street but not as rigidly applied.

Whilst the usual processes of oral tradition have been drastically affected by technology over the centuries, there are new similar processes at work with technology playing an increasingly great part. You could say an excellent example is Mudcat itself.


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 26 Feb 19 - 07:18 PM

Jim, you ask for an example of the sort of music I am talking about.

As it happens, I read your reply while I was waiting for a tram, and in the background a busker was singing "Don't think twice, it's alright". Had I asked other people at the tram stop, I believe most of them would have described that as a folk song. I also think they would have disagreed that it was a pop song.

That song, and others like it, was widely sung in folk clubs from the 1960s onwards, alongside traditional songs. They were part of "folk" in the broader sense which all but a few clubs embraced. If you are suggesting that songs like this caused people to turn away from folk clubs in their thousands, all I can say is that it took them several decades to do so. The clubs continued to thrive until the late 80s/early 90s. The reason for their decline has been discussed elsewhere. One reason may have been that the folk club generation found that work and family commitments got in the way. Punk may have offered the younger generation the opportunities for self-expression which the folk clubs had previously.

I haven't disputed that the folk clubs are much reduced, although I query the figure of 180 clubs which seems to have come from a Wikipedia article with no evidence to support it. I have already shown that there appear to be at least 50 clubs in the north west alone (and that's only those who belong to the Federation). I find it hard to believe that this region accounts for around 1/3 of all the clubs in the country. Furthermore there are other venues besides folk clubs to hear folk music, including traditional songs. As Steve said, the clubs were an artificial construct - they worked for a time but other artificial constructs are now joining them and perhaps taking their place, such as house concerts. I see large numbers of young people taking up folk music.

You make much of folk clubs being active rather than passive, but the majority of people who went to folk clubs never got up to perform but sat there and listened.


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 27 Feb 19 - 02:28 AM

To be clear, I'm not claiming that the folk scene is in as healthy a state as it was in the 60s. Fashions change. For a brief time in the 60s folk music was cool (although this led -mainly by contemporary folk rather than traditional) and the clubs benefited from that. It came to be regarded as a bit odd, listened to be people with beards and sweaters, and probably wearing socks with sandals.

What I am saying is that it's not as bad as you claim, and measuring it by the number of folk clubs (whatever that might be) is to ignore the many other opportunities to hear folk music which now exist.

Can you please give some examples of the "pop" songs which you think are such a threat to traditional song?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 27 Feb 19 - 03:04 AM

" Had I asked other people at the tram stop, "
You didn't so you don't know Howard
If you had and they'd replied it was, would they have been able to define what a folk song was - how can a song made and copyrighted by Dylan belong to the folk ?
If 'folk doesn't mean 'made and belonging to the folk', what does it mean?
Would you pursue any other subject by aking people from busts-stops - from stamp collecting to quantum physics - of course you wouldn't !!
Why should folk song be different that it should be based on mass ignorance ?
As I said earlier, people in general knew far more what folk song was a century ago than they do now.
To study or to run a club you choose to refer to as 'folk' implies a specific type of song, yet you refuse top describe what you are selling - sharp practice in my book
The clubs were'nt 'part of the folk' - this is a new claim - we were borrowing from the folk repertoire
Composer George Butterworth wrote the most exquisite piece of of English orchestral Music, 'Banks of Green Willow', based on the Child Ballad, 'Bonnie Annie', Vaughan Williams did similar with English folk song, 'Lovely Joan' - were they 'part of the folk, or were they borrowing from the genre ?
Your excuses for the scene dying are just that - excuses - we were bon busier aster the clubs died than we were before, yet for decades we filled the clubs
There was at least one long debate just prior the clubs dying and "too busy" never appeared on the horizon - poorly run folk clubs, indifferent performances and not hearing folk songs weer pretty well front runners
I didn't put up the article by the way, somebody who believes the club scene to be in the best of health did as evidence that all was well
I tend to rely on common sense and my own findings rather than arbitrarily pasted opinions
"You make much of folk clubs being active rather than passive,"
Never have - must have been someone else
I said ours (the people's) culture was active rather than passive - they made, sang and swapped their songs - now they receive them passively
What happened at the clubs doesn't come into the equation

"Remind us then, who exactly are 'the folk' "
The term was used to identify the artifacts being gathered from 'THe Common People' as the peasantry/rural working classes were referred to at the time to distinguish them from the educated elite and the formal artists -
Irish writers of the time actually referred to them as 'the Peasantry' as Ireland still had remnents of a Peasant economy
English writer, Robert Bell (1800-1867) actually entitled his collection 'Ancient Poems, Ballads, and Songs of the Peasantry of England'
You shouldn't have to ask this Steve - it's basic stuff
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 27 Feb 19 - 03:22 AM

Some pool player once remarked [in my hearing]when Martin Carthy came on the jukebox singing bonny lass of anglesea , oh its that jazz singer.


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 27 Feb 19 - 03:50 AM

I was asking you specifically, Jim, for your opinion, and you haven't answered the second part of the question.

You particularly single out Bell. What proportion of the songs in this book are broadside ballads and what proportion would you say are taken from oral tradition?


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 27 Feb 19 - 04:05 AM

"Technology"
The spread of literacy led to the fixing of song texts - part of our work with source singers was asking them about songs they learned from print
The few that did said they hardly changed the songs - they were set texts - Tom Lenihan said he didn't trust 'the ballads' because "they never got them right' (you need to remember that people like Tom came from a living, very creative tradition) songs songs they already knew, much preferring to get them fro other singers (particularly the non- literate Travellers)
Literacy had the eventual effect of destroying the oral traditions because it did away with the need for them
Why should electronic communication - an extension of literacy, reverse the process, be considered another tradition ?
This seems like another researchers 'fad' to me
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 27 Feb 19 - 04:13 AM

Missed a bit
"What proportion of the songs in this book are broadside ballads and what proportion would you say are taken from oral tradition?"
I have no idea which of Bells songs originated from the oral tradition, any more than you have
That Bell got them from print is totally immaterial to where they originated, as you should know
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 27 Feb 19 - 04:52 AM

Literacy had the eventual effect of destroying the oral traditions because it did away with the need for them

I think the facts do not wholly support that assertion, unless talking specifically about travellers.
" Irish literacy rates before the Great Famine were high relative to GDP per head. In 1841 nearly half of those aged 5 years and over could at least read, while 53 per cent of those aged over 15 years declared some literacy. Literacy in, say, Italy or the Iberian peninsula was less than half the Irish rate at this time, and in the late 1820s more than half of [male] recruits in half of France’s eighty-six départements were illiterate"
https://www.ucd.ie/t4cms/wp10_22.pdf


iscovery.ucl.ac.uk/10019999/2/__d6_Shared%24_SUPP_Library_User Services_Circulation_Inter-Library Loans_IOE ETHOS_EThOS - Redact

Perhaps the illiterate cohort were the ones that specialised or kept the folk tradition going. It could be an interesting reasearch project. But the origin of the folk revival was (US) public folklorists, cultural preservationists, scholars, musicians, political activists, musical entrepreneurs, and folk musicians together in the effort to protect and preserve, as well as promote and popularize, the genre of folk music.

https://etd.library.vanderbilt.edu/available/etd-03232011-085825/unrestricted/FINALDISSERTATION.pdf

It must also be kept in mind that modern illiteracy rates appear to be rising and the statistics are frighteningly high (I am assuming the UK matches closely the figures from Ireland

https://www.nala.ie/literacy/literacy-in-ireland


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 27 Feb 19 - 01:32 PM

Jim, as you very well know "folk" has acquired two entirely distinct meanings. One is the original meaning, which you cling to. The other is broader, and includes traditional song but also extends to modern songs, It can be briefly, if not entirely accurately, summarised as a "singer with a guitar". It is this broader meaning which is what the general public understands by "folk music", which is why I am confident that most people would have said my busker was performing a folk song. In much the same way I would expect them to be able to recognise a jazz band or a classical string quartet, and distinguish between a fiddler playing folk tunes and a violinist around the corner playning Bach. People may not know much about musical genres, but they have a broad idea what they sound like.

You may feel this is an incorrect meaning (I assume it comes from America, where it may have more of a connection with authentic traditional folk) but that is how it is widely understood. The folk scene as a whole also embraced that meaning, from at least the 1960s. There may be a case to be made that the 60s boom was largely given its impetus by this sort of folk, at a time when performers like Dylan, Donovan, Peter Paul & Mary, Simon & Garfunkel etc were part of mainstream popular music. Individual clubs positioned themselves at different points along the spectrum between wholly trad and wholly contemporary, but in most you could expect to hear a mixture of both.

To pretend that this meaning of "folk" does not exist or should be ignored is to bury your head in the sand. This is the music, centred on traditional songs but including much more, which the folk clubs existed to promote. This is what the public at large, "the folk", understand "folk music" to be.

This is why I said earlier that we are at cross purposes, because when we we talk about "folk" we mean different things.

I don't want to get sidetracked into a discussion about why the clubs declined, that has been discussed at length elsewhere. You have claimed that the current problem is that folk clubs have become places where you can expect to hear pop songs rather than traditional songs. Can you please give some examples of some of these pop songs which you feel present such a threat?


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 27 Feb 19 - 01:41 PM

I can , but not sure they are a threat more what i do not want to listen to, peggy sue.. one peformer used to specialise in them he performed them well ,but it is not what i go to folk clubs tohear,


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 27 Feb 19 - 01:45 PM

"Jim, as you very well know "folk" has acquired two entirely distinct meanings."
I know nothing of the sort Howard
It has a researched definition and it has become meaningless - a convenient label for a small and rapidly diminishing group of people who have decided to make use ofr it
There is massive researched documentation which confirms the first there is not even agreement on what the latter group mean - no documentation, no research.... just a deliberate misuse of the term
Singer with a guitar could mean any pop singer, equally it could be a Spanish traditional singer
His gets more and more ridiculous
The vast number of people in Britain have no idea what folk music means, nor do tey care
Tpo base anything on that level of ignorance or disinterest is a desperate grasping of straws to justify the unjustifiable
I find it sad that anybody should wish to go to such lengths to, in essence, replace an extremely important art form with.... well - nothing really
Sorry - you really are going to have to do better than that
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 27 Feb 19 - 01:45 PM

when i go to a jazz club i expect to hear improvisation ,i cetainly do not want to hear cliff richard performing


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 27 Feb 19 - 02:00 PM

perhaps its part of the folk process that we have extemporised a new variant of the meaning of the word.


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 27 Feb 19 - 02:38 PM

Howard, how your head must ache!


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 27 Feb 19 - 03:35 PM

I'll be honest. I used to be actively involved in running both a folk club and a festival for nearly 30 years I have not been active for around 10 years and not involved at all for 6. I still go to folk clubs and occasionally sing (reasonably) and play a couple of instruments but to no great extent. When I perform I try to do folk songs. When I am listening I really don't care about the provenance of the song as long as it meets my own measure of a folk song, I like it and it is well performed.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 27 Feb 19 - 03:36 PM

...Maybe I am too easy to please but it does make for some very enjoyable evenings :-)


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Subject: RE: UK 60s Folk Club Boom?
From: The Sandman
Date: 27 Feb 19 - 05:00 PM

Enjoynent is subjective, i enjoy most things i hear in guest booking clubs , i do not enjoy lets all go on a summer holiday, some enjoy fred jordan singing tiptoe through the turnips. or carthy singing rave on, thers no accountimg for taste


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 28 Feb 19 - 02:51 AM

It goes far beyond 'enjoyment' - that my be why we became involved in it in the first place, but once you do, it takes on far mor needs and functions
It would be interesting to discuss why people sing what they do, but while what people here sing seems to have no distinct identity, that's out of the question
I can tell you what brought me to folk songs and why I have continued to sing and be interested in them for nearly three quarters of my life - I wonder if anybody else can ?

"Howard, how your head must ache!"
Very profound Stave - and very safe
Always easier to stand on the sidelines and let someone else do the hard work
JIm


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Subject: RE: UK 60s Folk Club Boom?
From: r.padgett
Date: 28 Feb 19 - 03:38 AM

I nearly resisted from making further comment

It is a fact that no one can force anyone to think any differently than they are prepared to ~ that btw includes everyone on this thread ~ Jim Carroll is far too argumentative

If this were a court of law I know where my understanding would be

NO further comments on this off topic sub thread from me

Ray


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 28 Feb 19 - 04:01 AM

but while what people here sing seems to have no distinct identity

That seems a bit of a sweeping statement, Jim. How many people on here have you heard singing and how do you know what songs they sing? The ones I have linked of me singing/playing, for instance, are all folk songs as far as I know. Are you telling me otherwise? In fact, there is one in particular that I learned off my Dad, who learned it off a Gypsy guitarist in pre-war Poland and no-one knows anything about it apart from that!

As far as I am concerned, hedonistic as it sounds, it is only for enjoyment now. I am of an age that if I don't enjoy it, I don't do it. Other than medical procedures and funerals that is.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 28 Feb 19 - 04:15 AM

"That seems a bit of a sweeping statement, Jim. "
When you run an outfit where anything counts as folk song, it is a fact Dave
I have heard what you putt up ass folk song and am not particualarly impresses but I am convinced that it bears no relation to folk song
What you linked to did - but that's not what is being argued for here
I actually enjoy what I do and am involved in - hedonistic, I suppose, but none of us are in position to define anything based on what we like - the reverse is the case - we involve ourselves in things that are already defined and we have no right to re-define them because they don't suit us

"far too argumentative"
Isn't that what we're here for - to share ideas and argue for them if we don't agree
You can hardly claim that I have not put up a case for my views - that you don't agree with it is something else
I've never regarded Mudcat as a fanzine site where we come together to slap each other on the back - I came to learn and share
You've put a lot of time and effort into something you now decide if an "off-topic sub thread" - what took you so long to decide that
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 28 Feb 19 - 05:18 AM

Sorry Jim but I think I have lost the thread here.

When you run an outfit where anything counts as folk song, it is a fact Dave
I have heard what you putt up ass folk song and am not particualarly impresses but I am convinced that it bears no relation to folk song
What you linked to did


Firstly, who is running an outfit where anything counts as folk song? Not me as I don't run anything at all!

Next, I am confused as to the difference between 'what I put up as folk music' and 'what I linked to'. Why is the former not folk music but the latter is? I just mentioned what I linked to in context of your statement about what people on here sing. I have not 'put' anything else up as folk song. I think you may be referring to something much earlier when all I am asking for is an explanation of why you think "while what people here sing seems to have no distinct identity".


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 28 Feb 19 - 05:19 AM

...and where did I say anything about "far too argumentative"? :-(


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 28 Feb 19 - 05:41 AM

2Firstly, who is running an outfit where anything counts as folk song? "
These are generally addressed comments not aimed at anybody in particular Dave, but some of the arguments you have put up indicate that you are happy with a scene that does just that
You linked to your club yet put up failed (to one degree or another) or wannabe pop singers
Folk is folk - it defines itself and we've been arguing that definition for some time now
What is being put up as suitable for modern clubs bears no relation to folk as it has always been
The argument seems to be whether a small and diminishing group of folkies can make 'folk' mean sonething else (but seem reluctant to say what exactly (playing a guitar on the street seems to have come nearest - Dublin streets are full of wannaby Tommy Steels (I kid you not), doing just that

"and where did I say anything about "far too argumentative"? "
You didn't - Ray did
Keep up :-)
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 28 Feb 19 - 05:57 AM

Ah, OK. Sorry Jim, but I tend to think a post that starts "When you run an outfit where anything counts as folk song, it is a fact Dave", the statement and therefore the post must be addressed to me. Just call me old fashioned :-)

Having got that out of the way, I suppose I need to re-phrase my question. You say "what people here sing seems to have no distinct identity". That is the only statement I am referring to. My question is about what makes you think that. I have posted links to me performing in this thread and you confirm that it is folk music. So it does have a distinct identity. I have not noticed any links to other contributors performing and I am not aware of ever having seen them live so I do not know if they sing folk songs or not. How do you know that what they sing does not have a distinct identity?


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 28 Feb 19 - 06:04 AM

Jim, it is commonplace for words to have two (or more) meanings, especially where one is in general use while another has a more technical meaning for specialists. Most activities have their specialist language, because they need to be more specific and nuanced than the general language allows. There is nothing wrong with this jargon, indeed it is absolutely necessary, provided it is used in the correct context.

Your use of "folk" is the technical jargon meaning (for brevity I will write this as "!folk" to distinguish it from the general meaning). It is of necessity precise and restricted in its meaning, and it is intended to be used as a definition of what is under discussion.

The general use of "folk" is more a description of a range of sounds and styles which make up a distinct genre. It is not a definition, and it is not precise because it doesn't need to be. It is mainly concerned with how a performance sounds, rather than the origins of the song itself. It is a useful label to help people to know which rack to go to in record shops, or in the words of Terry Pratchett, to know that "folk music is about to be perpetrated, and give them time to get out of the way." This use of the word has been around since at least the 60s, and possibly earlier, and I do not believe for a moment that you do not understand what it means.

This general use includes traditional song, but this because of the styles in which this is usually performed. Not all !folksong is "folk" - for example, "The Foggy, Foggy Dew" is !folk, but when arranged by Benjamin Britten and performed by Peter Pears it is not "folk". On the other hand, Swan Arcade's version of the Kinks' "Lola" is "folk" because of the style of their performance.

These two meanings are not contradictory or confusing when used in context. However folk clubs exist in the the general world, they are places of entertainment rather than academic study, and it is the general meaning of "folk" which applies to them. Only a small number of clubs restricted themselves entirely to traditional !folk, and that was sufficiently unusual to attract comment. Most clubs have always put on a range of music, including traditional !folk but not limited to it. (Many people interested in "folk" are also interested in !folk, but by no means all of them, and an understanding of !folk is not necessary to enjoy "folk" simply as a form of music).

The reason why I feel this discussion is at cross purposes is that you are insisting on using the jargon !folk meaning when in discussing folk clubs we should be using the general meaning. This is simply pedantic, and unhelpful to the discussion. Folk clubs have always presented a wider range of music than strictly traditional, but usually within the broader scope of "folk" in its general sense.


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 28 Feb 19 - 06:18 AM

Howard, whilst I admire your persistence, and completely agree with you, as do many others, you are arguing with a closed mind. Pointless really!


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 28 Feb 19 - 06:23 AM

"Your use of "folk" is the technical jargon meaning "
Far from it Howard - it floated outr boat for several decades until it was edged out by an amorphous something else
It still exists in recordings, published collections, labels like Topic, Springthyme, Folktrax and Folkways, and is heavily documented
Over here, just across the Irish Sea, youngsters are finding for the first time in their many thousands and plating and singing it to a perfection that is breathtaking
There is no "general use" of the term folk - most people don't use it , those few who do are guided by its misuse rather than what it actually is.
THere isn't enough agreement of the misuse to have stabalised it into a different meaning

Look - in the end, the misuse doesn't interest me other than the damage it has had done and continues to do on the real thing
None of you seem to be prepared to discuss that damage, which confirms MacColl's words for me - "Folk song will only die if it falls into the hands of those who don;t like it or don't understand it"
Until some of you are prepared to discuss the real thing, I see little point in these circles we seem to be moving in
The Kinks - Really !!!!
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 28 Feb 19 - 06:26 AM

"Howard, whilst I admire your persistence, and completely agree with you, as do many others, you are arguing with a closed mind. Pointless really!"
Is that why you gave up sever threads ago and stood on the sidelines egging others on Steve ?
New Research writ large
Please take part or butt out - you can't have it both ways
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 28 Feb 19 - 06:27 AM

Don't get distracted, Jim. I asked first! :-)


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 28 Feb 19 - 06:38 AM

Oh yes I can!!!


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 28 Feb 19 - 07:42 AM

"Oh yes I can!!!"
Snipe away then Steve and it will be treated with teh contempt it merits
Jim Carroll


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,jim bainbridge
Date: 28 Feb 19 - 08:40 AM

Yes really...

I would say that the songs written by Ray Davies of the Kinks around the height of the 'folk' boom were some of the most perceptive and interesting of any written around that time.
a few- Dead End Street
      Sunny Afternoon
      Village Green Preservation Society

I will not make any comparison with 'folk' or 'contemporary' songs of that era, but I'd recommend that any critic of the Kinks should actually listen to the words, always sung in an identifiably English accent.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 28 Feb 19 - 09:09 AM

I guess I will have to wait for a reply until you return from seeing Hamlet.

I suppose There are more things in Heaven and Earth, Jim, than are dreamt of in your philosophy. :-)

If it is after lunchtime tomorrow I will be hiding in a Dales pub, drinking good beer, singing (non folk) songs and offline :-)


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 28 Feb 19 - 09:14 AM

When Roy Bailey died recently many newspapers carried obtuaries, in which he was invariably referred to as a "folksinger". They didn't feel the need to explain the term, so presumably they expected their readers to understand it. Of course, since many of his songs were not traditional they were not "folk", according to you, so this is another misuse of the term. However there is clearly no point in trying to persuade you of the meaning of the English language.

We are discussing folk clubs. If "folk" means the traditional music which came from the people, are you saying that folk clubs should present only traditional songs? If that is the case then the rot set in during the 60s boom, because most of the clubs were already including other songs as well.


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 28 Feb 19 - 09:49 AM

"There are more things in Heaven and Earth, Jim, than are dreamt of in your philosophy."

If you want education and research you can use the resources of a library or the internet.
If you want entertainment you can go to a folk club or many other venues.
In a folk club the audience may or may not participate to varying extents. They are entertained by a mix of material loosely labelled folk. It may be traditional, it may have been written last week, It may be in a published source, it may not.
It may be subjected to copyright it may not, this may apply to the arrangement, lyrics, or both.
some may be interested in the origin of the material others may not.
It is a broad church therefore it should be no surprise that what is regarded asfolk is equally broad. Trying to pigeonhole a minor spectrum of the material into one box and exclude everything else is not going to fly.
Traditional folk was composed in a traditional way as we have been told ad nauseum. But to quote a well known modern folksong:
Like my house that fell to progress my trade's a memory

https://www.youtube.com/watch?v=-SB4gB3DEhA


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 28 Feb 19 - 10:11 AM

No one really has an identity when they sing. You take on (or attempt to take on) the persona of the person making the statement.

Isn't that right?


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 28 Feb 19 - 10:18 AM

500!


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 01 Mar 19 - 03:57 AM

501... and still no answer to the question. Congrats.


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Subject: RE: UK 60s Folk Club Boom?
From: Dave the Gnome
Date: 01 Mar 19 - 04:39 AM

I've forgotten what the question was!

:D


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 01 Mar 19 - 08:48 AM

the answer was 42 whatever it was


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Jon Dudley
Date: 01 Mar 19 - 10:53 AM

Jim Bainbridge makes an interesting point. I have raved on about the Kinks ad nauseam to anyone who'd listen, particularly American friends. To my mind the most English of bands, Ray Davies' lyrics capture the time and the mood which I remember so well. As you say, singing in an English accent helps, and to Jim's list I'd add the song 'Victoria' ...


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 02 Mar 19 - 02:55 AM

" I have posted links to me performing in this thread and you confirm that it is folk music"
Not if it's buried in evenings full of songs that have no identity to what you have sung
The clubs I was involved with were grounded in folk styles - the majority of songs were traditional, the rest were overwhelmingly similar in style and objective
I go to a Classical concert to hear classical and classically based music - the same with Jazz, C and W, hip-hop, - any genre you care to name
I ask again - why should folk be any different ?
I quite enjoyed the frothiness of The Kinks back in the day, (I quite liked Buddy Holly and Rickie nelson and some of the other outpourings of the Music Industry) but "when I became a man I put aside foolish things" as they say
SFA to do with the slices of cultural history ot human drama that the fokk songs are
I think the fact that The KInks have been raised as likely candidates for today's folk scene makes my point far better than i can
I can just see the thousands of today's youth filling the folkk lubs to listen to their songs - are you people puling my chain !!!
Jim Carrollo


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 02 Mar 19 - 04:43 AM

"The clubs I was involved with were grounded in folk styles - the majority of songs were traditional, the rest were overwhelmingly similar in style and objective". So what are "the rest" to be called, if not "folk"?

That was exactly my point, that "folk" as presented in the folk clubs goes beyond traditional song and is a matter of style rather than origin. The point where modern songs performed in that style cease to be "similar in style and objective" to traditional songs is always going to be blurred, and individual opinions on where the line should fall will inevitably differ.

Folk clubs are first and foremost places of entertainment rather than scholarship - whilst an understanding of folk tradition and folk process can add to one's enjoyment (which can be said of any form of music) it is not essential in order to enjoy it. For many people, what attracts them to folk music in the first place is how it sounds and what it says, if that leads them to an understanding of its roots then so much the better.

I was not suggesting that the Kinks' "Lola" is by its nature a folksong (although it tells a story), what I was saying is that Swan Arcade's performance in a folk style made it suitable for a folk club. In the same way, Britten's treatment of "Foggy Dew" and Pears' singing style took outside the scope of folk clubs, although it cannot alter the fact that the original is folksong.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Jon Dudley
Date: 02 Mar 19 - 05:35 AM

Well Jim, put me down as enjoying the Kinks' 'frothiness' and to never having become a man and therefore to not having 'put aside foolish things'. I don't suggest their songs are candidates for folk songs, but just like McColl's 'Dirty Old Town' they're bloody good. Or am I straying from the discussion...yes, probably...


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 02 Mar 19 - 05:48 AM

Swan Arcade - Lola


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 02 Mar 19 - 06:16 AM

"Well Jim, put me down as enjoying the Kinks'"
Fine - but personal taste has nothing do do with discussion other than to underline the craziness of the 'anything goes policy now adopted by many here
I didn't introduce them to this discussion
Neither did I ever describe Dirty old Town aS A FOLK SONG - Ewas was first in the queue to insit it wasn't
"as presented in the folk clubs goes beyond traditional song and is a matter of style rather than origin. "

My point exactly - from day one, but all the clubs I was part of had their feet firmly set on the real thing


I met her in a club down in North Soho
Where you drink champagne and it tastes just like cherry cola
C-O-L-A cola
She walked up to me and she asked me to dance
I asked her name and in a dark brown voice she said, "Lola"
L-O-L-A Lola, lo lo lo lo Lola

Well, I'm not the world's most physical guy
But when she squeezed me tight she nearly broke my spine
Oh my Lola, lo lo lo lo Lola
Well, I'm not dumb but I can't understand
Why she walk like a woman and talk like a man
Oh my Lola, lo lo lo lo Lola, lo lo lo lo Lola

Well, we drank champagne and danced all night
Under electric candlelight
She picked me up and sat me on her knee
And said, "Little boy won't you come home with me?"
Well, I'm not the world's most passionate guy
But when I looked in her eyes
Well, I almost fell for my Lola
Lo lo lo lo Lola, lo lo lo lo Lola
Lola lo lo lo lo Lola lo lo lo lo Lola

I pushed her away, I walked to the door
I fell to the floor, I got down on my knees
I looked at her, and she at me
Well that's the way that I want it to stay
And I always want it to be that way for my Lola
Lo lo lo lo Lola

Girls will be boys, and boys will be girls
It's a mixed-up, muddled-up, shook-up world
Except for Lola, lo lo lo lo Lola
Well I left home just a week before
And I've never ever kissed a woman before
But Lola smiled and took me by the hand
And said, "Little boy, gonna make you a man"
Well I'm not the world's most masculine man
But I know what I am and I'm glad I'm a man
And so is Lola

Lo lo lo lo Lola, lo lo lo lo Lola
Lola, lo lo lo lo Lola, lo lo lo lo Lola
Lola, lo lo lo lo Lola, lo lo lo lo Lola
Lola, lo lo lo lo Lola, lo lo lo lo Lola
Lola, lo lo lo lo Lola, lo lo lo lo Lola
Lola, lo lo lo lo Lola, lo lo lo lo Lola
Lola, lo lo lo lo Lola, lo lo lo lo Lola...

Very folky, I'm sure
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 02 Mar 19 - 06:17 AM

Maybe the tedious repetition was used for hauling up the mainsheet
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 02 Mar 19 - 06:31 AM

Sortry - forgot to add "for crying out loud"
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 02 Mar 19 - 06:54 AM

I suppose Lola tells a story of a time and place and a cultural milieu
It tells a remarkable story of how gay love became the love that dared speak its name in a country where it had once been punishable by death.
Pretty much as little Armstrong or one of those related songs, where the lord of the manor could do what he wants.

And yes. young people do enjoy finding songs and music the radio has stopped playing on their stations. Its like that business of hackneyed folksongs. Since they don't do programmes like Singing Together - young people (many of them) don't know the staples of English and American folksong.

You've got an agenda, Jim. Fair enough. So have the people running folk clubs. Why argue. We're all on the side of the angels.

Nobody's running a club for serial murderers. I don't think.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 02 Mar 19 - 07:01 AM

"You've got an agenda, Jim"
No al - I've got a definition - where's yours
This gets more nonsensical as it progresses


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 02 Mar 19 - 07:07 AM

the way A
Most certainly have an agenda - to hel sort of the wheat from the crap and help prevent folk music from disappearing down the plughole of indifference and antipathy
I argue because I care what happens to olk music
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 02 Mar 19 - 08:11 AM

How is it ever going to disappear?

Its there in the museums, on the internet, on cd, in archives, in folk clubs, university courses, dull as fuck programmes on BBC4 . and BBC Alba, digital radio stations, folk festivals, summer schools......

Like jazz. Its context will change. i don't suppose theres too many Jelly Roll Mortons playing piano in sporting houses. But thats how it is.

Remember Jurassic Park...Life will find a way!

Perhaps someone will extract the DNA of folksingers and in a million years, they will give us our own theme park and we will rise up and eat people!


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 02 Mar 19 - 08:19 AM

Bit spiteful Al - I thought you were above that
Byee - off to find someone else top talk to
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 02 Mar 19 - 08:24 AM

It comes to something when an outsider revivalist corrects a member of the Copper Family about their attitude towarda folk/traditional somgs.


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST
Date: 02 Mar 19 - 08:56 AM

the man's crackers


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 02 Mar 19 - 09:05 AM

Spiteful....moi?


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 02 Mar 19 - 09:07 AM

that was intended as friendly badinage, mon ami!


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 02 Mar 19 - 09:09 AM

I wasn't claiming that the song itself was "folky" (whatever that means), although it has a strong narrative which makes social and cultural point which is perhaps even more relevant in today's gender-flexible times than when it was written. The story is perhaps not a million miles from the countless folk songs about unfortunate sailors who were taken advantage of in some low dive, although in most of them the woman was just that.

You are on dangerous ground when you criticise it for repetition, considering how common that is in traditional song. Even the spelling out of the name has parallels in traditional songs ("and Bingo was his name, sir...")

My real point is that Swan Arcade's performance was "folky" in style, and was entirely at home in a folk club and sat perfectly well alongside traditional songs (which they also sang). That's not just my opinion but that of the many folk club and folk festival organisers who booked them, their audiences who enjoyed listening to them, and Fellside (a reputable folk label) who recorded their albums. It's difficult to think what sort of musical venue would have been more appropriate, if not a folk club.

"all the clubs I was part of had their feet firmly set on the real thing" So were the clubs I was part of, including ones which booked Swan Arcade, and so are the clubs I continue to go to.

The folk scene may not be as strong as it used to be, but the picture is not as bad as you paint, and it is still firmly based on traditional music and music which is stylistically similar. It has always been a broad church, and has included a great deal of music which was not to my personal taste but which I've never felt was a threat to the music I do like.

There are plenty of young people involved, Traditional music isn't going to be forgotten.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 02 Mar 19 - 09:20 AM

It has no 'strong narrative' Howard - where's the story
Ther characters are unidentified, as is the place, it is a descrip[tion only of emotions
It doesn't sound like a folk song, it belongs to somebody other than 'the folk' and can never the property of anybody but the composer - folk songs are in the public domain
It has no caim whatever oto the folk scene and claiming it dioes has done much to damage the understanding of what folk song really is and perpresnts - 'The Voice of the People'

"that was intended as friendly badinage, mon ami!"
I didn't and don't take being aclled a dinosaur friemdly in any way Al - it happens far too often to be funny
You appear to have joined the club
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: GUEST,Jon Dudley
Date: 02 Mar 19 - 10:01 AM

Whoops! my enthusiasm for the music of The Kinks overcame common sense...I knew I shouldn't have joined in.


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Subject: RE: UK 60s Folk Club Boom?
From: Howard Jones
Date: 02 Mar 19 - 10:12 AM

I admit my attempts to draw parallels between the text of "Lola" and folk songs were simply being naughty, and my argument for admitting into folk clubs is specifically about Swan Arcade's folk-style performance, I wouldn't admit the Kinks' original version because their style is incompatible with what you expect in a folk club

"folk songs are in the public domain". True for traditional songs, but not for "the rest", which you've agreed were part of the clubs you were involved with. Once you admit modern composed songs it is then a question of taste where you draw the line. If you want to draw it tightly around traditional song and songs which sound just like them that's your prerogative, but many people who take an interest in folk are willing to take a broader view. What they do expect is that the songs are presented in a style which sounds "folky".

What I strongly disagree with is that these somehow present a threat to traditional songs, when my experience is they can sit perfectly well alongside them, as they have done from the early days of the folk revival. When I go to a folk club I don't expect to enjoy everything I hear, but my enjoyment is based far more on the style and quality of the performance than whether it is a traditional or a modern song, despite my tastes leaning strongly towards traditional music and song.


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 02 Mar 19 - 02:48 PM

Course we're bleeding dinosaurs.

One of my chief pleasures is bumping into another dinosaur.


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Subject: RE: UK 60s Folk Club Boom?
From: Jim Carroll
Date: 02 Mar 19 - 02:50 PM

"What I strongly disagree with is that these somehow present a threat to traditional songs, "
Go count the lost clubs and folkies and pout that up against why they left
Not a bad formula for assessing the damage Howard
Jim


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 02 Mar 19 - 03:59 PM

Jim,
I can't think of a single person from the folkscene, and I must know thousands personally, who has left the folk scene because of some perception of the content. You have been repeatedly told by many people in England who are in the thick of it that the scene has changed from one centred on folk clubs to a whole range of scenarios promoting traditional and contemporary folk music. I have just come from a 3-hour concert in the middle of a big city that was attended by people from 2 weeks old (my nephew, Barney) to my 95-year-old traditional singer mother. The performers gave a wide range of songs mostly traditional, some contemporary, about half unaccompanied. The place was packed out. I'd say less than half the audience were folkies, but that's by the by.
You have definitely been deceived!! Or is it that closed mind of yours?


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 02 Mar 19 - 04:17 PM

Al
I'm a stegosaurus? What are you?


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Subject: RE: UK 60s Folk Club Boom?
From: Iains
Date: 02 Mar 19 - 04:49 PM

Al is a Protoceratops(andrewsi) that keeps encountering a raptor(mongoliensis))


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Subject: RE: UK 60s Folk Club Boom?
From: Big Al Whittle
Date: 02 Mar 19 - 05:19 PM

'Ther characters are unidentified, as is the place, it is a descrip[tion only of emotions'

You could say the same about The Unquiet Grave.

Does anyone else remember the one in Going to see the Wild West Show about the Rhinosauras?


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Subject: RE: UK 60s Folk Club Boom?
From: Steve Gardham
Date: 02 Mar 19 - 05:24 PM

Vaguely!


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