Top 10 Folk Singers

The Top 10 Folk Singers

Yeah, the Traveling American Folksingers from Van Nuys, California are on their way. LookMojo.com as we count our selection down for the top 10 folk musicians. In this list we focus on singers who are mainly active in the field of folk music. Elvenking combine power metal, folk music and extreme sounds in their own mix right from the start.

This group was founded in 1985 by lead singer Manuel Agnelli in Milan.

Folksinger SACD Ibrido Stereo Stereo

The most frequently mentioned "audiophile" record is finally available in the Super Audio CD version. This SACD, mastered by the original analog chess champion of 1964, reproduces all the intimate elements of the recording as never before. Muddy' s supporting actors include Buddy Guy on guitar, occasionally the experienced chess label Clifton James on drums, Otis Spann on pianoforte and Willie Dixon.

A masterpiece of blue music! <font color="#ffff00">MUDDY WATER: What the fuck are you doing?

The McCaffrey Folk Singers (The McCaffrey Folk Singers) release their latest albums on their own.

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1954-1969 - Enciclopedia of music and skirt

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#29: Joan Baez

The first great female voice of the folk review and godmother of all future singer-songwriters, Joan Baez was born on January 9, 1941 on Staten Island in the state of New York. Little Joan of Arc had different experiences in different places, while at the same time developing an interest in music that her sisters Pauline and Mimi shared.

However, the decisive revelation came a few years later, exactly in the late spring of 1954, when she attended a concert together with Mimi in the gym of Palo Alto High School (at that time the Baez family lived in California). This concert was organized to raise funds to support the California Democratic Party, and to attract as many people as possible, Pete Seeger, an icon of popular renewal and symbol of the struggle for civil rights, was also invited to participate.

Joan was very impressed that evening by Seeger's appeal to the public in the name of folk tunes able to convey a sense of social justice. After moving with her family to Boston, Joan began to visit the folk scene in Cambridge, where she was particularly appreciated for her voice, a "loud mezzo-soprano with an exceptionally strong vibrato" 1. Her presence in local folk circles - often frequented by singer-songwriters with little or no intonation - was a real event, so much so that more and more people queued to hear her sing.

After it became the attraction of Club 47 in 1959, it was named by the impresario Manny Greenhill to record Folksingers' Round Harvard Square, a record in which singers Bill Wood and Ted Alevizos also took part, the aim of which was to report on Cambridge's thriving folk scene. Besides duets with Wood in three tracks ("Kitty South", "So So Soon in the Morning" and "Careless Love") and with Wood and Alevizos in "Don't Weep After Me", Baez sings six tracks solo, accompanied by acoustic guitar.

Among those who were impressed by her performances was singer Bob Gibson, who asked her to play with her at the upcoming Newport Folk Festival. On this occasion, thanks to the great success of the audience, Baez earned a contract with Vanguard Records, the record label that had made a name for itself in the field of popular animation with the release of some Weavers records.

The first fruit of this new partnership was the eponymous Joan Baez, which was released in October 1960 and was to become the first successful album of a singer-songwriter. Composed mainly of traditional songs suggested by Baez for the evenings at Club 47, this debut revealed to a wider audience the expressiveness of a 19-year-old who, apart from a few uninspired moments, had already found her voice using folk tunes as barbed wire to penetrate the hearts of listeners and talk to them, with disarming sincerity and often with tones of melancholy abandonment, fears, existential anguish and hope, and sounds of melancholy abandonment, existential anguish and hope, with disarming sincerity.

The album was a resounding success: he entered the Billboard charts, stayed there for 140 weeks, launched Baez into the firmament of the folk revolution and made it a musical icon. His fame was enhanced by Joan Baez, Vol. 2 (September 1961), who opened with a "Wagoner's Lad" in which only the voice penetrates the darkness - silence like a flickering beam of light.

The track list is still dominated by traditional tracks, with the Greenbriar Boys taking over the choirs and spreading the scent of blue grass in "Banks Of Ohio" and "Pal Of Mine". Exactly one year later Joan Baez also recorded "What Have They Done to the Rain" in concert, a song in which she dealt for the first time with an urgent current topic: the danger of a nuclear catastrophe.

After a second band on the live album, which was released in November 1963 and was still able to reach the highest parts of the national rankings (and even break through the wall of the English top ten), the singer-songwriter came closer to the civil rights movements and became one of the most popular and respected voices.

Meanwhile she had fallen in love with Bob Dylan, of whom she also wanted to make some new songs (the first was "With God On Our Side", followed by "Don't Think Twice, It's All Right", both released directly on Joan Baez in Concert, Part 2). The two will play and sing together at the 1963 edition of the Newport Folk Festival and repeat themselves a month later in Washington, where the march for civil rights took place.

In October 1964, Joan Baez/5, a testimony to her maturity, came to Dylan to honor the Dylan of "It Ain't Me Babe" and the work of other songwriters of the time, including Phil Ochs (whose "There But For Fortune" is at the beginning to remind us that we must be merciful to the less fortunate), Johnny Cash ("I Still Miss Someone") and his brother-in-law Richard Fariña ("Birmingham Sunday").

As a sign of her desire to broaden her scope, and despite the danger of appearing unnecessarily demanding in "Bachianas Brasileiras No. 5 - Aria" (written by the Brazilian composer Villa-Lobos), the Baez instead transforms into an opera singer struggling with a Portuguese text, while eight cellos draw a background sound as dark as it is painful.

After the end of her love affair with Dylan, Baez continued her journey in the context of a folk singer-songwriter whose primary goal was to achieve a balance between tradition and modernity. Farewell, Angelina (October 1965), Dylan's "electrical breakthrough" of last July is a dead end that can be felt very indiscriminately in the background, so much so that the presence of Bruce Langhorne's electric guitar is really hard to grasp.

But Dylan is still one of the brightest stars in his singing universe, as the theme song "Daddy, You Been on My Mind", "It's All Over Now, Baby Blue" and "A Hard Rain's A-Gonna Fall" show. With Noël ( November 1966 ), Baez therefore offered her version of the "Christmas Album", supported by composer and arranger Peter Schickele, who put together a series of compositions clearly inspired by chamber music, so that her voice could show all its austere and suggestive charm.

As Schickele's collaboration developed around a repertoire that spanned traditional folk and its variations on popular songs and rocks, Joan (August 1967) was born, a record that also offered fans a covers of The Beatles' Eleanor Rigby. The christening (June 1968) completed the trilogy of works created with Schickele: Baez "interprets" poems (William Blake, James Joyce, John Donne, Arthur Rimbaud and Federico Garcia Lorca on the chosen poets) in delicate chamber settings.

To get back on track, she flew to Nashville, where she recorded a handful of Bob Dylan tracks with the help of a group of countrymen, some of which were unreleased. The result was Any Day Now: Music of Bob Dylan (December 1968). The following August, however, Baez was among the artists invited to participate in the Woodstock International Art Exhibition, a true apotheosis of the contracultural dream.

The turning point of the land of One Days At A Time (January 1970) reflected exactly this feeling of disappointment, but in the end it was a record based on the job and not on a healthy inspiration (the only song worth mentioning is the autograph "Sweet Sir Galahad", inspired by the love story between his sister Mimi and her second husband, Milan Melvin).

In June 1971, after working as a poet with Ennio Morricone on the creation of the soundtrack for Giuliano Montaldo's Sacco e Vanzetti, Giuliano Montaldo's movie Sacco e Vanzetti, the Double Bitlessed Are... thanks to "The Night They Drive Old Dixie Down", a song written by Robbie Robertson and released on the band's second album in 1969, the Double Bitlessed Are... reached a place in the top 20.

is a solid exercise that is controversial between root rock, folk, genospel and popular, with Baez fading almost half of the songs in the line-up, even if only in some cases the inspiration still seems to be that of the good times ("Three Horses", "Gabriel And Me" and especially "Fifteen Months"). In 1972, Baez flew to North Vietnam with a pacifist delegation and risked her life in a bombing raid ordered by Richard Nixon.

The album - burdened by the aforementioned experiment - also contains two songs written by his sister Mimi: "Mary Call" and "Best of Friends". Meanwhile the world of popular music and pop music was moving in a completely different direction, which led Baez to make a virtue out of necessity in order to stay afloat in a music scene where her position was now very marginal.

In 1975, when the war in Vietnam was over, the artist decided to take a trip to more frivolous areas, and with this meeting, he also decided to meet the wishes of his label A&M, which had long asked them for a record capable of achieving more uniform commercial results. Supported by veterans of the jazzworld and an above-average production, Baez achieved his greatest sales success with Diamonds & Rust (April 1975) in the 1970s.

The record opens with the cover song, which is not only one of his best compositions ever, but also a sweet, bitter reminder of his difficult relationship with Bob Dylan.

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