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Editorial Reviews
From Publishers Weekly
"Can white folks sing the blues?" asks Weissman in his new book, which covers the folk music revival of twentieth century America and the relationships between the various types of music that derived from it. Weissman touches on the music business and the motives of some folksong collectors such as Jack Tharp, John Lomax, Lawrence Gellert, Charles Seeger and Alan Lomax, and explores the definition of "folksong" and the idea of "authenticity" in folk music. The book contains an interesting, albeit brief, segment on the rise and fall of folk-rock, in the midst of which Weissman hastily dismisses psychedelic rock ("many of the bands were under the influence of acid, and their performances featured long jam sessions."). Among the most interesting sections are those on folksong as protest music and the blacklisting of folk singers, particularly The Weavers. Throughout the volume, big name artists such as Bob Dylan, Joni Mitchell and Joan Baez appear, and Weissman discusses them in the contexts of their predecessors and the marketplace. Weissman's prose is casual, sometimes awkwardly so, and his knowledge of people, places and repertoire, and the connections between them, is so extensive that at times passages can read like cumbersome lists of names. Folk enthusiasts will appreciate this nearly one-stop shop of American folk history, but anyone with a casual interest in the form may find Weissman's information onslaught too overwhelming. 8 pp. b&w photos.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Topical songs are news again as pop musicians consider taking political stances, but using folk songs politically dates back many decades. Weissman's concise history of folk music and politics offers an insider's perspective, for as musician, singer, and, later, songwriter and record producer, he knows the territory. He discusses the folklorists (e.g., Francis James Child, Cecil Sharp, Alan Lomax) who collected American traditional music, the 1930s protest singers who both made a living and sang for social change (e.g., Leadbelly, Woody Guthrie, Josh White, Pete Seeger, the Weavers), McCarthyism and the blacklist era, the 1950s folk revival, the so-called folk scare of the early to mid-1960s, the singer-songwriter and New Left intersections, folk- and country-rock, the women's music movement, the blues revival, and other roots music. He consistently explores the often-antagonistic relations between the various musicians and music genres. Indeed, Weissman covers so much material in so relatively few pages that many may wish he would slow down occasionally and say more about the many fascinating personalities and issues he introduces. June Sawyers
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
"Can white folks sing the blues?" asks Weissman in his new book, which covers the folk music revival of twentieth century America and the relationships between the various types of music that derived from it. Weissman touches on the music business and the motives of some folksong collectors such as Jack Tharp, John Lomax, Lawrence Gellert, Charles Seeger and Alan Lomax, and explores the definition of "folksong" and the idea of "authenticity" in folk music. The book contains an interesting, albeit brief, segment on the rise and fall of folk-rock, in the midst of which Weissman hastily dismisses psychedelic rock ("many of the bands were under the influence of acid, and their performances featured long jam sessions."). Among the most interesting sections are those on folksong as protest music and the blacklisting of folk singers, particularly The Weavers. Throughout the volume, big name artists such as Bob Dylan, Joni Mitchell and Joan Baez appear, and Weissman discusses them in the contexts of their predecessors and the marketplace. Weissman's prose is casual, sometimes awkwardly so, and his knowledge of people, places and repertoire, and the connections between them, is so extensive that at times passages can read like cumbersome lists of names. Folk enthusiasts will appreciate this nearly one-stop shop of American folk history, but anyone with a casual interest in the form may find Weissman's information onslaught too overwhelming. 8 pp. b&w photos.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Topical songs are news again as pop musicians consider taking political stances, but using folk songs politically dates back many decades. Weissman's concise history of folk music and politics offers an insider's perspective, for as musician, singer, and, later, songwriter and record producer, he knows the territory. He discusses the folklorists (e.g., Francis James Child, Cecil Sharp, Alan Lomax) who collected American traditional music, the 1930s protest singers who both made a living and sang for social change (e.g., Leadbelly, Woody Guthrie, Josh White, Pete Seeger, the Weavers), McCarthyism and the blacklist era, the 1950s folk revival, the so-called folk scare of the early to mid-1960s, the singer-songwriter and New Left intersections, folk- and country-rock, the women's music movement, the blues revival, and other roots music. He consistently explores the often-antagonistic relations between the various musicians and music genres. Indeed, Weissman covers so much material in so relatively few pages that many may wish he would slow down occasionally and say more about the many fascinating personalities and issues he introduces. June Sawyers
Copyright © American Library Association. All rights reserved
See all Editorial Reviews
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