I mainly listened to these folk revivalists in late 2023 and early 2024. Most come from the Greenwich Village scene. Although the folk revival has a strong reputation, I was often unimpressed with the prevalent middle-brow aesthetics that hijacked what was supposed to be a celebration of the common man’s music.
Jim Kweskin & the Jug Band: Greatest Hits (1970): B-
Joan Baez: Joan Baez (1960): B
The Kingston Trio: The Capital Collector's Series (1990): B-
Michael Hurley: First Songs (1964): B
New Lost City Ramblers: The Early Years, 1958-1962 (1991): A-
Odetta: Odetta Sings Ballads and Blues (1956): C
Pete Seeger: American Industrial Ballads (1956): B+
Peter, Paul and Mary: The Very Best of Peter, Paul and Mary (2005): B+
Phil Ochs: All the News That's Fit to Sing (1964): B-
Phil Ochs: I Ain't Marching Anymore (1965): B
Phil Ochs: Pleasures of the Harbor (1967): D+
The Weavers: The Best of the Decca Years (1996): C+
The Youngbloods: The Youngbloods (1967): B+
The Youngbloods: Earth Music (1967): C+
Jim Kweskin & the Jug Band: Greatest Hits (1970):
Although Jim Kweskin's Jug Band sets themselves apart from the past, noting they didn't feel creatively tied down to any sort of strict tradition, their frequent use of jugs, kazoos, and washboards as well as their large ensemble of rotating guests and singers make the lackadaisical group very stylistically in line with classic jug bands. That should be a greater positive. While the ramshackled instrumentation brings invigoration and delight, these white hippie singers are frequently hit or miss. The only excellent vocalist amongst the group is Maria Muldaur, whose lead vocals effortlessly capture the band's ambitions. Kweskin, who sings the most out of the six singers that show up on this double LP, inspires a lot of great playing from his bandmates but can range anywhere from jovially charming to blissfully dislikable. Both he and Geoff Muldaur--a consistently awful singer--occasionally slip into distasteful impressions of drunken farts that inspire quite the opposite of the intended comedy. But while the disarray at the mic takes away from the Jug Band's consistency, their importance for reviving an excellent and lighthearted folk tradition should not be understated. The Lovin' Spoonful adapted this band's cheery approach as well as some of their repertoire and did wonders with it. B-
Joan Baez: Joan Baez (1960):
Although long aware of her through early collaborations with Dylan, Baez's powerful and decidedly untraditional style of singing traditional folk music isn't really the right vehicle for these rural songs. Now finally sitting down and giving her some time, it's surprised how much she can pull listeners into her hypnotic voice. Simultaneously, I intentionally resist the pull and I wonder how much of the elitist attitude in the New York folk scene came from Baez's solemn posturing. B
The Kingston Trio: The Capital Collector's Series (1990):
Although the commercialization of folk music was spearheaded most prominently by the Kingston Trio, who formed in 1957, their manner of covering and performing American traditional music has little difference stylistically to the approach that the Carter Family used to perform similar material in the 1920s and 1930s. Thus, their interpretations (although fairly pop-oriented) have more legitimate lineage in the folk tradition than the oh-so-serious, classical folk camp that Joan Baez championed. True, the Trio are no where near as consistent or gobsmacking as the original singing family, but they do have a few excellent contributions to the folk-pop genre: "Tom Dooley," "A Worried Man," "Where Have All the Flowers Gone?," and "Greenback Dollar." Note, however, that most of these highlights originate from the deeply-rooted music of the Southern United States while much of this track-list is dedicated to a wide range of international folk music, some of which was contemporary. Clearly, their favor for new and eclectic folk pieces worked out, but it does explain why the Kingston Trio were largely overlooked by the revivalist community in New York City that stuck more closely to the music of the Harry Smith Anthology. For those willing to sift through the cheery and vapid songwriting that doesn't have much of anything to do with old-time music (but is usually fine nonetheless), there are a few great historical pieces that are given highly enjoyable rearrangements. B-
Michael Hurley: First Songs (1964):
This folk singer was an early friend of Peter Stampfel and Steve Weber of the Holy Modal Rounders. Although he was cut from the same outsider cloth as them, his debut album in terms of performance does stay fairly truthful to the folk tradition and he certainly isn't as irreverent or dirty as his friends. Instead, his quirky songwriting is sung reflectively with many notes held as long as possible. Overall, it's nice enough but could use more overt humor as well as a little bit of pace. B
New Lost City Ramblers: The Early Years, 1958-1962 (1991):
A highly important piece of the folk revival, the New Lost City Ramblers formed in 1958 in New York City at the heart of the folk revival. Consisting of the trio Mike Seeger, John Cohen, and Tom Paley, the band strived to authentically perform old-time music from the 1920s and 1930s. Although fairly strait-laced (they hardly play with the reckless abandon that the Holy Modal Rounders championed), this trio does offer a lot of enjoyable interpretations that stay close to the source material. Gathering material from up until Paley left the group, this compilation breezes through many covers that listeners (including me) are unlikely to be familiar with, adding to the Ramblers' appeal both as artists and as archivists. A-
Odetta: Odetta Sings Ballads and Blues (1956):
Question: What would it be like if a someone with classical training sang the music of the people? Answer: It would be unbearable and entirely miss the point of folk music. Here's exhibit A. C
Pete Seeger: American Industrial Ballads (1956):
Seeger recorded many studio albums prior to this one from 1956, but American Industrial Ballads has an important place in his discography as something of an early concept album focused on songs about industrialism. Following closely in the footsteps of his idol Woody Guthrie (who recorded a similar album Dust Bowl Ballads), Seeger plays simple unaccompanied banjo over songs meant to emphasize the lyrics above all. Although he might not have the charm of Guthrie, he does perform the majority of this twenty-four song track-list with satisfactory skill and emotional persuasion. Now that the Weavers are mostly behind him and he has dedicated himself towards documenting and contextualizing American folk music, Pete Seeger takes another solidifying step towards becoming folk music's most important ambassador. A significant addition of the Pete Seeger canon. B+
Peter, Paul and Mary: The Very Best of Peter, Paul and Mary (2005):
When the Weavers and the Kingston Trio started recording a wide array of international folk songs in the 1950s, the dominant American folk vernacular that continues to persist today had yet to be created in the tight-knit and high-strung Greenwich Village scene. Although Peter, Paul and Mary took influence from the two earlier vocal groups, they formed in 1961 in the middle of Greenwich Village scene and thus kept closer to the songbook that flowed from the community, even recording some of the first covers of Bob Dylan songs. Their 1962 debut album immediately put them on the map, going to number one on the Billboard charts, and was only the beginning of significant commercial success throughout the 1960s that was hardly hindered by their political views, which they expressed through several protest songs and an appearance at the historic 1963 March on Washington. This chronologically-ordered compilation covers their original run (up to 1970 when they went their separate ways) as well as five songs from their subsequent solo careers and their reunions years. Although these last five songs initially seem unnecessary, the professional quality from the members never drops off and the final track highlights a band still dedicated to the political outspokenness of their early career. B+
Phil Ochs: All the News That's Fit to Sing (1964):
Although journalist-major-now-turned-folk-singer Phil Ochs has his heart in the right place and many of his social commentaries are enlightening and well-balanced, it all becomes a bit much. Even "Celia," a seemingly simple love song on the surface, is about the imprisonment of a couple due to their political outspokenness. Complaining about "Celia" of course is unfair. It's easily the most enjoyable melody and Ochs should consider shifting away from news reporting and more towards songs with such a sly political slant. B-
Phil Ochs: I Ain't Marching Anymore (1965):
Unlike Bob Dylan, Ochs is earnestly invested in every part of the liberal agenda. Although he's smart enough to focus on politics rather than the silly social aspects of counter-culture (such as free love), he clearly doesn't think he's above anyone else in the movement. Truly, his excellent oration of liberal issues is admirable and commendable. But unlike Dylan, Ochs isn't smart enough to make his topical songs transcend current events and capture something truly timeless. B
Phil Ochs: Pleasures of the Harbor (1967):
Practically a complete reinvention, Ochs ditches his acoustic guitar, his direct protest lyrics, and his common-man persona. While singing as smoothly as possible, he now utilizes classical instruments and synthesizers behind half-baked vocal melodies and flowery metaphorical lyrics. Side one had me crossing my heart and hoping to die. Side two consists of the same aesthetic, but takes even bigger risks while containing three songs, each around eight minutes long. D+
The Weavers: The Best of the Decca Years (1996):
The Weavers were a folk group formed in Greenwich Village in 1948. The members, most notably Pete Seeger, were all well acquainted with folk legends like Lead Belly and Woody Guthrie. In 1950, they signed with Decca and hit number one on the Billboard Charts with Lead Belly's "Goodnight Irene." Despite having achieved this success, they only recorded with the label for two more years before the group's political associations were brought to light during the McCarthy era and caused an early breakup. Although they would reunite by 1955, this album covers their most commercially successful work from that short time at Decca. A mix of standards and originals, the group's material is certainly folk music, but they favor an eclectic variety of world music and children's songs, which they gleefully sing with four-part harmonies and play with big bands. In the end, it's quite far removed from the gruff music Lead Belly recorded when he was behind bars for murder or the music Woody Guthrie thoughtfully recorded alone with a guitar. But if you want to listen to an outrageously buoyant 1950s vocal group sing "Wimoweh" with a powerful orchestra, be my guest. C+
The Youngbloods: The Youngbloods (1967):
The Youngbloods are one of two fairly strong folk-rock groups hailing from the folk capital of the world. Nevertheless, they differ from the other significant band in an important way. The Lovin' Spoonful rose to the top mostly by way of the very talented and rightly beloved John Sebastian. The Youngbloods don't have such a backbone so I'm a little worried that the nice harmonies, solid musicianship, and smooth songwriting is just something special that they captured on this debut. B+
The Youngbloods: Earth Music (1967):
This sophomore album sees the band attempting to move beyond Greenwich Village only to fail pretty spectacularly. The band's instrumentation is unremarkable throughout and neither of the vocalists sound as good covering Chuck Berry as they do with quiet folk backing and slower numbers. In the end, the only successful songs showcase what was always in their wheelhouse: the country "Sugar Babe" and an early cover of "Reason to Believe." C+
