<!--
These data are only offered for use pursuant to the license agreement
posted at http://webservices.rhapsody.com/rws-license.html.
Any use of these data indicates your agreement to the terms and conditions
set forth therein.
-->
<opml version="2.0">
<head>
<title>Top Folk Revival Artists on Rhapsody Online</title>
<dateCreated>Fri Dec 04 15:20:45 PST 2009</dateCreated>
<dateModified>Fri Dec 04 15:20:45 PST 2009</dateModified>
</head>
<body>
<outline type="include" text="Joni Mitchell" description="When it comes to women's music in the twentieth century, Joni Mitchell stands as the preeminent trailblazer. With musings in almost every genre, Mitchell paved the way for many other popular female singer-songwriters. Like many others, she got her start playing folk music in coffeehouses during the early 1960s. In 1967, Reprise Records released her self-titled acoustic debut. 1969 saw the release of her second album &lt;I&gt;Clouds&lt;/I&gt;, followed in 1970 by the successful &lt;I&gt;Ladies of the Canyon&lt;/I&gt;, which featured the chart-topping &quot;Big Yellow Taxi.&quot; But it was the moody and cathartic &lt;i&gt;Blue&lt;/i&gt; (1971) that put her on the map of musical genius: the album even inspired Bob Dylan to write &quot;Tangled Up In Blue.&quot; Mitchell dialed up the jazz on &lt;I&gt;Court and Spark&lt;/I&gt; (1974), which spawned three major hit singles -- &quot;Free Man in Paris,&quot; &quot;Raised on Robbery&quot; and &quot;Help Me.&quot; Throughout her career, Joni Mitchell has experimented and taken risks with her music. To this day, she continues to explore new ground and hark back to the old folkie ways that gave her snowball its first push.
- Eric Shea" category="Singer-Songwriter" url="http://feeds.rhapsody.com/joni-mitchell/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Joan Baez" description="Joan Baez is the undisputed godmother of Modern Folk. She was the bright shining star of the folk revival of the early 1960s, interpreting classic folk songs and those of upstarts such as Bob Dylan and Phil Ochs in her beautiful, clear voice. Baez was also a serious proponent of music as a tool for social change, and was very closely aligned with the anti-war movement of the '60s, as well as the civil rights struggle and other important causes. In the '70s, '80s and '90s Baez's music has come to embrace country and Adult Contemporary as well as folk. She's never abandoned her social agenda, nor has she stopped championing other songwriters such as Dar Williams and Mary Chapin Carpenter.
- Tom Heyman" category="Folk Revival" url="http://feeds.rhapsody.com/joan-baez/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Peter, Paul and Mary" description="Peter, Paul and Mary combined thought-provoking lyrics with artfully arranged vocal harmonies to become one of the most successful -- and certainly most enduring -- folk acts of the 1960s. Their music captured the zeitgeist of the racially and politically charged early '60s and offered it up to the public in a beautifully wrapped package.
- Linda Ryan" category="Folk Revival" url="http://feeds.rhapsody.com/peter-paul-and-mary/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Judy Collins" description="Judy Collins' sweet soprano is as much a part of the '60s as the Beatles or Motown. Dorm rooms reverberated with her interpretations of Bob Dylan, Leonard Cohen, and Joni Mitchell songs. She knew how to ferret out good tunes and many artists got their initial exposure through her versions -- Mitchell in particular. Collins changed her strategy in the 1970s. She started writing much of her own material and covered songs from country to rock to Broadway. During this period, she walked a high wire act between revolutionary statements, art songs, and what the public really wanted to hear. Collins has played it safe since then -- the classics fit her soaring vocal better than hymns to Che Guevara would.
- Eric Shea" category="Folk Revival" url="http://feeds.rhapsody.com/judy-collins/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Pete Seeger" description="Pete Seeger was famous for playing old hobo country banjo folk songs and socially aware narratives of working-class folks. His union anthems and famous five-string banjo playing has influenced every hootenanny crooner from Greenwich Village to North Beach. Toward the end of the 1930s, he joined forces with the late, great Woody Guthrie and a handful of other musicians to form Almanac Singers. Their aim was to promote unions and come down hard on fascism. In the late 1940s, Seeger formed the Weavers, a folk group who made famous such hits as &quot;Tzena, Tzena, Tzena,&quot; Leadbelly's &quot;Goodnight Irene,&quot; and &quot;On Top of Old Smokey&quot; before McCarthy-era paranoia put an unceremonious end to their bookings and recording contracts. Today, his contributions to old standards live strong in the interests of folk enthusiasts and anyone who has ever been moved by songs such as &quot;We Shall Overcome,&quot; &quot;If I Had a Hammer,&quot; and &quot;Turn! Turn! Turn!&quot; a Seeger penned ditty that became a gigantic radio hit when the song was covered by West Coast Folk Rockers, the Byrds.
- Eric Shea" category="Political Folk &amp; Protest Songs" url="http://feeds.rhapsody.com/pete-seeger/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="The Kingston Trio" description="Though you'll find them in the Folk section of the record store, the Kingston Trio's footing in the Folk community has always been shaky. Like an illegitimate child, Folk aesthetes acknowledge their relation only begrudgingly. The disapproval doesn't stem from the band's amateurism (originally, they were all self-taught) so much as their popularity. These West Coast performers brought the genre an audience far larger than anyone imagined possible. In the process, they made the recording industry more amenable to the prospect of signing and promoting other rising Folk stars like Pete Seeger, Peter, Paul and Mary, and Bob Dylan. In contrast to the first person confessionals which have characterized folk in recent decades, the Trio always preferred to perform traditional songs rooted in history. They are bards in the true sense of the word, passing down the oral heritage of our collective past.
- Eric Shea" category="Folk Revival" url="http://feeds.rhapsody.com/the-kingston-trio/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="The Tokens" description="" category="Brill Building Pop" url="http://feeds.rhapsody.com/the-tokens/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Harry Belafonte" description="Harry Belafonte is not just the wide smile and pair of slim hips that seduced so many American women in the 1960s. A crack songwriter and singer who introduced Caribbean music to the United States, Belafonte is also an activist who has fought tirelessly for civil and human rights in the U.S. and around the world. He was instrumental in cracking the color barrier in the U.S., winning fame and fortune for his stage acting (including several Tony awards), his film work, an Emmy-winning television show, and a string of hit albums through the 1950s. Born to Caribbean-American parents, Belafonte spent part of his youth in Jamaica, where he was introduced to local songs like &quot;Day-O.&quot; As his reputation grew, so did his interest in the folk music that brought him success. In 2001, Belafonte saw a long-time dream realized when &lt;I&gt;Long Road to Freedom&lt;/I&gt; was released. It was a visionary collection of African-American music that spans everything from Yoruba chants and slave songs to early blues recordings by artists like Brownie McGhee. And Belafonte has become no less political with age; in recent years he has been a keynote speaker at peace rallies and other leftist gatherings.
- Sarah Bardeen" category="Calypso" url="http://feeds.rhapsody.com/harry-belafonte/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="The Clancy Brothers" description="Except for their trademark Aran sweaters, you might have mistaken the Clancy Brothers for a bunch of dock-working thugs -- until they raised their voices, that is. This clan of singing Irish emigres helped catalyze the Greenwich Village folk scene and eventually became one of the most popular singing groups in the world. Enlisting the services of teetotaler friend Tommy Makem, the Clancys inaugurated the Ballad Revival of the 1950s, a trend that rescued from obscurity the old songs of Ireland at a time when England was doing everything in its power to quash Irish nationalism. The movement made it respectable again for folks to identify with working-class songs and their Irish heritage. Intentionally or not, the Clancy Brothers reawakened people's awareness of class issues and social injustice and helped precipitate the political folk movement of the '60s. Of course, the group was never uni-dimensionally political; they're most fondly remembered for their rowdy drinking songs, after all. Not content to merely sing their odes to John Barleycorn (songs like &quot;Nancy Whiskey&quot; and &quot;The Parting Glass&quot;), they &lt;I&gt;assailed&lt;/I&gt; them with booming voices that brim over with excitement. Listening to the Clancy Brothers feels like having a run-in with that big, back-slapping uncle who's always happy to see ya'.
- Nick Dedina" category="Folk Revival" url="http://feeds.rhapsody.com/the-clancy-brothers/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Be Good Tanyas" description="" category="Country-Folk" url="http://feeds.rhapsody.com/be-good-tanyas/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="The Seekers" description="" category="'60s Oldies" url="http://feeds.rhapsody.com/the-seekers/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Bert Jansch" description="An amazing guitarist, Bert Jansch was a key player in the nascent years of the British folk scene. A friend of and heavy influence on Donovan (see &quot;Bert's Blues&quot; or &quot;House of Jansch&quot;), as well as Neil Young and Jimmy Page, his recording career began with one microphone, a bedroom, and an acoustic guitar. His stark, finger-picking instrumentals found him an audience with fellow guitarist John Renbourn, an association which eventually led to their legendary work with Pentangle. His ability to mix classical and jazz guitar with American acoustic blues has made his early records a staple of virtually every up-and-coming guitarist.
- Jon Pruett" category="British Folk" url="http://feeds.rhapsody.com/bert-jansch/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Odetta" description="Odetta Gordon was born on Dec 31, 1930 in Birmingham, Alabama. She was the first African-American political folk singer and influenced many other folkie-come-lately musicians of that era. In her post adolescence, Odetta switched from classical voice training to folk by teaching herself how to play the guitar. She also became involved in singing around the coffeehouse circuit in the early 1950s. As a folk singer and songwriter, she started to achieve notability when she began appearing live with Pete Seeger and Harry Belafonte. After twenty-six albums, four music collections, and over fifty years as a folk singer, Odetta continues to sing with a deep, dominant and lucid voice.
- Eric Shea" category="Folk Revival" url="http://feeds.rhapsody.com/odetta/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Tom Rush" description="Coming out of the 60s Cambridge folk scene, Tom Rush emerged as a Singer-Songwriter whose roots were steeped in both Woody Guthrie and the blues. His sweet, warm, expressive voice was often used to interpret songs by Joni Mitchell and James Taylor (before either had released records). An entirely self-taught, excellent bottleneck player, Rush helped usher in the Singer-Songwriter era with the release of &lt;I&gt;The Circle Game&lt;/I&gt;, containing his best known original, &quot;No Regrets&quot; (later popularized by the Walker Brothers). Today, Rush runs his own record label Night Light -- and continues to perform his languorous blend of country, folk and blues to eager crowds.
- Jon Pruett" category="Singer-Songwriter" url="http://feeds.rhapsody.com/tom-rush/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Ian and Sylvia" description="Popular husband/wife duo whose pioneering repertoire featured some of the first covers of Bob Dylan, Joni Mitchell, and Phil Ochs. Their perfectly paired vocal harmonies sound strongest on their acoustic material; their later work began to incorporate electric guitar. Two of the earliest and most influential troubadours of Folk Revival's heyday.
- Chad Driscoll" category="Folk Revival" url="http://feeds.rhapsody.com/ian-and-sylvia/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Jorma Kaukonen" description="Kaukonen is a founding member of San Francisco psychedelic rock band Jefferson Airplane. His stinging, blues-based lines formed the basis for many of the band's songs. Kaukonen and Airplane's bassist eventually left the band to form Hot Tuna, which started out as a vehicle for Kaukonen to show off his considerable Acoustic Blues fingerpicking skills. Songs by the Reverend Gary Davis as well as other Delta Blues players were a mainstay of their sound, though the band eventually morphed into an electric band that mixed blues with extended sonic explorations. He now runs a guitar school in rural Ohio.
- Tom Heyman" category="Acoustic Blues" url="http://feeds.rhapsody.com/jorma-kaukonen/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="The Dutchess And The Duke" description="Jesse Lortz and Kimberly Morrison first met as high-schoolers in the suburbs of south Seattle, sharing a deep fascination for weird DIY music. Fast-forward a decade during which Lortz became a garage-rock bold-face-name (leading the Flying Dutchmen and Fe Fi Fo Fums, among others), and Morrison a multi-instrumentalist gun for soul-stomp/surf-twang hire. Yet the only thing left over from Kimberly and Jesse's shared history on their folk-rock turn as the Dutchess &amp; the Duke is a deep sense of mutual understanding, more akin to cool siblings than to a couple (which they are not). Their lo-fi '08 debut revels in a post-Dylan, mid-'60s darkness, where smart words, acoustic guitars and harmony vocals invoke the sounds of the Stones, Leonard Cohen and &lt;i&gt;Velvet Underground &amp; Nico&lt;/i&gt;, and negative experiences are transformative, leading to catchy songs that peep the light at the end of the tunnel. In this, the D &amp; the D are less traditionalists recreating an old vibe than revivalists informing that vibe with an ultra-modern pathos (especially in the lyrics and two-part harmonies) and an enormous amount of heart, whose beat is marked only by a tambourine.
- Piotr Orlov" category="Folk Revival" url="http://feeds.rhapsody.com/the-dutchess-and-the-duke/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Shel Silverstein" description="You've got to respect Silverstein for his incredible diversity: the man was equally adept at cranking out ribald erotica for &lt;I&gt;Playboy&lt;/I&gt; as he was at creating classic children's literature. His career as a gravel-voiced folk singer never earned him quite as much acclaim, but you'd be surprised just how many folks owe him a huge debt. Johnny Cash, Marianne Faithfull and Diamanda Galas have all paid him homage by covering his eloquent story-songs.
- Chad Driscoll" category="Comedy" url="http://feeds.rhapsody.com/shel-silverstein/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Trini Lopez" description="Trini Lopez was a dynamic live artist and one of the original folk-rockers. He was the Vegas answer to Bob Dylan and he had a massive 1963 hit with &quot;If I Had A Hammer.&quot; But Lopez is probably best remembered as &lt;i&gt;The Dirty Dozen&lt;/i&gt;'s doomed soldier with a song in his heart.
- Nick Dedina" category="Folk Revival" url="http://feeds.rhapsody.com/trini-lopez/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="The Weavers" description="
- Rachel Devitt" category="Political Folk &amp; Protest Songs" url="http://feeds.rhapsody.com/the-weavers/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="The Brothers Four" description="" category="Folk Revival" url="http://feeds.rhapsody.com/the-brothers-four/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Dave Van Ronk" description="Dave Van Ronk was one of the best Folk-Blues musicians of the 20th century. His retrospective, rustic, perfectionist performances and arrangements of classic Acoustic Blues songs go unmatched by anyone else obsessed with old time music. Most anyone who has ever played the Acoustic Blues in Van Ronk's native home of New York has been tutored by this talented singer-songwriter. Bob Dylan spent a lot of time with Van Ronk in 1961 shortly after making the move from Dinkytown, Minnesota. Van Ronk began recording professionally in 1959 when he released &lt;i&gt;Ballads, Blues and a Spiritual&lt;/i&gt; on Moses Asch's Folkways label. When he was a merchant seaman, folk songstress Odetta encouraged Van Ronk to play the Classic Jazz that he was infatuated with at the time. Van Ronk was soon turned on to the energetic and enthusiastic Greenwich Village coffeehouse folk scene, where he learned how to draw a large crowd and fingerpick a guitar like the great Piedmont pickers. His deep, grumble and rasp-inflected singing -- as well as his obscure knowledge of hillbilly jug-band standards and swarthy drinking songs -- appealed to the folkies who were constantly searching for purists to teach them about the history of these rich American musical traditions. Van Ronk continued to record (for Alcazar Records) and play folk music festivals throughout the greater United States until his death in 2002 at age 65.
- Jessy Terry" category="Folk Revival" url="http://feeds.rhapsody.com/dave-van-ronk/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="The Limeliters" description="The Limeliters were a Hollywood-based folk trio who managed to successfully integrate smooth harmonies, light political satire and general humor into a national spotlight. Helped by the tenor of Glenn Yarbrough and the solid baritone of Alex Hassilev, the group had its biggest hit with &quot;A Dollar Down&quot; (1961). At a time when popular music was beginning to gain an edge, the music of the Limeliters portrayed a simpler, jollier America where educated wisecracks and sing-alongs could suffice as entertainment. The band split apart in 1963 as Yarbrough went on to contribute to the melodramatic oceanside ponderings of Rod McKuen while other founding member Lou Gottlieb went on to form Morning Star Ranch, one of the original San Francisco communes.
- Jon Pruett" category="Folk Revival" url="http://feeds.rhapsody.com/the-limeliters/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Richard &amp; Mimi Farina" description="The Farinas were faces on the Greenwich Village folk scene during the early 1960s, although their paisley-patterned songs were far better suited for spare-changing on Haight Street than keeping the snooty Village beatniks jazzed. Many of their songs have an Appalachian feel and prominently feature dulcimers, while other tunes plug in for a little electric light-rocking. The deprecating &quot;granola&quot; label applies to much of their work -- very wholesome, all-natural, and no preservatives. Or, in others words, perishable and bland.
- Chad Driscoll" category="Folk Revival" url="http://feeds.rhapsody.com/richard-mimi-farina/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Chad Mitchell" description="" category="Folk Revival" url="http://feeds.rhapsody.com/chad-mitchell/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="The New Christy Minstrels" description="" category="Folk Revival" url="http://feeds.rhapsody.com/the-new-christy-minstrels/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="The New Lost City Ramblers" description="" category="Old-Time Revival" url="http://feeds.rhapsody.com/the-new-lost-city-ramblers/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Shawn Phillips" description="" category="Singer-Songwriter" url="http://feeds.rhapsody.com/shawn-phillips/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Fred Neil" description="" category="Folk Revival" url="http://feeds.rhapsody.com/fred-neil/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Tom Paxton" description="Singer-Songwriter Tom Paxton has managed to sustain a long career in a fickle business, probably due to the fact that, despite being a star in the Folk music world, he never became a Pop phenomenon. He was a part of the early-'60s Greenwich Village Folk Music scene and his song &quot;The Last Thing On My Mind&quot; was a genuine hit and has been covered many times. Paxton has a low-key tenor voice and he is a good acoustic guitar player. He has recorded prolifically and has always put his strong social conscious right up front in his music.
- Tom Heyman" category="Folk Revival" url="http://feeds.rhapsody.com/tom-paxton/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="John McCutcheon" description="Over the course of twenty-four albums, veteran folksinger and multi-instrumentalist (guitar, hammered dulcimer, auto harp, banjo, and other stringed instruments) McCutcheon has maintained a heavy touring and recording schedule since his first record came out in 1975. Like many folksingers of the '60s, his strong social conscience informs much of his material. His body of work includes a number of records made for children. His is a strong, smooth voice.
- Tom Heyman" category="New Folk" url="http://feeds.rhapsody.com/john-mccutcheon/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Karen Dalton" description="The elusive Karen Dalton was an underground favorite of Greenwich Village's teeming folk scene during the 1960s. She made only two recordings, and of those, &lt;I&gt;It's So Hard to Tell Who's Gonna Love You the Best&lt;/I&gt; is an underappreciated tour de force. But the electric &lt;i&gt;In My Own Time&lt;/i&gt; braided folk, rock and soul arguably better than Dylan's first detour into electric folk. Dalton's voice is wizened and husky, but rich in twang -- she sounds like a farm-bred Billie Holiday trying to sing the blues like Fred Neil. She never ventured to write her own material, choosing instead to cover songs by Jelly Roll Morton, Leadbelly, Tim Hardin, Richard Manuel, George Jones and others; but her recordings, although largely unheard in their time (mostly because music critics then demanded original recorded material from folk singers), remain some of the best from the late '60s and early '70s. Freak folk pioneers Devendra Banhart and Joanna Newsom have both admitted to nicking their inflections from Dalton's distinctive vocal style. Even Bob Dylan once remarked, &quot;My favorite singer in the place was Karen Dalton. Karen had a voice like Billie Holiday's and played the guitar like Jimmy Reed.&quot;
- Chad Driscoll" category="Folk Revival" url="http://feeds.rhapsody.com/karen-dalton/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Jim Kweskin" description="During the 1960s, Jim Kweskin and his jug band were legends on the Folk Revival scene in Cambridge, Mass. Favoring the lighter side of American folk, his live sets were communal, happy affairs -- the very embodiment of the idealistic tendencies of the pre-Summer of Love days. Throughout the '60s and into the '70s, the group put out increasingly popular records until, on the eve of major success, Kweskin broke up the band in a fit of utter coolness. He continued to work as a solo artist and formed the U &amp; I Band in the 1980s, sticking to the catalog of irreverent folk songs for which his cultish group of devotees live.
- Mike McGuirk" category="Folk Revival" url="http://feeds.rhapsody.com/jim-kweskin/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Artie Traum" description="Woodstock artist Artie Traum got his start in the Greenwich Village folk scene of the early 1960s playing acoustic guitar in various folk and jug bands. He worked as a sideman for songwriters Jean Ritchie and John Sebastian, and also worked often with his older brother Happy. After moving to Woodstock, he continued his session work, was part of the influential Woodstock Mountain Review, and wrote a number of best-selling guitar instruction books. Throughout all of this activity, Traum has released a series of recordings that showcase his fine, subtly understated folk and New Age Acoustic guitar prowess. His smart and sensitive accompaniment has also kept him busy producing and backing other folk artists.
- Tom Heyman" category="Folk Revival" url="http://feeds.rhapsody.com/artie-traum/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Rooftop Singers" description="" category="Folk Revival" url="http://feeds.rhapsody.com/rooftop-singers/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Bill Staines" description="Bill Staines is an influential veteran folkie from Lexington, Mass., who often sings about living easy in the outdoors. On any given Staines song, you'll find themes of rocky mountains, rushing rivers and wide open spaces of the American west. His gentle, soulful voice is as smooth as buttermilk and comforting on the ears, like wrapping yourself up in an old familiar quilt knitted by your grandmother. Many of his songs have been covered by Fairport Convention, as well as Nanci Griffith and Jerry Jeff Walker, to name a few.
- Eric Shea" category="New Folk" url="http://feeds.rhapsody.com/bill-staines/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Alan Lomax" description="Revered by all music-loving peoples as the Patron Saint of Folk Preservation, Alan Lomax wandered around early America's prison camps, honky-tonks and bordellos with recording equipment in an ongoing mission to document the deep-rooted music of the Southland's everyday layman. What he recorded back then was simply called music. Today we have come to know the styles of these recordings as acoustic blues, Delta blues, Appalachian folk and (perhaps most famous) the field hollers that are simply regarded today as &quot;field recordings.&quot; Lomax discovered Leadbelly and Mississippi Fred McDowell. He was also the first to ever record Muddy Waters and Woody Guthrie.
- Eric Shea" category="Field Recordings" url="http://feeds.rhapsody.com/alan-lomax/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Judee Sill" description="Although she was sometimes dismissed as the &quot;poor little rich girl&quot; of folk music, Judee Sill's haunting songs ran deeper into shoals of the occult than any of her contemporaries. Born into Hollywood royalty, her father and brother died when she was young, which may have everything to do with why the tone of her songs are as dark as well as the heroin addiction she battled in the late 1960s. The first time she kicked the habit, Sill replaced it with another addiction: songwriting. She sparked the interest of music mogul David Geffen who introduced her to Graham Nash. The musician became an instant fan, producing her wistful single &quot;Jesus Was A Cross Maker.&quot; That song landed on her self-titled debut which was produced by her ex-husband Bob Harris, who produced Joni Mitchell's &lt;I&gt;Ladies Of The Canyon&lt;/I&gt;, which goes a long way to explain why Sill's 1971 debut long player was reminiscent of Mitchell's early recordings. The following year she released her sophomore album, &lt;I&gt;Heart Food,&lt;/I&gt; which was a rather poppy affair, laden with lush string arrangements. Sill not only arranged those string charts, but she produced the album herself. Unfortunately after that prodigious accomplishment, she returned to her heroin addiction and passed away of an overdose in 1979 at the age of 35.
- Eric Shea" category="Country-Folk" url="http://feeds.rhapsody.com/judee-sill/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Robbie Basho" description="" category="Progressive Folk" url="http://feeds.rhapsody.com/robbie-basho/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Geoff Muldaur" description="Geoff Muldaur performs authentic-sounding Acoustic Blues, showcasing his talent as a picker as well as his singular vocals. With a wavering, nasal delivery, Muldaur embraces rather than attempts to hide his New York roots. The result is uncommonly honest old-time blues recorded in the modern era.
- Mike McGuirk" category="Folk Revival" url="http://feeds.rhapsody.com/geoff-muldaur/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Jackson C. Frank" description="Nick Drake's story reads like a Richie Rich comic compared to the tragic life of Jackson C. Frank. Frank barely survived an elementary school fire at age eleven; he suffered burns all over his body, and many of his young classmates were killed. He learned to play the guitar during his long and tedious recovery in the hospital. Frank was drawn to Greenwich Village's coffeehouse folk scene in the early '60s and, at the age of 21, he received an insurance settlement that put him on a plane to London, England. He moved into a flat with a young Paul Simon, who produced ten songs in 1965 for Frank's only official release, &lt;i&gt;Blues Run The Game&lt;/i&gt;, a bona fide work of genius damned to obscurity. The recordings became cult music gold, influencing Brit Folk artists including Sandy Denny and Nick Drake (who would cover Frank's &quot;Here Come The Blues&quot;). When Frank couldn't come up with songs for a comeback album and his money began to run out, he moved back to the New York, where depression overtook his life. He wound up homeless. (At one point a street kid shot him in the face with a bb gun, blinding him in one eye.) During sporadic bursts of health in the '70s, Frank recorded half-baked demos that never came anywhere close to what Paul Simon had captured on tape in '65. But in the '90s, a fan named Jim Abbott literally pulled Frank out of the gutter to guide him through demo takes that were great in comparison to say, Leonard Cohen, but still nowhere nearly as impressive as Frank's debut. The late demos sound like another man wearing Frank's skin. Over the years, hard living and mental anguish had weighed down both his voice and his once inspired songwriting. Frank passed away in 1999, but if you listen to &lt;i&gt;Blues Run The Game&lt;/i&gt; you will hear how his melancholic troubadour voice borrowed from Fred Neil and how it influenced Tim Buckley and Tim Hardin's inflections as well as Nick Drake's songwriting.
- Eric Shea" category="Folk Revival" url="http://feeds.rhapsody.com/jackson-c-frank/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Carolyn Hester" description="" category="Folk Revival" url="http://feeds.rhapsody.com/carolyn-hester/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Michael Angelo" description="Mellow folk musings with scholarly lyrics. Angelo has a rich and textured timbre to his voice that often sounds like Dead Can Dance vocalist Brendan Perry's long-lost brother.
- Eric Shea" category="Singer-Songwriter" url="http://feeds.rhapsody.com/michael-angelo/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Elyse Weinberg" description="" category="Folk-Rock" url="http://feeds.rhapsody.com/elyse-weinberg/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Shirley Collins" description="Popular during Britain's Folk Revival of the 1960s, Shirley Collins is pretty much unknown outside of the United Kingdom. Her otherworldly voice soars like the fabled sirens when she's singing runic inflections over traditional British folk. Collins also dipped deep into Renaissance-inspired music and British Folk Rock. If you can imagine the ghost of the late, great Sandy Denny singing warmly to you when you're under your sheets on a cold night -- that's kind of what Shirley Collins sounds like." category="British Folk" url="http://feeds.rhapsody.com/shirley-collins/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Eric von Schmidt" description="This singer/songwriter and guitarist was a key figure in the folk revival of the late '50s. He was greatly influenced by Lead Belly's singing and guitar playing, and became an expert Country Blues fingerstyle guitarist in his own right. Along with Joan Baez, von Schmidt was one of the first folk music &quot;stars&quot; to emerge from the Harvard Square folk scene. Bob Dylan adapted von Schmidt's &quot;Baby Let Me Lay it on You&quot; (calling it &quot;Baby Let Me Follow You Down&quot;) for his first album.
- Tom Heyman" category="Folk Revival" url="http://feeds.rhapsody.com/eric-von-schmidt/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Terry Gilkyson" description="" category="Folk Revival" url="http://feeds.rhapsody.com/terry-gilkyson/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Spider John Koerner" description="" category="Folk Revival" url="http://feeds.rhapsody.com/spider-john-koerner/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Springfields" description="" category="Folk Revival" url="http://feeds.rhapsody.com/springfields/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
<outline type="include" text="Bob Frank" description="Bob Frank's 1972 self-titled debut on Vangaurd has become one of those holy grail finds for folk collectors - a set of twelve songs about shooting dope, drinking wine, and stealing cars. Produced on Music Row, the record came out of Frank's songwriting deal with Tree Publishing, and would be his first and last on Vanguard. He was dropped from the label after shooting his mouth off during a New York showcase, and punished with a career of self-issued records and moderate obscurity. While working as for the city of Oakland, Frank continued to make and release records part time, yielding some traditional folk gems like &lt;i&gt;A Little Gist of Robin Hood&lt;/i&gt; and &lt;i&gt;Keep On Burning&lt;/i&gt;. Frank co-wrote a collection of murder ballads, &lt;i&gt;World Without End&lt;/i&gt;, with Mississippi-born songwriter John Murry, nearly forty years his junior which was released in 2006 and followed by the short &lt;i&gt;Gunplay&lt;/i&gt; EP, both of which feature production and playing by American Music Club drummer Tim Mooney.
- Nate Baker" category="Country-Folk/Bluegrass" url="http://feeds.rhapsody.com/bob-frank/data.opml?rws=%2Ffolk%2Ffolk-revival%2Fartist-chart.opml" />
</body>
</opml>