Podcast appearances and mentions of Cecil Sharp

Song: The Riddle Song Music by: traditional   Notes: I find myself feeling like we live in a bit of a riddle right now -- how can this impossible thing be so, and what will resolve it? I literally learned this song at my mother's knee... it's one of the earliest I remember singing, and I was so delighted by the riddle form! As a young teen, it was one of the first songs I learned on guitar. I sang it to kids I babysat in college, where I learned about the Child Ballads and Cecil Sharp's collecting in southern Appalachia. I sang it with my children, with our granddaughter -- and now I get to sing it with you! There's a through-line for a song.... what songs have travelled with you your whole life? Songwriter Info: Patricia was born in Boulder, CO, and is grateful to the burgeoning folk music scene that encouraged family music, which is how she learned this song. Song Learning Time Stamps: Start time of teaching: 00:02:20 Start time of reprise: 00:12:08   Links: An intriguing discussion board about trad music: https://mudcat.org/ An introduction to Child Ballads: https://folkways.si.edu/playlist/child-ballads  Text of Child Ballad #46 (which The Riddle Song is believed to have come from): https://sacred-texts.com/neu/eng/child/ch046.htm  The Cecil Sharp collection of The Riddle Song: https://archives.vwml.org/records/CJS2/9/2688  Doc Watson's recording: https://youtu.be/fRO6egtKipg?feature=shared  Carly Simon's recording: https://youtu.be/4O_Lu_khQDM?feature=shared    Nuts & Bolts: 4:4, major, strophic (3 verses) Join this community of people who love to use song to help navigate life? Absolutely:  https://dashboard.mailerlite.com/forms/335811/81227018071442567/share   Help us keep going: reviews, comments, encouragement, plus contributions... we float on your support.  https://www.abreathofsong.com/gratitude-jar.html

All kinds of stories are told at the weekly rehearsals. Some are shared for laughs. Others are merely melodies and improvisations. Some come with pictures. And some — like this one — are the tales that are many times older than all of us.As reported here earlier, traditional versions of “Pretty Polly” were on some of the first discs made by Appalachian musicians at the dawn of the recording industry. These included Eastern Kentuckian John Hammond's "Purty Polly" of 1925 and the "Pretty Polly" versions of B.F. Shelton and Dock Boggs, both in 1927.To read more about the song's fascinating origin story — it goes back nearly 300 years in Great Britain, had immigrated in the U.S. by the early 20th century to be collected by song hunter Cecil Sharp and obtained honored status in the folk song revival of the 1960s — check out the earlier Flood Watch article by clicking here.Floodifying It The Flood's version of this song lyrically follows the well-established narrative of Polly and Willie's fateful night, but melodically it takes a lot of liberties with the traditional tune. The rendition, in fact, is built on a musical idea that dates back a half century to pre-Flood days.When Charlie Bowen and David Peyton were just starting out as a duo in the early 1970s, they discovered that a repeated scale descending from an opening minor chord resonated nicely on the guitar-Autoharp accompaniment to their voices.Over the decades, each configuration of the band has found something new to contribute to this basic arrangement. And it is still happening. Just listen to what Dan Cox and Jack Nuckols brought to the song at a rehearsal earlier this month.More Folkiness?If you'd like more tunes from The Flood's dustier shelves, you can use Flood Watch's resources to find some. Visit the “Tunes on the Timeline” department; click here to reach it.Once there, scroll all the way to the bottom for links to timeless tunes and their stories, from “Barbara Allen” to “Wayfaring Stranger” listed in the Traditional category.Meanwhile, if you'd like to add even a little more Flood folkery to your wintry Friday, don't forget the free Radio Floodango music streaming service, where you can turn on the “Folk” channel for a randomize playlist of tunes.Click here to give it a spin.A Note about The GraphicsFinally, back to the video that tops this week's article, note that the graphics used to illustrate the performance were generated by artificial intelligence. As reported here earlier, nowadays we sometimes use free online AI software called ImageFX to create accommodating art for these pages. In this case, that software was asked to generate pictures that appeared to be in an old-fashioned quilt. Let us know what you think of the results. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Pink Floyd's Catalog Sale: A New EraIn this episode of the Deadhead Cannabis Show, Larry Michigan explores the rich history of the Grateful Dead's music, focusing on a specific concert from 1980. He discusses the significance of various songs, including 'Iko Iko' and 'Me and Bobby McGee', while also reflecting on the impact of Chris Christopherson's songwriting. The conversation shifts to current events in the music and cannabis industries, including Pink Floyd's catalog sale and the ongoing challenges faced by the hemp industry. Larry emphasizes the importance of medical marijuana legalization and shares insights on how cannabis enhances the music experience. He concludes with personal strain recommendations and highlights record sales in legal marijuana states. TakeawaysThe Grateful Dead's acoustic sets were a significant part of their live performances.Audience tapes capture the energy of live shows better than soundboard recordings.Chris Christopherson's 'Me and Bobby McGee' remains a classic, showcasing the intersection of music and storytelling.Pink Floyd's recent catalog sale reflects the changing dynamics in the music industry.The Betty Boards represent a pivotal moment in Grateful Dead tape trading history.The hemp industry faces legal challenges that could impact small businesses.A majority of chronic pain patients support the legalization of medical marijuana.Cannabis enhances the enjoyment of music, as confirmed by recent studies.Record sales in legal marijuana states are reaching new heights, indicating a thriving market.Personal strain recommendations can enhance the cannabis experience for users. Chapters00:00Introduction and Context of the Grateful Dead's Music04:50Exploring 'Iko Iko' and Audience Tapes10:42The Significance of 'Monkey and the Engineer'15:24Remembering Chris Christopherson and 'Me and Bobby McGee'22:31Pink Floyd's Catalog Sale to Sony Music28:15The Mystery of the Betty Boards54:16Current Issues in the Hemp Industry01:08:10Support for Medical Marijuana Legalization01:15:50The Impact of Marijuana on Music Enjoyment01:21:09Record Sales in Legal Marijuana States01:25:53Strain Recommendations and Personal Experiences Grateful DeadOctober 7, 1980 (44 years ago)Warfield TheaterSan Francisco, CAGrateful Dead Live at Warfield Theater on 1980-10-07 : Free Download, Borrow, and Streaming : Internet Archive Part of 23 show run in late September to the end of October, 1980 split between the Warfield (September 27th – October 14th) and Radio City Music Hall in NYC (October 22 – 31st)   Each show opened with an acoustic set followed by two full electric sets.  These were the last shows where the Dead played acoustic sets.  Songs from all of these concerts were pulled for the two related Dead double album releases, Reckoning (acoustic music, released April 1, 1981- the Band's sixth live album and 17th overall) and Dead Set (electric music, released August 26, 1981, the Band's seventh live album and 18th overall).  Today's episode is broken up into three acoustic numbers from this show and then three electric numbers. INTRO:                     Iko Iko                                    Track #1                                    0:00 – 1:37 "Iko Iko" (/ˈaɪkoʊˈaɪkoʊ/) is a much-coveredNew Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released in 1953 as a single by James "Sugar Boy" Crawford and his Cane Cutters but it failed to make the charts. The song first became popular in 1965 by the girl groupthe Dixie Cups, who scored an international hit with "Iko Iko" released in March, 1965. In 1967, as part of a lawsuit settlement between Crawford and the Dixie Cups, the trio were given part songwriting credit for the song.  A permanent part of the Dead's  repertoire since first played in May, 1977 in St. Louis, almost by accident out of and back into a Not Fade Away.  The intro, one verse and back to NFA.  Overtime, became a tune that was not frequently played, usually once, maybe twice, a tour, but whenever it was played it created a party atmosphere out of whatever the mood had been prior to its playing.  Perfect song for Jerry with the call and response chorus that everyone joined in on.  The song that “fastened my seatbelt on the bus” when I saw it for the first time at my second show ever in Syracuse in 1982 with good buddy Mikey.  Once you hear it live, you are always looking for it at future shows. I love this song as do many Deadheads.  But getting to hear it played acoustically is a real treat and a great way to open this “hometown” show.  Jerry played it right up until the end. Played:  185 timesFirst:  May 15, 1977 at St. Louis Arena, St. Louis, MO, USALast:  July 5, 1995 at Riverport Amphitheatre, Maryland Heights, MO, USA SHOW No. 1:         Monkey And The Engineer                                    Track #4                                    0:48 – 2:25 Jesse Fuller tune Jesse Fuller (March 12, 1896 – January 29, 1976) was an American one-man band musician, best known for his song "San Francisco Bay Blues".  Starting in the 1950's after a number of non-music related jobs, Fuller began to compose songs, many of them based on his experiences on the railroads, and also reworked older pieces, playing them in his syncopated style. His one-man band act began when he had difficulty finding reliable musicians to work with: hence, he became known as "The Lone Cat". Starting locally, in clubs and bars in San Francisco and across the bay in Oakland and Berkeley, Fuller became more widely known when he performed on television in both the Bay Area and Los Angeles. In 1958, at the age of 62, he recorded an album, released by Good Time Jazz Records.[3] Fuller's instruments included 6-string guitar (an instrument which he had abandoned before the beginning of his one-man band career), 12-string guitar, harmonica, kazoo, cymbal (high-hat) and fotdella. He could play several instruments simultaneously, particularly with the use of a headpiece to hold a harmonica, kazoo, and microphone. In the summer of 1959 he was playing in the Exodus Gallery Bar in Denver. Bob Dylan spent several weeks in Denver that summer, and picked up his technique of playing the harmonica by using a neck-brace from Fuller.[ Monkey And The Engineer was played by the pre-Dead group Mother McCree's Uptown Jug Champions in 1964. The song was performed by the Grateful Dead in acoustic sets in 1969, 1970, 1980 and 1981. Also performed by Bob Weir with Kingfish. A fun tune that is perfect for kids as well.  Good one to get them hooked into the Dead on! Played:  38 timesFirst:  December 19, 1969 at Fillmore West, San Francisco, CA, USALast: February 12, 1989 at Great Western Forum, Inglewood, CA, USA  MUSIC NEWS:                         Intro Music:           Me and Bobby McGee                                                            Kris Kristofferson - Me And Bobby McGee (1979) (youtube.com)                                                            0:00 – 1:27 "Me and Bobby McGee" is a song written by American singer-songwriter Kris Kristofferson and originally performed by Roger Miller. Fred Foster shares the writing credit, as Kristofferson wrote the song based on a suggestion from Foster.[1] Foster had a bit of a crush on Barbara "Bobbie" McKee who was a secretary on Nashville's music row. When he pitched the title to Kristofferson, he misheard the name as "Me and Bobby McGee," and the name stuck. Kristofferson found inspiration for his lyrics from a film, 'La Strada,' by Fellini, and a scene where Anthony Quinn is going around on this motorcycle and Giulietta Masina is the feeble-minded girl with him, playing the trombone. He got to the point where he couldn't put up with her anymore and left her by the side of the road while she was sleeping," Kristofferson said.  A posthumously released version by Janis Joplin topped the Billboard Hot 100 in 1971, making the song the second posthumously released No. 1 single in U.S. chart history after "(Sittin' On) The Dock of the Bay" by Otis Redding. Gordon Lightfoot released a version that reached number 1 on the Canadian country charts in 1970. Jerry Lee Lewis released a version that was number 1 on the country charts in December 1971/January 1972 as the "B" side of "Would You Take Another Chance on Me". Billboard ranked Joplin's version as the No. 11 song for 1971. Janis Joplin recorded the song for inclusion on her Pearl album only a few days before her death in October 1970. Singer Bob Neuwirth taught it to her while Kristofferson was in Peru filming The Last Movie with Dennis Hopper.[5] Kristofferson did not know she had recorded the song until after her death. The first time he heard her recording of it was the day after she died.[6]Record World called it a "perfect matching of performer and material."[7] Joplin's version topped the charts to become her only number one single; her version was later ranked No. 148 on Rolling Stone's 2004 list of The 500 Greatest Songs of All Time. In 2002, the 1971 version of the song by Janis Joplin on Columbia Records was inducted into the Grammy Hall of Fame. The song is the story of two drifters, the narrator and Bobby McGee. The pair hitch a ride from a truck driver and sing as they drive through the American South before making their way westward. They visit California and then part ways, with the song's narrator expressing sadness afterwards. Due to the singer's name never being mentioned and the name "Bobby" being gender-neutral (especially in America), the song has been recorded by both male and female singers with only minor differences in the lyrical content. Me And Bobby McGee was first performed by the Grateful Dead in November 1970. It was then played well over 100 times through to October 1974. The song returned to the repertoire for three performances in 1981 after which it was dropped for good.  Sung by Weir.    RIP Kris Kristofferson Kris Kristofferson, the iconic country music singer-songwriter and accomplished Hollywood actor, passed away peacefully at his home in Maui, Hawaii, at the age of 88. The family has not disclosed the cause of death. It was confirmed that Kristofferson was surrounded by loved ones during his final moments. In a statement, the family shared: "It is with a heavy heart that we share the news our husband/father/grandfather, Kris Kristofferson, passed away peacefully on Saturday, Sept. 28 at home. We're all so blessed for our time with him. Thank you for loving him all these many years, and when you see a rainbow, know he's smiling down at us all." Tributes poured in from across the entertainment world and fans as the news of Kris Kristofferson's death spread. Barbra Streisand, his co-star in A Star Is Born, praised him as a "special” and “charming" in a post on X. Dolly Parton, who collaborated with Kristofferson, shared on X, "What a great loss. I will always love you, Dolly." Kristofferson's career was nothing short of extraordinary. He achieved stardom as both a country music artist and a successful actor. Throughout his prolific career, Kristofferson earned numerous accolades. These include three Grammy Awards and an induction into the Country Music Hall of Fame in 2004. Additionally, he was nominated for an Academy Award in 1985 for Best Original Song for Songwriter. In 1971, Janis Joplin, who had dated Kristofferson, had a number one hit with "Me and Bobby McGee" from her posthumous album Pearl. It stayed on the number-one spot on the charts for weeks.  In 2021, after releasing his final album, The Cedar Creek Sessions, in 2016, Kristofferson announced his retirement from music. His legacy as a musician, actor, and cultural icon leaves a profound impact on both industries. He is survived by his wife, Lisa, his children, and his grandchildren.  Pink Floyd sells song rights (Rolling Stone Magazine) After years of in-fighting and near-agreements, Pink Floyd have finally reached a deal to sell the rights to their recorded music catalog to Sony Music, according to the Financial Times.The deal is reported to be worth around $400 million and also includes the rights to the band's name and likenesses. That means, along with gaining full control over Pink Floyd's music, Sony will have the crucial rights for most things Pink Floyd-related, from merch to movies. A rep for Sony Music declined to comment. A source confirmed the veracity of the details to Rolling Stone. In an interview with Rolling Stone in August, Gilmour confirmed that the band was “in discussion” about a potential catalog sale, with the guitarist adding he was tired of the continued in-fighting and “veto system” that has resulted in animosity and delayed reissues over petty issues like liner notes.   “To be rid of the decision-making and the arguments that are involved with keeping it going is my dream,” Gilmour said of a catalog sale. “If things were different… and I am not interested in that from a financial standpoint. I'm only interested in it from getting out of the mud bath that it has been for quite a while.” With the Sony deal in place, the label — and not the band — will now bear the responsibility for the next Pink Floyd release, a 50th-anniversary edition of Wish You Were Here that is expected to arrive in 2025. The Sony deal comes 18 months after Pink Floyd made traction on a $500 million agreement to sell their music, only for more bickering between band mates to make the deal “basically dead,” as sources told Variety in March 2023. The Sony deal only includes Pink Floyd's recorded music catalog, which allows for the band to keep its largely Waters-penned publishing catalog and retain ownership of now-apropos lyrics like “Money/It's a crime/Share it fairly, but don't take a slice of my pie” and “We call it riding the gravy train.” What happened to the Betty Boards In May 1986, a storage auction took place in California's Marin County that would altogether change the nature of Grateful Dead tape trading, the group's distribution of its live recordings and, ultimately, the Dead's place in the Library of Congress' National Recording Registry. An advertisement in a local paper drew in a few dozen curious parties anticipating the range of memorabilia and household items that typically become available through the auction of lockers that had fallen into arrears due to lack of payments.  Among the items up for auction that day were hundreds of reel-to-reel soundboard tapes of the Grateful Dead originally recorded by Betty Cantor-Jackson during a golden age between 1971-80. The Betty Boards, as copies of these recordings became known, eventually found their way into the collections of longstanding Deadheads and newbies alike, ending some aspects of a tape-trading hierarchy by which certain individuals lorded over their collections, denying access to those who were unfamiliar with the secret handshake. The appearance and subsequent dissemination of these recordings became a source of fascination and speculation for Deadheads in 1986 and the questions have only compounded over the years: How did the tapes fall into the auction? Who won them? How and why were they initially distributed? Are there more recordings that have yet to make it into circulation? And jumping ahead to the present, where are those tapes today? Just what has become of the Bettys? What can be said with certainty is that a new cache of tapes has been unearthed and a plan is underway by Dark Star Orchestra guitarist Rob Eaton, who has painstakingly restored many of the boards, to complete the job and then facilitate their return to the band. Eaton hopes that a series of official releases might follow that will also yield a small royalty to the woman who recorded the reels and then lost them due to her own financial hardship, even if Deadheads owe her a debt of gratitude. Before the auction, before the boards, there was Betty. Betty Cantor was still in her teens when she began setting up mics and helping to record sound at San Francisco venues— first at the Avalon Ballroom and then, the Carousel (the latter during the Grateful Dead's brief stab at venue management in 1968). She worked alongside Bob Matthews, initially assisting with setups during the recording of the Dead's Anthem of the Sun. A true pioneer, as a woman staking her claim in a patriarchal business, she partnered with Matthews into the early 1970s to produce and engineer live multi- track recordings (she had a hand or two in Live/Dead) as well as studio efforts (Aoxomoxoa and Workingman's Dead). While she worked for other artists during this period, she maintained a close relationship with the Grateful Dead, catalyzed by her marriage to crew member Rex Jackson, who would die a few years later in an auto accident. (The philanthropic Rex Foundation is named in his honor.) “My late husband started recording on the road when he was on the equipment crew,” Cantor Jackson explains. “He and I purchased our own gear and tape. I recorded whenever I could get to the gigs. I recorded the Grateful Dead frequently when they were at home venues, I recorded any and all Jerry Garcia Band gigs I could get to for years, in all its configurations, as well as other bands I liked whenever I could. In those days, bands were cool and happy about me getting a feed. Rex was killed in a car accident in ‘76. In ‘77 and ‘78, I was put on Grateful Dead road crew salary, taping and handling Bobby's stage setup.” She later began a romantic relationship with Dead keyboardist Brent Mydland but, after that ended, she sensed that she had been frozen out. “Brent and I split up after a few years, with the last year spent in the studio working on his solo project. This put me in the category of the dreaded ‘ex.' I didn't think that could apply to me, but he was a band member. Everyone was paranoid of me being around, so I no longer had access to my studio or the vault.” Trying times followed. In 1986, she found herself in a dire financial predicament and forced out of her home. “All my things were moved to storage facilities. Unable to foot the bill at the storage center, Cantor-Jackson forfeited the rights to her worldly possessions. She remembers contacting the Grateful Dead office to inform them of the situation, but the group took no action, resulting in a public auction of Cantor-Jackson's personal assets, which included more than 1,000 reel-to-reel tapes—mostly Grateful Dead recordings, along with performances by Legion of Mary, Kingfish, Jerry Garcia Band, Old and In The Way, the Keith and Donna Band, and New Riders of The Purple Sage. The majority of the 1,000-plus reels that have come to be known as the Betty Boards were acquired by three principals, none of whom were fervid Deadheads at the time. The first of these individuals set his tapes aside in a storage locker where they remain to this day. A second, who was more interested in the road cases that held the tapes, left them to rot in his barn for a decade. The final party was a couple with a particular interest in progressive rock, who nonetheless held an appreciation for the performances captured on tape. So while some tapes unquestionably were scattered to the wind, following the four- hour event and a second auction for a final lot of tapes held a few weeks later, the three prime bidders each held hundreds of reels. While two of the winning bidders had no plans for the tapes, within a few months the couple decided that they would place the music in circulation. This was our way of getting new material into circulation and also breaking the hierarchy of those collectors who held on to prime shows for themselves. Initially, we started transferring the tapes to VHS Hi-Fi on our own, but soon realized what a daunting task this was going to be. So we reached out to one of our trading buddies who we knew had connections in the Dead trading community. From there, he gathered together what was later to become known as the ‘Unindicted Co-conspirators,' who put in a massive archiving effort to back up the tapes and distribute them.” The individual they selected as their point person was Ken Genetti, a friend and longtime Deadhead. “I went into their house, and I opened up this closet and they had all the stuff arranged on a shelf in order,” Genetti reflects. “For me, it was like King Tut's tomb. I knew immediately what they had when I looked in there. The first thing I saw was Port Chester, N.Y., Feb. 18, 1971, an incredible show which was Mickey [Hart]'s last concert for many years and I said, ‘You've got to be kidding me!' Then I saw Kezar Stadium, San Francisco, Calif., ‘73, my favorite concert I ever went to. I pulled it out and I went, ‘Holy shit!'” They explain: “We had sought to keep the operation as low key as possible because of the potential for a backlash. It wasn't until someone contacted the Grateful Dead office and offered them a copy of the tapes that we knew it was only a matter of time before we would be hearing from their lawyers. When we did hear from them, there was a bit of back and forth between their lawyers and our lawyer, but the bottom line was we had purchased the tapes legally and owned them but didn't own the rights to the music contained on them. Therefore, we could not sell the music on them, which was never our intent anyway. That pretty much left us at a stalemate and, not wanting to stir up any more issues with the Grateful Dead office, is also why we avoided re-digitizing the tapes.” In late 1995, Eaton received a call from a high-school teacher who had purchased one of the lots predominantly for the road cases that held the tapes. The teacher now hoped to sell the reels and wanted Eaton to assess them. In a cluttered barn, Eaton discovered a grimy, mold-infested collection. This might have been the end of the story, but the Betty Boards have proven to be the gift that keeps on giving. The teacher never found a buyer for the tapes—his asking price was a million dollars—and two years ago, facing monetary struggles and fearing that that the bank might foreclose on his home, he contacted Eaton once again to see if he would be willing to take custody of the tapes. The teacher also explained that he had discovered another 50 reels while cleaning out the barn. Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” Emboldened by success with this latest batch, Eaton set a new goal for himself: “I had this dream to try to reclaim all of this music and archive it properly so that it's there for generations to come in the best possible form.” So through a chain of contacts, he eventually located the couple. While completing his work on the couple's reels, Eaton began researching the original auction, hoping to identify the third individual who had purchased the Bettys. He eventually found him, and in January 2014, the pair entered into discussions about this final batch of tapes, which Eaton hopes to restore. What then? Eaton has a plan that he already has set in motion. “What I'd love to see done—in a perfect world—is I think all the tapes need to go back to the vault,” he says. “I think the people that have purchased these tapes should be compensated. I don't think we're talking huge sums of money but enough to make them relinquish the tapes back to the Grateful Dead. They should be part of the collection. Another thing that's important is if these tapes do get back to the vault, Betty should get her production royalty on anything that gets released, which is completely reasonable. Those were her tapes; those weren't the Dead's tapes. I'd love to see Betty get her due.”  SHOW No. 2:         Heaven Help The Fool                                    Track #6                                    1:30 – 3:10Heaven Help the Fool is the second solo album by Grateful Deadrhythm guitaristBob Weir, released in 1978. It was recorded during time off from touring, in the summer of 1977, while Grateful Dead drummer Mickey Hart recovered from injuries sustained in a vehicular accident. Weir returned to the studio with Keith Olsen, having recorded Terrapin Station with the producer earlier in the year. Several well-known studio musicians were hired for the project, including widely used session player Waddy Wachtel and Toto members David Paich and Mike Porcaro. Only "Salt Lake City" and the title track were played live by the Grateful Dead, the former in its namesake location on February 21, 1995,[1] and the latter in an instrumental arrangement during their 1980 acoustic sets.[2] Despite this, Weir has continued to consistently play tracks from the album with other bands of his, including RatDog and Bobby Weir & Wolf Bros. "Bombs Away" was released as a single and peaked at number 70 on the Billboard Hot 100, becoming his only solo song to make the chart.[3] The album itself stalled at number 69, one spot behind his previous album, Ace. The title track was written by Bobby and John Barlow.  While a staple at Bob shows with the Midnights, Rob Wasserman, Rat Dog, Wolf Bros., etc., the Dead only played it during these Warfield/Radio City and only as an instrumental arrangement. Played:  17 timesFirst:  September 29, 1980 at The Warfield, San Francisco, CA, USALast:  October 31, 1980 at Radio City Music Hall, New York, NY, USA Now the electric tunes from today's show: SHOW No. 3:         Cold, Rain & Snow                                    Track #10                                    0:00 – 1:30 "Rain and Snow", also known as "Cold Rain and Snow" (Roud 3634),[1] is an American folksong and in some variants a murder ballad.[2] The song first appeared in print in Olive Dame Campbell and Cecil Sharp's 1917 compilation English Folk Songs from the Southern Appalachians, which relates that it was collected from Mrs. Tom Rice in Big Laurel, North Carolina in 1916. The melody is pentatonic. Campbell and Sharp's version collected only a single verse: Lord, I married me a wife,She gave me trouble all my life,Made me work in the cold rain and snow.Rain and snow, rain and snow,Made me work in the cold rain and snow.  In 1965, Dillard Chandler recorded a graphic murder ballad version of the song that ends with the wife being shot by the husband. According to the liner notes on Chandler's album, Chandler learned the song from Berzilla Wallin, who said that the song related to a murder that had occurred in Madison County, North Carolina: Well, I learned it from an old lady which says she was at the hanging of – which was supposed to be the hanging, but they didn't hang him. They give him 99 long years for the killing of his wife... I heard the song from her in 1911. She was in her 50s at that time. It did happen in her girlhood... when she was a young girl... She lived right here around in Madison County. It happened here between Marshall and Burnsville; that's where they did their hanging at that time – at Burnsville, North Carolina. That's all I know, except they didn't hang the man.'[2] Subsequent performances have elaborated a variety of additional verses and variants beyond the single verse presented by Campbell and Sharp. Several verses consistently appear. Some sources for lyrics that appear in some later versions may be from Dock Boggs's 1927 song "Sugar Baby" (Roud 5731),[1] another lament of a henpecked husband, which may have contributed a line about "red apple juice".[4] A British folksong, The Sporting Bachelors (Roud 5556),[1] contains similar themes, but was collected in the 1950s.[2][5] Earlier possible precursors include a series of broadside ballads on the general subject of "Woeful Marriage"; one frequently reprinted nineteenth-century example begins with the words "On Monday night I married a wife", (Roud 1692).[1][6] These British antecedents mostly share common themes and inspirations; the song originated in the local tradition of Big Laurel, Madison County, and relate to a nameless murderer who committed the crime at some time between the end of the Civil War and the end of the nineteenth century. A recent origin is also suggested by the relatively limited number of variations on the tune; most performances use the Campbell-Sharp melody as written.[2] Despite the apparent violence of the lyrics, women feature prominently in the oral tradition of the song. It was collected from "Mrs. Tom Rice", and sung by Berzilla Wallin, who learned it from "an old lady" who remembered the murder trial the song was about. The song is closely associated with the Grateful Dead; a studio version appeared on their first album The Grateful Dead (1967), and the song was a standard part of the Dead's repertoire throughout their career. They would often open with the song, or perform it early in the first set.[2] Unlike Chandler's recording, in the Dead's version of the lyrics the husband generally laments his mistreatment at his greedy wife's hands, but does not kill her. The lyrics from the Grateful Dead's version were adapted from an earlier recording by Obray Ramsey. Played:  249 timesFirst:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 19, 1995 at Giants Stadium, East Rutherford, NJ, USA  MJ NEWS:  Hemp Industry Advocates Ask Court To Halt California's Ban On Products With Any ‘Detectable Amount' Of THC Amid Legal Challenge2.      Most Pain Patients And Doctors Support Legalizing Medical Marijuana And Having Insurance Companies Cover The Cost, AMA Study Shows3.      Marijuana Enhances Enjoyment Of Music, New Study Finds, Confirming What Every Stoner Already Knows4.      Six U.S. States Report Setting New Monthly Marijuana Sales Records M.J. Strains:           Blackwater – an indica marijuana strain made by crossing Mendo Purps with San Fernando Valley OG Kush.  The strain offers effects that start out mellow but will eventually melt down through your entire body for a classic head to toe euphoric high.  A sweet grape aroma that blends well with subtle undertones of lemon and pine.  MMJ uses include for relieving symptoms associated with chronic pain, appetite loss and MS.  Recommended for late night consumption as it can cause mental cloudiness and detract from productivity.                      NYSD – this classic strain is sativa leaning, created by Soma Seeds in Amsterdam, a staple for stoners since its inception in 1997.  Its name is inspired by the tragic events in NYC on September 11, 2001.  It is a product of crossbreeding Mexican sativa and Afghani landrace strains.  Has a unique aroma and taste that sets it apart from the crowd.                       Pure Gas - a hybrid cross of E85 and OG Kush. The parent strains are carefully chosen for their complex terpene profiles and effects. The OG Kush is known for its lemon-pine-fuel taste and an aroma of fuel, skunk, and spice. Additionally, its high-THC content provides a potentially heavy-hitting experience that shines through in the Pure Gas strain. As far as THC level in Pure Gas, it is one of our higher testers and definitely a high-potency strain. Smoking Pure Gas might bring effects similar to that of the OG Kush. The strain may be a creeper, meaning its effects may sneak up on you, so we recommend trying a little at a time, especially if you're new to smoking. Users may experience a deep body relaxation and cerebral high. The strain is definitely one that might activate your munchies, so make sure you have your favorite snack on hand. The overall effects of the Pure Gas strain might make it perfect for a movie night with friends, pre-dinner smoke sessions, and just hanging out. For users who suffer from appetite loss, the strain may help stimulate your hunger.  SHOW No. 4:         Loser                                    Track #12                                    4:13 – 6:13 David Dodd:  The song seems covered in the Americana dust of so many songs from this period of Hunter's and Garcia's songwriting partnership. Abilene, whether in Texas or Kansas, is a dusty cowtown—at the time in which the song seems to be set, the cattle outnumbered the human inhabitants by a factor of tens. It's easy to see the scene Hunter so casually sets, of a broken-down gambler in a saloon, with a dirt street outside full of armed cowpokes. Appearing, as it does, on Garcia, the song seems to pair naturally with the other gambling song on the album, “Deal.” It could be sung by the same character on a different day, in fact. And it fits in, as I mentioned, with a whole suite of songs that might be set in the same generic America of the late 19th or early 20th centuries: “Brown-Eyed Women,” “Jack Straw,” “Mister Charlie,” “Tennessee Jed,” “Cumberland Blues,” “Candyman,” and others, as well as certain selected covers, such as “Me and My Uncle,” and “El Paso.” Those songs share certain motifs, and among them are the various accoutrements of a gambler's trade, whether dice or cards. Money plays a role—and, in the case of “Loser,” the particular money mentioned helps place the song chronologically. Gold dollar coins were minted from 1849 (the Gold Rush!) to 1889. They were tiny little coins. I have one, and it is amazingly small—between 13 and 15 mm in diameter. “All that I am asking for is ten gold dollars…” C'mon! They're tiny little things. In fact, originally, the line was “one gold dollar,” but that changed at some point to the “ten” The crowning glory of the song, as in many other Garcia/Hunter compositions, is the bridge.The song culminates in this cry of hopefulness: “Last fair deal in the country, Sweet Susie, last fair deal in the town. Put your gold money where your love is, baby, before you let my deal go down—go down.” (It's noted that “Sweet Susie” was dropped at some point, but then, occasionally, brought back. I think it was an optional decoration to the line. Alex Allan, in his Grateful Dead Lyric and Song Finder site, notes that “Sweet Susie” rarely appears after 1972, but that it's sung in performances in 1974 and 1979.) Almost always played as a first set Jerry ballad. This version might have been the high point of this show.  So nicely played and sung by Jerry. Played:  353First:  February 18, 1971 at Capitol Theatre, Port Chester, NY, USALast:  June 28, 1995 at the Palace of Auburn Hills, MI  OUTRO:                   Good Lovin'                                    Track #27                                    3:25 – 5:04 "Good Lovin'" is a song written by Rudy Clark and Arthur Resnick that was a #1 hit single for the Young Rascals in 1966. The song was first recorded by Lemme B. Good (stage name of singer Limmie Snell) in March 1965 and written by Rudy Clark. The following month it was recorded with different lyrics by R&B artists The Olympics, produced by Jerry Ragovoy; this version reached #81 on the Billboard Pop Singles chart. The tale has been told that Rascal Felix Cavaliere heard The Olympics' recording on a New York City radio station and the group added it to their concert repertoire, using the same lyrics and virtually the same arrangement as The Olympics' version. Co-producer Tom Dowd captured this live feel on their 1966 recording, even though the group did not think the performance held together well. "Good Lovin'" rose to the top of the Billboard Pop Singles chart in the spring of 1966 and represented the Young Rascals' first real hit. "Good Lovin'" is one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll, and was ranked #333 on Rolling Stone's 500 Greatest Songs of All Time list.[4] Writer Dave Marsh placed it at #108 in his 1989 book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made, saying it is "the greatest example ever of a remake surpassing the quality of an original without changing a thing about the arrangement." A popular version was by the Grateful Dead, who made it a workhorse of their concert rotation, appearing almost every year from 1969 on.[6] It was sung in their early years during the 1960s and early 1970s by Ron "Pigpen" McKernan and later by Bob Weir. The Weir rendition was recorded for the group's 1978 Shakedown Street album and came in for a good amount of criticism: Rolling Stone said it "feature[d] aimless ensemble work and vocals that Bob Weir should never have attempted."[7] On November 11, 1978, the Grateful Dead performed it on Saturday Night Live. Typically, at least by the time I started seeing them, usually played as a second set closer or late in the second set. As good buddy AWell always said, “if they play Good Lovin, everyone leaves with a smile on their face.”  Can't argue with that. Played:  442First:  May 5, 1965 at Magoo's Pizza Parlor, Menlo Park, CA, USALast:  June 28, 1995 at The Palace of Auburn Hills, Auburn Hills, MI, USA Easy fast on Yom Kippur .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Joe Boyd and John Wood were the producer and sound engineer behind some of the greatest folk rock albums of the 1960s and 70s. They worked with Pink Floyd on their first single Arnold Layne, with Fairport Convention on Unhalfbricking and Liege and Lief and with Nick Drake on Five Leaves Left, Bryter Later and Pink Moon. John produced John Martyn's Bless The Weather and Solid Air while Joe worked with the Incredible String Band. In this conversation with Matthew Bannister on stage at the Indoor Festival of Folk, they tell the extraordinary stories behind the creation of these classic albums. --- We rely on support from our listeners to keep this show on the road. If you like what we do please either... Become a patron and get great rewards: patreon.com/folkonfoot Or just buy us a coffee: ko-fi.com/folkonfoot Sign up for our newsletter at www.folkonfoot.com Follow us on Twitter/Facebook/Instagram: @folkonfoot

A Scottish Folk Song perhaps written by Cecil Sharp 1906Producer Renee : Vocals/ Piano/ Guitarhttp://PinkieThePigPodcast.com

“I've always loved carols,” Vaughan Williams wrote to Cecil Sharp in 1911. Despite being called a “most determined atheist” by Bertrand Russell at University, and in later life “a cheerful agnostic”, the composer never lost his love for Christmas. It dated back to childhood memories of singing carols from Stainer and Bramley's Christmas Carols New and Old at his home at Leith Hill Place, Surrey. As an adult, his lifelong passion for the Christmas period was demonstrated in his music - the Fantasia on Christmas Carols, On Christmas Night based on Dickens's A Christmas Carol, the cantata Hodie and the nativity play The First Nowell. His passion for collecting folk tunes in various counties of England – armed with a trusty pencil and paper, or at times a phonograph - also led to a plethora of carol settings using these folk tunes, as Vaughan Williams himself said “Every day some old village singer dies, and with him there probably die half-a-dozen beautiful melodies, which are lost to the world for ever: if we would preserve what still remains we must set about it at once.” This week. Kate Molleson explores Vaughan Williams's experiences of Christmas across his life alongside some of his best loved pieces, and the music he wrote to celebrate the festive period.Music Featured:Dives and Lazarus The First Nowell (extract) Trad. The Murder of Maria Marten Five Variants of ‘Dives and Lazarus' Suite for Viola and Small Orchestra – Group 1 The Wasps Overture I Saw Three Ships Come In Willow Wood Folk Songs of the Four Seasons: Orchestral Suite Trad. The High-low well The Holy Well (version 1) Fantasia on a Theme by Thomas Tallis As Joseph was Walking A London Symphony (III. Scherzo) Fantasia on Christmas Carols Symphony 3 (II. Lento) Trad. On Christmas Night Sussex Carol The Lark Ascending Hodie (This Day): The Oxen On Christmas Night (extract) Dona Nobis Pacem (III. Reconcilliation) Trad. Ploughboy's Dream O Little Town of Bethlehem Prelude: 49th parallel Symphony No 5 in D Major (III. Romanza) God rest you merry, gentlemen The First Nowell: IX: In Bethlehem City On Wenlock Edge (V. Bredon Hill) Epithalamion (the bridal day) – Procession of the bride Hodie (extract) Symphony No 7 (V. Epilogue) Trad. Seven Virgins (Leaves of Life) The Seven Virgins The First Nowell: XX. The First NowellPresented by Kate Molleson Produced by Sam Phillips for BBC Audio Wales and WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for A Vaughan Williams Christmas https://www.bbc.co.uk/programmes/m001t9wp And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Celebrated author, Raynor Winn, joins Rachel to talk about the upcoming screen adaptation of her Sunday Times best-seller, The Salt Path, and the evocative and beautiful collaboration with The Gigpsanner Big Band that has created 'Saltlines', a project that combines prose and folk music with a focus on the coastline of the south west. About Raynor Winn Since travelling the South West Coast Path, Raynor Winn has become a regular long-distance walker and writes about nature, homelessness and the health benefits of walking. She is the Sunday Times bestselling author of The Salt Path, The Wild Silence and Landlines. She won the Royal Society of Literature Christopher Bland Prize in 2019 and has been shortlisted for numerous other awards including the Costa, the Wainwright and the Stanfords Travel Writing awards. Raynor is also a prolific speaker.  Her latest title, LANDLINES, was a number 1 Sunday Times bestseller in both hardback and paperback. The film adaptation of the 85-week Sunday Times Bestseller, THE SALT PATH, will be released in 2024 and stars Gillian Anderson as Raynor and Jason Isaacs as Moth. In 2022 Raynor collaborated with folk-roots supergroup The Gigspanner Big Band to create Saltlines, a prose and music collaboration. Thought-provoking compositions by Raynor were written with songs and tunes curated from collections by Cecil Sharp and Sabine Baring-Gould, and the archive held at Cecil Sharp House, home of the English Folk Dance and Song Society. The show enjoyed a debut tour in 2022 around the South West Coast Path, and expanded its reach during 2023 with a tour of the North.  Raynor is also a much valued Ambassador at the Association.

Most of the world heard “My Dear Companion” when it was featured on the 1987 Trio album released by superstars Dolly Parton, Linda Ronstadt and Emmylou Harris, with songwriting credits going to Kentucky balladeer Jean Ritchie.That creation story for the song is accurate, as far as it goes. Ritchie wrote her tune in 1963, and 10 years later it was among the first things The Flood played when the band started coming together. The Kentucky ConnectionOlder members of the band often talked about being at folk festivals — like those at Kentucky's Grayson Lake and Carter Caves state parks — at which Jean Ritchie was the star attraction.In fact, some of us remember sitting with Nancy McClellan at the festivals — or in her living room in Ashland — listening to Jean tell stories of her early days when as a young girl she made her way from Viper, Ky., to New York City in the 1950s when the folk music boom was just beginning.The Song's Pre-Jean HistoryBut the roots of “Dear Companion” go deeper than 1963. Jean never made any secret of the fact that she patterned her piece after a traditional song that English folklorist Cecil Sharp collected in early 20th century America. Sharp later recounted how he collected the song in1916 from Rosie Hensley of Carmen, NC. The following year Sharp moved on to Kentucky to collect more songs, many of them from Jean Ritchie's aunts and cousins.In 1956, Jean herself recorded that original song, which opens with the lines: I once did have a dear companion, Indeed I thought his love my own, Until a dark-eyed girl betrayed me And then he cared no more for me…A quick aside: In the 1970s, Flood co-founder Roger Samples recalled his mother, Velva Kennedy Samples, back home in Clendenin, WV, singing that same song. This was long before Ritchie copyrighted her composition. Quite likely, Velva was singing some version of the original Cecil Sharp find.Meanwhile, that traditional version also was sung by Peggy Seeger, who recalled learning it in 1960 at a Canadian club from fellow folkie Bonnie Dobson, who recorded it in 1963. Dobson's version used a haunting Bob Coltman melody.Today if you YouTube the Dobson recording, you can hear the homage that Jean Ritchie pays to that Coltman tune when she crafts her own melody. (We think Jean's is imminently more hum-able, though, so it's little wonder hers is pretty much the only version anyone knows nowadays.)Our Take on the TuneWhat makes Ritchie's rendition special — besides her lovely melody — is her wonderful re-crafting of the lyrics. Like the original, Jean's song is nominally about abandoned love, but then she goes far beyond that to a larger theme of loss in general.And it's because of those deeper expressions — with lines like, I wish I was a sparrow flying / I'd fly to some high and lonesome place / And join those little birds in their crying, / Remembering you and your dear face — that we in The Flood have often thought of this song in times of our darkest grief.For instance, when our old friend Harvey McClellan died in the fall of 2004, the Bowens traveled with Nancy to Harvey's Henderson, Ky., birthplace, where Charlie sang the song at the burial. Nine years later, at Nancy McClellan's own funeral, Charlie, with bandmates Randy Hamilton and Michelle Hoge, sang the same song at her graveside.So, it was only natural for us recently to think of the song again at the first rehearsal after the death of our own dear companion, Doug Chaffin, last month. He absolutely loved playing that song. So, here's to you, Doug.On the AlbumSpeaking of Doug, you can hear him soloing and playing soulful, tasteful fills behind the solos of Joe, Dave and Sam on “My Dear Companion” on The Flood's 2013 Cleanup & Recovery album.These days the entire album can be heard online on our free Radio Floodango music streaming service. Click here to reach the disc. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Madison County is home to a centuries old ballad singing tradition which has attracted interest for over a century. In 1916, Englishman, Cecil Sharp traveled to Western North Carolina to hear the old ballads that were no longer being freely sung in England. A new album revives this Transatlantic connection. We sat down with Thomm Jutz, singer-songwriter and co-producer of Nothing But Green Willow: The Songs of Mary Sands and Jane Gentry, to learn more about the album and the ballad singing tradition.

Madison County is home to a centuries old ballad singing tradition which has attracted interest for over a century. In 1916, Englishman, Cecil Sharp traveled to Western North Carolina to hear the old ballads that were no longer being freely sung in England. A new album revives this Transatlantic connection. We sat down with Thomm Jutz, singer-songwriter and co-producer of Nothing But Green Willow: The Songs of Mary Sands and Jane Gentry, to learn more about the album and the ballad singing tradition.

My guests this week are Martin Simpson & Thomm Jutz, who join me to talk about their wonderful new record  'Nothing But Green Willow : The Songs of Mary Sands and Jane Gentry.' The album brings together a selection of British folk songs collected in Appalachia in the early 20th century by Cecil Sharp and Maud Karpeles. Alongside Martin and Thomm it features a range of incredible artists from both sides of the pond, including Sierra Hull and Justin Moses,  Angeline Morrison, Odessa Settles, Tim O'Brien, Tammy Rogers, Seth Lakeman, Dale Ann Bradley and Tim Stafford. We talk about how the songs made their way to Appalachia, how (and why) Cecil and Maud travelled to the region to collect them and why this record is so important to both Martin and Thomm.It was a truly fascinating conversation and it's a superb record. I'd really urge you to check out the physical copies of this one as the packaging is amazing and features some really informative and fascinating liner notes. There's a list of places you can find the record here - https://simpsonjutz.lnk.to/nothingbutgreenwillowHappy picking,Matt Support the show===- Sign up to get updates on new episodes - Free fiddle tune chord sheets- Here's a list of all the Bluegrass Jam Along interviews- Follow Bluegrass Jam Along for regular updates: Instagram Facebook - Review us on Apple Podcasts

Grammy-nominated guitarist, producer, and songwriter Thomm Jutz discusses his upcoming project with award-winning English guitarist Martin Simpson.  The album, Nothing But Green Willow: The Songs of Mary Sands and Jane Gentry, is comprised of ballads from English folklorist Cecil Sharp's 1916-1918 collection, English Folk Songs from the Southern Appalachians, particularly those tunes from singers Mary Sands and Jane Gentry.  On this album, Simpson and Jutz brought together a mix of roots artists from both sides of the pond—Sierra Hull, Angeline Morrison, Odessa Settles, Tim O'Brien, Tammy Rogers, Seth Lakeman, and more—to create an homage to the bridge from Appalachia to England and back, just as the songs of Sands and Gentry originally did.  The album is available September 29th on Topic Records.     Craft Brewed Music® The music discovery app that streams music for serious listeners - now included free and forever "in" the Music Discovery App Pint Glass (downloaded via QR printed on glass). http://www.craftbrewedmusic.com

Americans know “Pretty Polly” as the short, tragic story of a young woman who is lured into the forest and murdered by her brutal lover, who then buries her in a shallow grave and runs away.Actually, though, the oldest versions of this song — which has its origins almost 300 years ago in Great Britain — needed up to 36 verses to tell its grim story.In the original English ballad — called “The Gosport Tragedy” or “The Cruel Ship's Carpenter” — the murderer is a sailor who promised to marry the girl he seduced, but then changes his mind when he learns she is pregnant.  After he dumps her savaged remains in a forest grave, the killer returns to sea where he is haunted by his dead lover. In some versions, the sailor is murdered by her angry spirit; in others, he is driven to madness and/or to suicide.And as is often the case with ballads, the story probably is based on fact.Back in 1979, Professor David Fowler of the University of Washington published research in The Southern Folklore Quarterly arguing that the events of the song actually took place in 1726 and involved a ship's carpenter by the name of John Billson, who died at sea. First printed around 1727, the ballad tells the tale of Billson's murder of his pregnant girlfriend and of his fleeing aboard a ship called the MMS Bedford.Coming to AmericaBy the time the ballad migrated to North America (where British folklorist Cecil Sharp collected versions in the early 20th century), the song had been whittled down to half dozen verses, all without losing any of its emotional impact.  In the United States in the mid-1920s, the song had gained new life as a banjo tune by the time of its earliest recordings, including Eastern Kentuckian John Hammond's "Purty Polly" of 1925 and the "Pretty Polly" versions of B.F. Shelton and Dock Boggs, both in 1927.Curiously, Shelton and Boggs' versions both begin in the first person ("I courted Pretty Polly..."), then switch to the third person for the murder ("he stabbed her to the heart….”)Later, when a couple of first ladies of the 1960s folk revival recorded the song — Jean Ritchie in 1963, Judy Collins in 1968 — their versions featured alternating verses, switching back and forth between Polly and Willie's perspectives. Our Take on the TuneOur version of the song follows the well-established narrative of Polly and Willie's fatal night, but we take a lot of liberties with the traditional melody. Our rendition, in fact, is built on a musical idea that dates back a half century to the pre-Flood days. When Charlie Bowen and David Peyton were just starting out as a duo in the early 1970s, they found that a repeated scale descending from an opening minor chord resonated nicely on the guitar-Autoharp accompaniment to their voices. Since those salad days, every configuration of Floodifaction has found something to contribute to that basic original arrangement. And it's still happening. Just listen to what Sam St. Clair and Danny Cox have brought to the song with their solos on this take from last week's Flood rehearsal.More Song StoriesBy the way, some fans of this newsletter tell us they really enjoy these deep dives into the history of the songs we sing. If you'd like more, click here to browse our growing archive. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Synopsis“Country Gardens” is the best-known work of the Australian-born American composer, arranger, and pianist Percy Grainger. Its score bears this note: "Birthday-gift, Mother, July 3, 1918." Grainger's mother Rose was responsible for his excellent early musical training.In 1918, Grainger arranged a folk tune given to him in 1908 by Cecil Sharp, a major figure in the folklore revival in England. Grainger titled his arrangement “Country Gardens,” and it went over so well at his recitals that Grainger decided to have it published.It was a big hit and broke sales records. In fact, until his death in 1961, its sales generated a significant portion of Grainger's annual income. Like other composers with a mega-hit, Grainger came to resent being known for just one tune and would say to audiences: “The typical English country garden is not often used to grow flowers. It's more likely to be a vegetable plot. So you can think of turnips as I play it”.In 1931, “Country Gardens” was arranged for wind band by someone other than Grainger, but around 1950, at the special request of a Detroit band director, Grainger prepared his own wind band arrangement, which likewise became a hit.Music Played in Today's ProgramPercy Grainger Country Gardens Royal Northern College of Music Wind Orchestra;Timothy Reynish Chandos 9549

On June 5, 1865, Anglican priest and polymath Sabine Baring-Gould wrote the processional hymn, “Onward, Christian Soldiers.” The hymn was originally written for children walking to Horbury St. Peter's Church near Wakefield in Yorkshire, England. Far from the cultural stereotype that the hymn earned Baring-Gould—that of a militant, narrow-minded clergyman fearful of and fighting against new knowledge—he actually led an impressive life, remaining keenly inquisitive about the world God has made.   The song, which he wrote in about 15 minutes, was originally titled “A Hymn for Procession with Cross and Banners.” It was inspired by biblical imagery of the Christian as a soldier and only became popular when composer Arthur Sullivan wrote a new melody for it later. Its military imagery, out of step with today's cultural vibes, has led many contemporary hymnbook compilers to leave it aside.  Like other Anglican clergymen of his day, Baring-Gould was involved in more than serving parishes and writing children's processionals. He was the son and heir of a noble family but decided on a career in the Church. Ordained in 1864, he became curate at the church at Horbury Bridge, where a year later he would pen “Onward, Christian Soldiers.” There, he met Grace Taylor, the then-teenaged daughter of a local miller. The two fell in love and, despite a considerable age gap, were married for 48 years until her passing. Together, they raised 15 kids, all but one of whom survived into adulthood.   Even while serving in parishes, Baring-Gould was a prolific writer, with nearly 1,300 titles to his credit. These include novels and short stories published in a variety of journals, a 16-volume series called Lives of the Saints, modern biographies, travelogues, hymns (the best-known of which aside from “Onward, Christian Soldiers” being “Now the Day Is Over”), sermons, apologetics, and cultural and anthropological studies. He had an international reputation as an antiquarian. His Curious Myths of the Middle Ages, a study of 24 medieval superstitions and their variants and antecedents, was particularly popular and was even cited by sci-fi and horror writer H.P. Lovecraft. He also published The Book of Werewolves, a collection of stories still widely cited.  To do some of this work, Baring-Gould studied and mastered several ancient, medieval, and modern languages. Along with more common languages for British scholars of the period, he knew Basque, an obscure language unrelated to any other, sufficiently well enough to translate a Basque Christmas carol into English as “The Angel Gabriel from Heaven Came.”  Baring-Gould's God-driven curiosity about the world only furthered when he inherited his family estate in Devon in 1872. He moved there as both squire and vicar in 1881, devoting a great deal of time to studying and writing about Devon and the West Country. He transcribed hundreds of folk songs from the region that would otherwise have been lost, even publishing several volumes in collaboration with Cecil Sharp, a central figure in preserving and promoting English folk songs in the Edwardian period. Baring-Gould considered these collections of songs his most important work.  He also earned an international reputation in the developing field of archaeology. With his friend Robert Burnard, Baring-Gould began the first scientific archaeological excavations of Dartmoor in Devon, which includes the largest concentration of Bronze Age remains in Britain. The two initially concentrated on hut circles, depressions in the ground outlined with stones that were the foundations for conical wooden huts thousands of years ago, before launching a more systematic investigation of the region. As secretary of the group, Baring-Gould authored the first 10 annual reports of the Dartmoor Exploration Committee. This began a systematic exploration and occasional restoration of the region's prehistoric sites. Beyond the annual reports, he published several other works on Dartmoor.  As if all this were not enough, Baring-Gould was also an amateur ironworker and painter. Prior to his ordination, while a teacher at a boys' school, he designed the ironwork for the school and painted scenes from The Canterbury Tales and The Faerie Queene on the jambs of the windows.  In all, Baring-Gould was far more than the lyricist for “Onward, Christian Soldiers.” As Anthony Esolen commented, he could only have lived in the 19th century, when scholarship was not so specialized, and amateurs could still make important contributions to a wide range of fields. For our era, he is a remarkable example of a person who used the prodigious talents God had given him to serve the church, his community, and the wider world.  This Breakpoint was co-authored by Dr. Glenn Sunshine. For more resources to live like a Christian in this cultural moment, go to breakpoint.org. 

A chance meeting in a meadow, a false young man and a philosophical ending… it's that folk favourite the Banks of the Sweet Primroses, beloved of collectors and Broadside publishers alike. In fact it's part of the history of so many folk song collectors that we've taken the opportunity to follow one of them on their collecting expedition.But what really happened in that meadow and why did the young man get such a dressing down? We've got all the theories and a few of our own, and even a potential Civil War origin for the song itself. And while we're out walking in the morning fields there's a perfect opportunity for some gratuitous medieval weirdness.Oh yes, we're back!MusicThe Banks of the Sweet Primroses (instrumental) was collected from W. Buckland of Buckinghamshire in 1943 by Francis Collinson and is found in the New Penguin Book of English Folk Song.The Banks of the Sweet Primeroses (sung, first verse only) was collected and arranged by Cecil Sharp. It appears in Cyril Winn, A Selection of Some Less Known Folk-Songs vol.2 pp.64-65Adieu Sweet Lovely Nancy was sung for me by Phil Beer at Shrewsbury Folk Festival 2022.Maids Looke Well About You can be found here. The tune used is Cold and RawMedicines To Cure The Deadly Sins can be found here. The tune used is The Agincourt Carol.The extract of Peggy Gordon sung by Isobel Anderson has been used with her permission. You can find her albums on bandcamp and they're highly recommended https://isobelanderson.bandcamp.com/  ReferencesThe Hammond Brothers: https://www.williambarnessociety.org.uk/the-hammond-brothers/https://www.efdss.org/learning/resources/beginners-guides/35-english-folk-collectors/2441-efdss-henry-and-robert-hammond Folk Songs from Dorset: https://archive.org/details/folksongsfromdor00hamm Purslow, Frank (1968) The Hammond Brothers' Folk Song Collection. Folk Music Journal 1(4) 236-266Marina Russell on Tradfolk: https://tradfolk.co/tradfolk-101/female-source-singers/ Vaughan Williams' collection of the song:http://blackmorehistory.blogspot.com/2008/08/vaughan-williams-and-essex.html http://www.patrickcomerford.com/2015/03/through-lent-with-vaughan-williams-32.html https://carolinedavison.substack.com/p/vaughan-williamss-journey-into-folk-9deAn early broadside version of the Sweet Primroses from the Bodleian Library: http://ballads.bodleian.ox.ac.uk/static/images/sheets/10000/06733.gifThe definition of a broken token ballad was written by Chat GTP after some training, and read by Steven Shaw.  

Episode 8 of the second series of The Old Songs Podcast, supported, so very kindly, by the English Folk Dance and Song Society, is an unusual one as it focuses on an old tune rather than an old song. Prepare yourself to delve into the background of one of the most well-known Morris dancing tunes, 'Princess Royal'. Joining Jon Wilks to discuss the tune is one of the country's finest melodeon players, John Spiers, or "Squeezy" as he's fondly known as on the English folk scene. Many of you will know Squeezy as a founding member of Bellowhead, not to mention a myriad of other bands he steps in and out of when the road calls. Over the course of an hour or so, the pair look at the history of 'Princess Royal' tune. Did it start life as an accompaniment to English Morris dancing, or does it stretch further back and over greater distances than that? Squeezy tells us a bit about growing up, somewhat hesitantly, in the Morris tradition, and talks about the difference between being a musician performing this tune on stage and a musician playing for a Morris side. He explains what a jig is, what a reel might be, how to recognise a slow, and who's wearing the trunkles in this relationship? Squeezy mentions video clips and different versions throughout, which we have listed and embedded below. LinksOver the course of the episode, John Spiers and Jon Wilks mention the following things:The English Folk Dance and Song SocietyThe story of Cecil Sharp and Headington Quarry MorrisMat Green (Magpie Lane) playing and dancing 'Princess Royal' on YoutubeTrack listingJohn Spiers playing the Abingdon version on the Spiers and Boden album, Bellow, 2003Spiers & Boden playing the Bampton version on their album, Vagabond, 2008Magpie Lane playing 'Princess Royal' on their 2006 album, The Oxford RambleClannad playing 'Mrs McDermott' on their 1973 album, ClannadMat Green of Bampton Lane, performing the tune while dancing a jig (see above)The Unthanks singing 'The Scarecrow Knows' from the soundtrack to the TV series, Worzel Gummidge, released in December 2022Jim Moray singing ‘Gypsies' from his 2003 album, Sweet England'Princess Royal' from Morris On, released in 1972A snippet of Eliza Carthy and Nancy Kerr performing the B part on their 1995 album, The Shape of ScrapeJohn Spiers performing an exclusive version of the North Leigh version, spoken about in an earlier part of the conversationFor more info on John Spiers, head to johnspiers.co.uk.

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/folkore

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

In The Folk: Music, Modernity, and the Political Imagination (U California Press, 2021), Ross Cole revisits the remarkable upswell of interest in folk songs in fin de siècle Britain and America. While the work of folk collectors such as John Lomax, Cecil Sharp and Hubert Parry seems primarily about the preservation of premodern musical cultures, Cole suggests that the anxieties about the disappearance of these traditions were inseparable from – and constitutive of – a critique of industrial modernity. That is, the preoccupation with folk culture in this period was as much about discontent with the present and imagining new visions for the future as it was motivated by a socio-historical interest in the vernacular musics of the past. Cole shows how the desire for ‘folk culture' actually occluded the messy, hybrid reality of vernacular music making, and the lives of those who made it, as a result. Cole makes the compelling case that what he calls the ‘folkloric imagination' is shot through with a twinned politics of nostalgia and utopia, with both radical and reactionary elements lying just beneath the surface. The Folk traces how the invention of folk song by the collectors of the late 19th and early 20th Century was tightly bound up with contentious questions of race, nation, and empire that would come to an ugly head with the advent of fascism. By pursuing these threads into the present day, Cole shows how the same tensions continue to permeate the use and abuse of ‘the folk' in contemporary political culture. Dr Ross Cole is Lecturer in Popular Music at the University of Leeds. Gummo Clare is a PhD researcher in the School of Media and Communications, University of Leeds. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Donna Ray Norton is no stranger to the musical community of Western North Carolina. She's an 8th generation ballad singer who grew up in the legendary Sodom community of Madison County, a county which folklorist Cecil Sharp likened to “a nest of singing birds.” Her grandfather was Byard Ray, a fiddler and singer who took his style of mountain music across the globe. Her mother, Lena Jean Ray, carried on the Ray musical legacy. We sat down with Donna Ray to learn more about her new album, her background, and what the music means to her.

Donna Ray Norton is no stranger to the musical community of Western North Carolina. She's an 8th generation ballad singer who grew up in the legendary Sodom community of Madison County, a county which folklorist Cecil Sharp likened to “a nest of singing birds.” Her grandfather was Byard Ray, a fiddler and singer who took his style of mountain music across the globe. Her mother, Lena Jean Ray, carried on the Ray musical legacy. We sat down with Donna Ray to learn more about her new album, her background, and what the music means to her.

Pinkie Sings "The Water is Wide"

In this episode, hosts John Fenn and Stephen Winick talk with Jennifer Cutting about items that caught their eyes and ears. Cutting discusses commercial recordings of tunes collected by Cecil Sharp, and Winick tells stories of the recording sessions, which Sharp personally supervised and described in his diaries. Cutting discusses her friend, the late Tony Barrand, an important collector of morris dances. John Fenn discusses the Nagra IV portable tape deck, and Winick discusses a picture of the late Mick Moloney using the Nagra in 1977. Winick discusses Moloney, and they play music recorded by Moloney on the Nagra, including jigs played on fiddle and accordion by Liz Carroll and Tommy Maguire, and reels played on the flute by Michael Flatley. More information on the performers and the selections can be found at https://blogs.loc.gov/folklife.

Our first ever live show was recorded on 4th September 2022 as part of the Folk at the Folk Festival. This is a field recording of an acoustic show in a beautiful but very echoey space with the bells of Gloucester Cathedral occasionally in the background, so the audio is a little different from usual.Features the following:Sainte Nicholas by Godric of Finchale (12th Century)Account of Eleanor and Rosamond from the French Chronical of London (14th Century)Fair Rosamond (trad - New England)Extract from The Knight's Tale by Geoffrey ChaucerExtract from The Lark Ascending by George MeredithThe Lark Ascending/Lark in the Morn (tune)Letter to The Times from G. Henry Latchmore concerning Cecil Sharp (1931)Version of Lark in the Morning collected by Cecil Sharp (1 verse)Version of Lark in the Morning collected by Vaughan WilliamsDoffin Mistress (trad)Extract from the diary of Samuel PepysBarbara Allan's Cruelty from the Roxburge Collection (1 verse)Barbary Ellen (compiled from two Appalachian versions)I Dreamed a Dream (Ashley Hutchings)Thanks go to my family, especially Steven Shaw, for listening to all of these songs and tunes endlessly over the summer.

Singer Maddy Prior and violinist Peter Knight were at the heart of the success of folk rock pioneers Steeleye Span. In this candid interview with Matthew Bannister on stage at the Indoor Festival of Folk at Cecil Sharp House, they recall the heady days of rock n roll excess during the 1970s and movingly describe the role of music in their lives. Peter reveals he once appeared on Top of the Pops dressed as a Womble and Maddy describes the gig where they dropped thousands of pound notes onto the heads of the audience. The band is famous for having countless different line ups and they speak about the rows that often led to one or more members departing.  A fascinating conversation with two legendary names of the folk world. --- Delve deeper into the Folk on Foot world and keep us on the road by becoming a Patron—sign up at patreon.com/folkonfoot. You can choose your level and get great rewards, ranging from a stylish Folk on Foot badge to access to our amazing and ever expanding Folk on Foot on Film video archive of more than 150 unique performances filmed on our travels. Sign up for our newsletter at www.folkonfoot.com Follow us on Twitter/Facebook/Instagram: @folkonfoot --- Find out more about Maddy Prior at https://stonesbarn.co.uk/ Find out more about Peter Knight at https://www.peterknight.net/

Editor's Note, by Heidi Buschbach In the days of the PNEU, experts would come and speak about topics of interest. Their presentations would be transcribed and included in the Parents' Review. Mr. Walter Ford was one of those presenters. He worked with notable men such as folksong collector Cecil Sharp and British composer Ralph Vaughn … The post Songs For Children first appeared on Charlotte Mason Poetry.

Traditional Scottish Folk SongThe Water Is Wide" (also called "O Waly, Waly" or simply "Waly, Waly") is a folk song of Scottish origin, based on lyrics that partly date to the 1600s. It remains popular in the 21st century. The original version of "The Water is Wide" can be found in Folk Songs From Somerset. Third Series by Cecil Sharp and Charles Marson. This collection was published in London by Simpkin & Co. in 1906 Photo Credit (YouTube)James Taylor y el Coro Mormon del Tabernaculo. (The water is wide / Lonesome road)Cover by Franco Cianflone at GS studios Hosted on Acast. See acast.com/privacy for more information.

It's May. The meadows and hedgerows are in bloom, the sun is ablaze and the lark is on the wing.Song: The Lark in the Morning - CSPoem: The Lark Ascending (extract) by George MeredithTune: The Lark Ascending by R Vaughan Williams/The Lark in the morning (jig)Poem: The Green Cornfield by Christina RosettiSong: All Things Are Quite Silent - CarysPoem: Extract from The Night's Tale by Geoffrey ChaucerSong: The Skylark, words by Fredrick Tennyson, tune by Neal Jolly - Neal JollyPoem: Extract from Cymbeline by William ShakespeareTune: The Chirping of the Lark, from Playford, arr. J ShawLetter regarding a lecture given by Cecil Sharp, dated December 23rd, 1931 - Paul ReeveSong: The Lark in the Morn, as collected by Cecil SharpSong: The Lark in the Morn - Paul ReevePoem: To a Skylark (1805) (extract) by William WordsworthTune: My Singing BirdPoem: To a Skylark (extract) by Percy Bysshe ShelleySong: Kate of Arglyn, collected by Cecil Sharp from John Murphy in Marylebone Workhouse 1909Poem: The Lark Song by James W Wilt - Diana WhittakerSong: O Nancy My HeartPoem: To a Skylark (1825) (extract) by William WordsworthSong: Pleasant and DelightfulPoem: To the Lark by Robert HerrickSong: Lark in the Clear Air - Diana WhittakerPoem: Lottie Lane (broadside ballad)Song: Lark in the Park by John Devine - John DevinePoem: Limerick by Edward LearTune: Lark in the Morn arr Lynne Morley - Lynne MorleyLark song FX recorded by urupin, from FreesoundWhere not attributed, songs and poems performed by Jenny ShawSome of the songs were discovered using the Vaughan Williams Memorial Library, others came out of our memories or our imaginations.The Barnstoners is a group of people who have loved their time at Stones Barn and continue to stay in touch. This podcast would never have been born without the support and encouragement of The Barnstoners, and the hugely empowering tuition at Stones Barn from the amazing Rose Ellen Kemp and Maddy Prior.

How did an English song of love and loss vanish completely, only to pop up in a remote part of the Appalachian mountains as one of their many "love songs"? In tracing its story we come across the colourful characters who played a part in bringing it to the wider world. We cross the water in the cramped steerage quarters of a transatlantic sailing ship, and fly back over the ocean on the wings of a little bird to find an older song that may have been its source. MusicThe first verse of Pretty Saro is based on a version collected in North Carolina by Cecil Sharp and Maud Karpeles.The mountain dulcimer version was kindly recorded for this podcast by Chris Nelson, you can hear Chris being interviewed on the podcast here.I've based the singing of Pretty Sarah (1911) collected by John Lomax on the singing of Cas Wallin, recorded in 1982 for the Alan Lomax archive.The Streams of Bunclody (first verse only) is the more well known tune, recorded by Luke Kelly and by Emmet Spiceland.The tune introducing Patrick Kennedy is The Boys of Wexford.The full version of The Streams of Bunclody, embedded into The Banks of the Boro is based on a version recorded by the Wexford traditional singer Aileen Lambert. I'm a big fan, and her version is as far away as possible from being "a maudlin lay"!ReferencesAn account of Cecil Sharp and Maud Karpeles' travels in the Appelachians, including extracts from Sharp's journal, can be found here: https://www.mustrad.org.uk/articles/sharp.htm From: Cohane, Mary Ellen, and Kenneth S. Goldstein. “Folksongs and the Ethnography of Singing in Patrick Kennedy's The Banks of the Boro.” The Journal of American Folklore 109, no. 434 (1996): 425–36. https://doi.org/10.2307/541184.Maud Karpeles' own account of her visit to the Appalachians in 1950: https://www.jstor.org/stable/4521358Maud Karpeles' journals from her visit to Appalachia 1950: https://www.vwml.org/archives-catalogue/MK Some Ballads of North Carolina, by John Lomax: https://docsouth.unc.edu/nc/lomax/lomax.html A copy of The Banks of the Boro by Patrick Kennedy can be found here: https://archive.org/details/banksboroachron01kenngoogThe Maid of Bunclody http://ballads.bodleian.ox.ac.uk/search/?query=+2806+b.9%28206%29The Streams of Bunclody in Halliday Sparling's Irish Minstrelsy. Irish minstrelsy. Being a selection of Irish songs, lyrics, and ballads : Sparling, H. Halliday (Henry Halliday) : Free Download, Borrow, and Streaming : Internet Archive Bundclody on the Mainly Norfolk website. https://mainlynorfolk.info/folk/songs/themaidfrombunclody.htmlAcknowledgementsHuge thanks to my family for putting up with my endless research and singing over Christmas and New Year, especially Steven Shaw who has the patience of a saint.Thank you as always to Maddy and Rose-Ellen at Stones Barn, who helped me to find my voice again. 

We talk to Joelle Taylor fresh from her win last night of the 2021 TS Eliot Prize for Poetry for her collection of poems which explores her life as a lesbian. 2022 has three big cultural events in store: Unboxed, the Birmingham Arts Festival marking the Commonwealth Games and the Queen's Platinum Jubilee celebrations. Samira is joined by the man behind two of them, Chief Creative Officer Martin Green. We also hear from BBC News Culture Editor Katie Razzall, to unpack Unboxed, once dubbed the Festival of Brexit. And Folk, currently playing at the Hampstead Theatre chronicles Cecil Sharp's mission to preserve England's rural folk music. Writer, Nell Leyshon and director, Roxana Silbert discuss the process of adapting this real life history for the stage. Presenter: Samira Ahmed Producer: Simon Richardson

British Army officer and physiotherapist Preet Chandi has made history as the first woman of colour to complete a solo expedition in Antarctica. 'Polar Preet' trekked 700 miles in 40 days, facing temperatures of -50C, poor visibility and fatigue along the way. She used skis, and dragged a 90kg pulk (a sled) for between 10-12 hours a day. Preet catches up with us from the Union Glacier camp in Antarctica. 'Collector culture' - the swapping, collating and posting of nude images of women without their consent - is on the rise. But unlike revenge porn, it is not a crime. Now survivors are demanding a change in the law. To understand why Anita is joined by Professor of Law at Durham University, Clare McGlynn and Zara Ward, senior practitioner at the Revenge Porn Helpline. Cecil Sharp is known as the godfather of English folk music. In a bid to preserve the English folk song at the turn of the twentieth century, when many in the musical world didn't believe England had a musical tradition of its own, he collected and memorialised thousands of traditional English folk songs from rural communities in England. However, less is known about the people he collected these songs from. FOLK is a new play at Hampstead Theatre in London written by Nell Leyshon, the British dramatist and novelist born in Glastonbury, Somerset. She tells us the true story of Louie Hooper and Lucy White, two half-sisters from Somerset who Cecil Sharp collected hundreds of songs from. A UK tech company is pitching to provide security for women out alone at night who fear for their safety. Drone Defence is hoping to secure government funding to deliver AI drones fitted with spotlights and a thermal camera which would be summoned on an app by an individual who are concerned a predator may be near by. Could this be a solution to a recent survey which showed one in five women fear going out at night alone or does it present a serious privacy risk without tackling the underlying issue of violence against women? We talk to Richard Gill the founder of Drone Defence and to Silkie Carlo the Director of Big Brother Watch. Born in Bristol and raised in Lagos, Nikki May is Nigerian-British. At 20, she dropped out of medical school, moved to London, and began a successful career in advertising. Now aged 56, her debut novel Wahala has just been released and is already being made into a six part drama series for the BBC. It is the story of three thirty-something friends living in London - Ronke, Simi and Boo. Their bond is tested and their lives start to unravel when glamorous high flying Isabel explodes into their friendship group. Presenter: Anita Rani Producer: Kirsty Starkey Interviewed Guest: Preet Chandi Interviewed Guest: Professor Clare McGlynn Interviewed Guest: Zara Ward Interviewed Guest: Nell Leyshon Interviewed Guest: Richard Gill Interviewed Guest: Silkie Carlo Interviewed Guest: Nikki May

This week Elizabeth and Stuart tell the stories of two highly influential figures from very different sections of music history. First up is the brilliant saxophonist Albert Ayler, a free jazz pioneer whose influence on John Coltrane alone merits him a much wider audience than ever achieved in his lifetime. Then, after a blessedly brief diversion into the backstory of legendary Lancashire songsmiths the Dandelion Adventure, we hear about Cecil Sharp, whose work collecting thousands of traditional songs in the nineteenth century made him a king of folk music; more recently his reputation has become somewhat more complicated, as Elizabeth and Stuart explain. See acast.com/privacy for privacy and opt-out information.

Both Gustav Holst and Ralph Vaughn Williams loved using folk music in their music. They were inspired by a "folk song revival" started by an English musician named Cecil Sharp collected thousands of folk tunes from around England in the early 1900's.

Since its release in 1973, Robin Hardy's The Wicker Man has exerted a profound influence on the development of horror cinema, a rich vein of folk music, and the modern pagan revival more generally. Anthony Shaffer's ingenious screenplay gives us a thrilling yarn that is also a meditation on the nature of religious belief and practice. Just in time for Halloween, Phil and JF discuss the philosophical ideas that undergird this folk horror classic, focusing on the perennial role of sacrifice in religious thought. REFERENCES Robin Hardy (director), The Wicker Man (https://www.imdb.com/title/tt0070917/) Stanley Kubrick (director), The Shining (https://www.imdb.com/title/tt0081505/) Terence Fisher (director), The Devil Rides Out (https://www.imdb.com/title/tt0062885/) Piers Haggard (director), Blood on Satan’s Claw (https://www.imdb.com/title/tt0066849/) John Boorman (director), Deliverance (https://www.imdb.com/title/tt0068473/) Rob Young, Electric Eden (https://www.amazon.com/Electric-Eden-Unearthing-Britains-Visionary/dp/0865478562) Gerald Gardner, (https://en.wikipedia.org/wiki/Gerald_Gardner_(Wiccan)) English wiccan Margaret Murray, (https://en.wikipedia.org/wiki/Margaret_Murray) English anthropologist Cecil Sharp, (https://en.wikipedia.org/wiki/Cecil_Sharp) English ethnomusicologist Phil Ford, "Taboo: Time and Belief in Exotica" (https://online.ucpress.edu/representations/article-abstract/103/1/107/81624/Taboo-Time-and-Belief-in-Exotica?redirectedFrom=fulltext) Friedrich Nietzsche, [Untimely Meditations](https://en.wikipedia.org/wiki/UntimelyMeditations)_

"Country Gardens" is the best-known work of the Australian-born American composer, arranger, and pianist Percy Grainger. Its score bears this note: "Birthday-gift, Mother, July 3, 1918." Grainger's mother Rose was responsible for his excellent musical training that made him a successful concert pianist in Britain, Europe, and America. In 1918, Grainger arranged a folk tune given to him in 1908 by Cecil Sharp, a major figure in the folklore revival in England. Grainger titled his arrangement "Country Gardens," and it went over so well at his recitals that Grainger decided to have it published. It was a big hit and broke sales records. In fact, until his death in 1961, its sales generated a significant portion of Grainger's annual income. Like other composers with a mega-hit, Grainger came to resent being known for just one tune, and would say to audiences: "The typical English country garden is not often used to grow flowers. It's more likely to be a vegetable plot. So you can think of turnips as I play it". In 1931, "Country Gardens" was arranged for wind band by someone other than Grainger, but around 1950, at the special request of a Detroit band director named Graham Overgard, Grainger prepared his own arrangement, and wrote to Overgard: "I now have my own version, quite delicate and unlike the coarse-sounding score you rightly object to. The new setting is not based on the piano version, but on a chamber music sketch of 1908 and is a new piece in every way."

"Country Gardens" is the best-known work of the Australian-born American composer, arranger, and pianist Percy Grainger. Its score bears this note: "Birthday-gift, Mother, July 3, 1918." Grainger's mother Rose was responsible for his excellent musical training that made him a successful concert pianist in Britain, Europe, and America. In 1918, Grainger arranged a folk tune given to him in 1908 by Cecil Sharp, a major figure in the folklore revival in England. Grainger titled his arrangement "Country Gardens," and it went over so well at his recitals that Grainger decided to have it published. It was a big hit and broke sales records. In fact, until his death in 1961, its sales generated a significant portion of Grainger's annual income. Like other composers with a mega-hit, Grainger came to resent being known for just one tune, and would say to audiences: "The typical English country garden is not often used to grow flowers. It's more likely to be a vegetable plot. So you can think of turnips as I play it". In 1931, "Country Gardens" was arranged for wind band by someone other than Grainger, but around 1950, at the special request of a Detroit band director named Graham Overgard, Grainger prepared his own arrangement, and wrote to Overgard: "I now have my own version, quite delicate and unlike the coarse-sounding score you rightly object to. The new setting is not based on the piano version, but on a chamber music sketch of 1908 and is a new piece in every way."

In this week's episode, Mark, Barney & Jasper talk extensively about one of the great record labels — a hallowed home to such groundbreaking acts as Jimmy Cliff, Nick Drake, Roxy Music, (Bob Marley and) the Wailers and, yes, U2. Listening to clips from John Tobler's 1989 audio interview with Island founder Chris Blackwell, RBP's power trio reflect on what made the label such a powerhouse for non-mainstream genres like folk and reggae. Blackwell talks of its transformation after 1967, as well as his first encounter with Marley in 1972.A neat segue via Lenny Kaye's 1975 overview of the label leads "the team" into a discussion of Sparks, the American art pop duo who've just released their new album, A Steady Drip, Drip, Drip. Mark & Barney reminisce about the Mael brothers' Island years in the '70s, commencing with Kimono My House and its astonishing hit single 'This Town Ain't Big Enough for the Both of Us'. We stay in the '70s, moreover, as the RBP troika considers great Disc pieces — about Lou Reed and Chinnichap — by the splendidly-named Ray Fox-Cumming.Mark rounds matters off by talking us through new library pieces about Santana, Hamilton Bohannon, John Fahey (1977), Joni Mitchell and N.W.A., while Jasper adds his tuppenceworth on articles about British folk institution Topic Records, the death of the album and Busta Rhymes. And we go out with a clip from Johnny Black's 1995 audio interview with Pretty Things frontman Phil May, who sadly passed away last week...The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.Pieces discussed: Chris Blackwell audio, Island Records, Sparks, Ron Mael, Lou Reed, The Sweet, Queen, Santana, Hamilton Bohannon, John Fahey, The Pretenders, Sheena Easton, Roxanne Shanté, NWA: Straight Outta Compton, Robert Johnson, Mark Ronson, The T.A.M.I. Show, Cecil Sharp, Folk field recordings, Death of the album, Busta Rhymes and Phil May audio.

In this week's episode, Mark, Barney & Jasper talk extensively about one of the great record labels — a hallowed home to such groundbreaking acts as Jimmy Cliff, Nick Drake, Roxy Music, (Bob Marley and) the Wailers and, yes, U2. Listening to clips from John Tobler's 1989 audio interview with Island founder Chris Blackwell, RBP's power trio reflect on what made the label such a powerhouse for non-mainstream genres like folk and reggae. Blackwell talks of its transformation after 1967, as well as his first encounter with Marley in 1972.A neat segue via Lenny Kaye's 1975 overview of the label leads "the team" into a discussion of Sparks, the American art pop duo who've just released their new album, A Steady Drip, Drip, Drip. Mark & Barney reminisce about the Mael brothers' Island years in the '70s, commencing with Kimono My House and its astonishing hit single 'This Town Ain't Big Enough for the Both of Us'. We stay in the '70s, moreover, as the RBP troika considers great Disc pieces — about Lou Reed and Chinnichap — by the splendidly-named Ray Fox-Cumming.Mark rounds matters off by talking us through new library pieces about Santana, Hamilton Bohannon, John Fahey (1977), Joni Mitchell and N.W.A., while Jasper adds his tuppenceworth on articles about British folk institution Topic Records, the death of the album and Busta Rhymes. And we go out with a clip from Johnny Black's 1995 audio interview with Pretty Things frontman Phil May, who sadly passed away last week...The Rock's Backpages podcast is proud to be part of the Pantheon podcast network.Pieces discussed: Chris Blackwell audio, Island Records, Sparks, Ron Mael, Lou Reed, The Sweet, Queen, Santana, Hamilton Bohannon, John Fahey, The Pretenders, Sheena Easton, Roxanne Shanté, NWA: Straight Outta Compton, Robert Johnson, Mark Ronson, The T.A.M.I. Show, Cecil Sharp, Folk field recordings, Death of the album, Busta Rhymes and Phil May audio.

In this week's episode, Mark, Barney & Jasper talk extensively about one of the great record labels — a hallowed home to such groundbreaking acts as Jimmy Cliff, Nick Drake, Roxy Music, (Bob Marley and) the Wailers and, yes, U2. Listening to clips from John Tobler's 1989 audio interview with Island founder Chris Blackwell, RBP's power trio reflect on what made the label such a powerhouse for non-mainstream genres like folk and reggae. Blackwell talks of its transformation after 1967, as well as his first encounter with Marley in 1972. A neat segue via Lenny Kaye's 1975 overview of the label leads "the team" into a discussion of Sparks, the American art pop duo who've just released their new album, A Steady Drip, Drip, Drip. Mark & Barney reminisce about the Mael brothers' Island years in the '70s, commencing with Kimono My House and its astonishing hit single 'This Town Ain't Big Enough for the Both of Us'. We stay in the '70s, moreover, as the RBP troika considers great Disc pieces — about Lou Reed and Chinnichap — by the splendidly-named Ray Fox-Cumming. Mark rounds matters off by talking us through new library pieces about Santana, Hamilton Bohannon, John Fahey (1977), Joni Mitchell and N.W.A., while Jasper adds his tuppenceworth on articles about British folk institution Topic Records, the death of the album and Busta Rhymes. And we go out with a clip from Johnny Black's 1995 audio interview with Pretty Things frontman Phil May, who sadly passed away last week... The Rock's Backpages podcast is proud to be part of the Pantheon podcast network. Pieces discussed: Chris Blackwell audio, Island Records, Sparks, Ron Mael, Lou Reed, The Sweet, Queen, Santana, Hamilton Bohannon, John Fahey, The Pretenders, Sheena Easton, Roxanne Shanté, NWA: Straight Outta Compton, Robert Johnson, Mark Ronson, The T.A.M.I. Show, Cecil Sharp, Folk field recordings, Death of the album, Busta Rhymes and Phil May audio.

In this week's episode, Mark, Barney & Jasper talk extensively about one of the great record labels — a hallowed home to such groundbreaking acts as Jimmy Cliff, Nick Drake, Roxy Music, (Bob Marley and) the Wailers and, yes, U2. Listening to clips from John Tobler's 1989 audio interview with Island founder Chris Blackwell, RBP's power trio reflect on what made the label such a powerhouse for non-mainstream genres like folk and reggae. Blackwell talks of its transformation after 1967, as well as his first encounter with Marley in 1972. A neat segue via Lenny Kaye's 1975 overview of the label leads "the team" into a discussion of Sparks, the American art pop duo who've just released their new album, A Steady Drip, Drip, Drip. Mark & Barney reminisce about the Mael brothers' Island years in the '70s, commencing with Kimono My House and its astonishing hit single 'This Town Ain't Big Enough for the Both of Us'. We stay in the '70s, moreover, as the RBP troika considers great Disc pieces — about Lou Reed and Chinnichap — by the splendidly-named Ray Fox-Cumming. Mark rounds matters off by talking us through new library pieces about Santana, Hamilton Bohannon, John Fahey (1977), Joni Mitchell and N.W.A., while Jasper adds his tuppenceworth on articles about British folk institution Topic Records, the death of the album and Busta Rhymes. And we go out with a clip from Johnny Black's 1995 audio interview with Pretty Things frontman Phil May, who sadly passed away last week... The Rock's Backpages podcast is proud to be part of the Pantheon podcast network. Pieces discussed: Chris Blackwell audio, Island Records, Sparks, Ron Mael, Lou Reed, The Sweet, Queen, Santana, Hamilton Bohannon, John Fahey, The Pretenders, Sheena Easton, Roxanne Shanté, NWA: Straight Outta Compton, Robert Johnson, Mark Ronson, The T.A.M.I. Show, Cecil Sharp, Folk field recordings, Death of the album, Busta Rhymes and Phil May audio.

1 - Skunk Song - Johnny Messner And His Orchestra - 19412 - Skunk Song - Kerwin Somerville and Voices Four with Tommy Tucker Time - 19413 - Skunk Hollow Blues - Johnny Hodges and his Orchestra - 19394 - Skunk Hollow Boogie - Slim Rhodes - 19505 - Get Your Gun and Come Along (We're Fixin' To Kill A Skunk) - Carson Robison - 19416 - I Smell a Rat - Young Jessie And His Orchestra - 19547 - Rats in My Closet - Bob Newman with The Georgia Crackers - 19478 - Black Rat Swing - Little Son Joe - 19419 - Big Beaver - Bob Wills and His Texas Playboys - 194010 - Big Beaver - Jan Savitt and his orchestra - 194111 - Big Moose Blues - Sonny Boy and Lonnie - 194712 - Snow Deer - Charlie Linville and the Fiddlin' Linvilles – 194613 - Chicky-Mo Craney Crow - Louis Jordan And His Tympany Five - 194714 - Crow Jane Blues - Sonny Terry - 194815 - Carrion Crow - Patricia Preece, 14 years old, recorded by Cecil Sharp -16 - Rain Crow Bill - Henry Whitter - 192717 - Old Crow Boogie - Dick Lewis and his Harlem Rhythm Boys - 194718 - Bumble Bee - The Bubber Johnson Trio - 195119 - Bumble Bee Schottische - Whoopee John Wilfahrt - 194820 - Bumble Bee Stomp - Benny Goodman and his Orchestra – 193921 - Seagull - Ernest Pike - 190622 - The Lonesome Seagull - Jerry Rowley and Ginny Wright with the Louisiana Hayride Band – 195323 - The Spider and the Fly - Fats Waller and his Rhythm – 193924 - The Fox - Burl Ives - 194525 – Snake Hips – Original Memphis Five – 192326 - Feed That Eagle - Yvonne King with Alvino Rey and his Orchestra – 194127 – Grey Eagle – Georgia Slim and his Texas Roundup – 194728 – Eagle Beak – Raymond Scott and his New Orchestra – 194029 - The Werewolf - Dragnet - June 17th, 1949

How do I download this Mp3? Mp3: A Long Time Ago – Click To Play A Long Time Ago (AKA Noah’s Ark) is a halyard chantey, collected by Cecil Sharp on the 3rd June,1914 from Capt. Hole, of Watchet, Somerset England. I love how Noah put the dog to work plugging up the hole and […]

The folk singer, Nancy Kerr joins Eleanor Rosamund Barraclough for a walk in the woods. Forests play a vital role in folk music, as a refuge for romantic outlaws, as a metaphor for freedom and as a space for sexual couplings, usually with the traditionally tragic ending. Nancy explains how the early folk song collectors such as Cecil Sharp and Ralph Vaughan Williams found a vibrant folk vocabulary bristling with bushes and briars, stout oaks and wily willows. She understands just how powerfully symbolic trees and forests can be, composing her own songs of the woods and interpreting classic tales of sylvan sensuality. Producer: Alasdair Cross

Recent years have seen a blossoming of interest in mountain music among musicians who were born in the 1990s and 2000s. Among the youngest of this cohort, North Carolina fiddler Rhiannon Ramsey epitomizes a blend of great musical chops and continuation of mountain traditions. Her native Madison County is famously musical, a place that the early ballad collector Cecil Sharp referred to as “a nest of singing birds.” She leads her own band, Rhiannon and the Relics, and in 2018 she joined the Stony Creek Boys, a band that has been an anchor of Asheville’s traditional music community for more than fifty years.

Recent years have seen a blossoming of interest in mountain music among musicians who were born in the 1990s and 2000s. Among the youngest of this cohort, North Carolina fiddler Rhiannon Ramsey epitomizes a blend of great musical chops and continuation of mountain traditions. Her native Madison County is famously musical, a place that the early ballad collector Cecil Sharp referred to as “a nest of singing birds.” She leads her own band, Rhiannon and the Relics, and in 2018 she joined the Stony Creek Boys, a band that has been an anchor of Asheville’s traditional music community for more than fifty years.

One hundred years ago famed folk-song collectors Cecil Sharp and Maud Karpeles visited North Carolina and documented hundreds of ballads and folk songs that had their roots in the British Isles. The epicenter of our state's ballad singing tradition is Madison County, NC. In the second installment of Director's Cut, a special mini-season of Arts Across NC, Wayne Martin shares a "Jack-A-Roe," a ballad performed by Doug Wallin. Doug lived far up a holler in Madison County, and he learned how to sing ballads from his mother Berzilla. He once told Wayne Martin he sung all the time...even when he was falling asleep at night. "Doug himself was an extraordinary ballad singer for two reasons. The texts of his tunes were very full and well developed...plus he was very musical and he was able to put beautiful tunes to the songs themselves," says Wayne. The National Endowment or the Arts awarded Wallin the National Heritage Award in 1990. He passed away in 2000. _____ Director's Cut is a special music themed season of Arts Across NC, curated in celebration of Come Hear North Carolina, a campaign for the 2019 North Carolina Year of Music. In each episode NC Arts Council Director Wayne Martin will unearth a field recording from the archive he built during his 30+ year tenure with our agency. Each song represents a different region of North Carolina. "These pieces that I've chosen are part of the fabric of who we are as a people," says Wayne. "They are pieces that tell the story of North Carolina. Arts Across NC is a podcast by and about the North Carolina Arts Council. The featured image is of Doug Wallin with his brother Jack Wallin made by Rob Amberg.

Dan and Aaron in England with special guest Amanda Boyd who joins us to talk about collaborating of songs from the Cecil Sharp collection.

In the spirit of Christmas, we're reading lesser-known Christmas carols here on Saints Gone Before. Here are their names and other data, in the order they were read. “On Christmas Night All Christians Sing,” from Henry Bramley and John Stainer’s Christmas Carols New and Old (1878), using c. 1870 lyrics. “Come All You Worthy Gentlemen,” aka the Somerset Carol. First collected by Cecil Sharp in Folk Songs from Somerset (second edition, 1909) from a Mr. Rapsey at the turn of the 20th century. “In the Bleak Midwinter,” based on an 1870s poem by Christina Rosetti. “The Truth Sent From Above,” or “The Shropshire Carol,” also collected by Cecil Sharp, comes from Mr. Seth Vandrell and Mr. Samuel Bradley of Donninglon Wood of Shropshire, England, at the turn of the 20th century. Come back for part 2, next Monday! Do you have questions, or any suggestions for us to read? E-mail us at churchhistorypodcast@gmail.com, or tweet us @OralHistoryPod. Merry Christmas!

Andy Kershaw follows song collector Cecil Sharp's Appalachian trail in the spring of 1916

July 13, 2015. Sharp's Appalachian Harvest is a special multimedia folk music presentation performed and researched by English folk musician Brian Peters and American old-time musician Jeff Davis. Their presentation is devoted to the astounding collection of songs and music made by English collectors Cecil Sharp and Maud Karpeles in the Southern Appalachians over three summers in 1916, 1917 and 1918, one of the most extensive folk song collections ever made. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=7048

This much-loved Christmas Carol uses words published by Cecil Sharp in 1911. But to what extent did he graft Christian elements onto a very different original? FT arts editor Jan Dalley traces the gender shifts which define the song’s evolution. Credit: Universal-Island Records Ltd; Warner Classics See acast.com/privacy for privacy and opt-out information.

Chair of the judges A C Grayling and his fellow judge Erica Wagner join John Wilson to discuss the longlist for this years' Man Booker Prize. It's the first time that American novelists have been eligible for this prestigious award, and four of the listed writers are American. Billy Elliot writer Lee Hall talks about creating a stage play out of the Oscar winning film Shakespeare in Love. Hall also reveals that he's been busy reading Elton John's personal diaries in preparation for making a biopic of the singer. Tonight's Front Row features the first joint performance, in the studio, by two leading figures in world music. Dom Flemons - co-founder of the Carolina Chocolate Drops - and Martin Simpson - renowned acoustic and slide guitarist - have been researching and exploring how folk songs travelled back and forth between England and North America, changing shape as they journeyed. They retraced the fieldwork done by folklorist Cecil Sharp, a hundred years ago - and give John a musical demonstration of how an English dancehall ballad became a ragtime blues number. Image: Shakespeare In Love - Company with Tom Bateman as Will. Photo by Johan Persson (c) Disney.

PODCAST: 16 Feb 2014   01 - Diddy Wah Diddy - Boo Hanks with Dom Flemons - Buffalo Junction 02 - Sonny’s Dream - Hamish Imlach - Sonny's Dream 03 - The White Cockade - Kate Rusby - Underneath the Stars 04 - Banish Misfortune / Lark On The Strand / Garett Barry's - Paul Moran and Fergal Scahill - A Flying Start 05 - The Redcliffe Boy - Reg Meuross - All This Longing 06 - Whistling the Esperanza - Ewan McLennan - The Last Bird To Sing 07 - Inisheer - Madigan - Uncorked 08 - Meadows of Dan - The Cecil Sharp Project - The Cecil Sharp Project 09 - Long Odds / Flat Earth - Patterson Jordan Dipper - Flat Earth 10 - The North Edge - The Old Dance School - Chasing the Light 11 - Farewell To ‘cotia - Dick Gaughan - True and Bold 12 - Across the Line - Bellowhead - Burlesque 13 - Black Leg Miner - Bluehorses - Crackling Leather Skin and Bone 14 - The Longshot - Megson - the longshot 15 - The Bold Princess Royal - Harry Cox - English Originals 16 - Way Over Yonder in the Minor Key - Dave Carter and Tracy Grammer - Little Blue Egg 17 - Man Walks Into A Pub - Robb Johnson - A Man Walks Into A Pub 18 - Lisdoonvarna - Christy Moore - The Christy Moore Collection

My darling and I visited a friend of ours half way across the State of Missouri just to play a lot of music in a few hours. Don and I had never played this song before although I remembered hearing Merle Travis sing it many years ago. This is truly a jam session piece with Don and me "learning on the fly". I think the results are pretty darn good. - - - - - Guitar and Singer: Kevin Kennedy (thanks for inviting us to your house); Banjo: Don Huber; Mandolin: Me - - - - -Song history- Song can be traced back to the 1890s and the tune was collected by Cecil Sharp in 1916.

My darling and I visited a friend of ours half way across the State of Missouri just to play a lot of music in a few hours. Don and I had never played this song before although I remembered hearing Merle Travis sing it many years ago. This is truly a jam session piece with Don and me "learning on the fly". I think the results are pretty darn good. - - - - - Guitar and Singer: Kevin Kennedy (thanks for inviting us to your house); Banjo: Don Huber; Mandolin: Me - - - - -Song history- Song can be traced back to the 1890s and the tune was collected by Cecil Sharp in 1916.

Rowan of the Wood story and all about the Hag Goddess This is the Samhain Holiday Special featuring 6 wonderful pieces of music, a fantastic section of the Celtic novel for Young Adults, "Rowan of the Wood" and an in-depth study on the Celtic Hag Goddess, the Cailleach. We are also very proud to bring you a world exclusive preview of a track from Damh the Bard's new album, Tales From The Crowman. More resources over at our main Website at http://celticmythpodshow.com/rowan Running Order: Intro 0:41 News & Views 2:35 Bard Song by Jenna Greene 4:20 Visions of the Cailleach by Sorita d'Este and David Rankine 8:53 The Pattern by Willson & McKee 25:18 Niall of the Nine Hostages from 'Visions of the Cailleach' 30:13 Banshee by The Blarney Rebel Band 33:25 Rowan of the Wood by Christine & Ethan Rose 38:55 Shore of Dreams by Paul Newman 1:08:28 Magical Times Magazine 1:10:11 Standing with Stones DVD 1:12:10 Tribal Gathering by Keltoria 1:23:13 Listener Feedback 1:27:40 Promo - Pagan Perspectives on Blogtalk Radio 1:29:35 Promo - New Forest Podcast 1:30:45 Twa Corbies by Damh the Bard 1:32:33 Outtakes 1:39:10 We hope you enjoy it! Gary & Ruthie x x x It's always great to hear from you! Email garyandruth@celticmythpodshow.com, or call us using Speakpipe News & Views We mention the fact that Gary's health is worsening and he is waiting for an operation and apologise for the delay we are bound to have in getting the shows to you. As soon as we are able, we'll be back up to speed again. Bard Song by Jenna Greene Bard Song: A song to honor the original storytellers and songwriters. It is because of their great skill that the ancient nature myths are alive and vibrant today. Jenna can be found on Myspace, but her own website provides lots of useful information. You can find out more details about Jenna on her Contributor Page on our website.   Visions of the Cailleach by Sorita d'Este and David Rankine Standing astride the British landscape, looms the giant blue form of the Cailleach. Whether she is seen as a benevolent earth-shaping giantess, harsh winter hag goddess, shape-shifting crone, guardian of sacred wells and animals, or ancient bestower of sovereignty; the Cailleach appears in many roles and manifestations in myths and legends across the British Isles. Tracking the Cailleach across thousands of years through folklore, literature and place names, the authors have uncovered startling references which hint at a hidden priestess cult worshipping the Cailleach from ancient times through into the twentieth century. By exploring her myths and legends, they demonstrate the hugely significant role of the Cailleach in the early history of the British Isles. Beinn na Caillich and Goir a' Bhlair - the seat of the Cailleach Looking beyond the veil of the sacred landscape, the vision of the Cailleach confronts the seeker, in hills and rocks, lakes and wells, burial chambers and stormy skies. Now finally the primal elemental power of the Cailleach is revealed in her full glory, in the tales and places of Ireland, Scotland and the Isle of Man; as well as in traces of her presence in England, Wales, Jersey, Brittany, Spain and Norway. For more details about the book visit the Avalonia site or you can buy the book on Amazon.   The Pattern by Willson & McKee The Pattern is a poem that Kim wrote after her first trip to Ireland and hearing about the myths and legends of the Women knitting a pattern in her husband and sons sweaters to identify them if they were lost at sea and then recovered later. We later put it to music but here is the poem form. Kim & Kenny perform Celtic music under the name of Willson & McKee. You can listen to more of the album on their website at www.jigheads.com and you can find our more about this talented duo on their Contributor Page on our website.   Niall of the Nine Hostages from 'Visions of the Cailleach' by Sorita d'Este & David Rankine Distinguished esoteric authors and researchers Sorita d'Este and David Rankine share a lifelong passion for the legends and myths of our ancestors, as well as for magic, mysticism and religion. They have collaborated on dozens of projects since 2000, including "The Isles of the Many Gods" and "The Guises of the Morrigan". They are well known and respected for the workshops, community groups and ceremonies they facilitated, as well as for the more than 20 books they have written, both jointly, as solo projects and with other authors. If you want to learn more about Sorita's work see her website and blog at www.sorita.co.uk and for David (including his work with occult scholar Stephen Skinner) see www.ritualmagick.co.uk.   Banshee by The Blarney Rebel Band The Blarney Rebel Band hails from the Celtic hotbed of Central New York. From the instant they take the stage, the principal aim of The Blarney Rebel Band is to get the audience dancing, clapping and singing (and maybe raising the occasional pint!) With their rousing renditions of all types of traditional Irish music, from rollicking pub tunes, lively sea songs, moving ballads and stirring rebel songs to hand-clapping jigs and reels, they are sure to achieve that aim. You can find out more about the band on their website or on their Contributor Page.   Rowan of the Wood by Christine & Ethan Rose Cullen meanders through the redwood forest each day on his way to school with a book in his hands, losing himself in fantastic worlds of elves, fairies, and wizards. His life changes when he stumbles upon an ancient magic wand inhabited by Rowan, a powerful wizard. He inadvertently releases this wizard and finds himself possessed with a great power and an obsessive need to find a lost love.  Rowan and Fiana were separated on their wedding day, fourteen centuries ago. Rowan survives, trapped in time until a young boy releases him. Fiana uses dark magic to stay alive and young, continuously searching for her husband. Over the centuries, she descends deeper and deeper into the darkness, eventually giving up her search, until a young boy brings him back to her. For more details about the book visit the Rowan of the Wood site or you can buy the book on Amazon. You can find out more about the authors and the books on their Contributor Page.   Shore of Dreams by Paul Newman Paul has allowed us to play his powerful evocative song based on Celtic Mythology, the Shore of Dreams, from a forthcoming unreleased album. You can find out more about Paul on his website or on his Contributor Page.   Standing with Stones DVD by Michael Bott and Rupert Soskin Standing With Stones is both a documentary film and an experience. Michael Bott and Rupert Soskin share a passion for archaeology, and in 2001 they teamed up to create a film exploring the richness and variety of our nation's prehistoric monuments and the people who built them. The DVD is an exploration into the wealth of prehistoric sites throughout Great Britain and Ireland on a scale never before attempted on film. This remarkable film takes the viewer to over a hundred sites throughout Britain and Ireland, exploring the diversity and wonder of our Neolithic and Bronze Age monuments. From the very south of England to the far Scottish Isles, Standing With Stones is a voyage of discovery revealing the extraordinary richness of our prehistoric past. Written and presented by Rupert Soskin, the DVD has 224 minutes of special features to accompany the 136 minutes of the main presentation. The main film is divided up into 7 sections: The West Country, Southern England, Wales, Ireland, Isle of Man & Northern England, Scotland and the Scottish Isles. You can find out more about the Standing With Stones documentarty on the DVD website.   Tribal Gathering by Keltoria Keltoria is a Celtic music “group” based in the Knockmealdown Mountains of South Tipperary in Ireland. Keltoria music is a hybrid of powerful, elemental traditional Celtic and New Age styles that is pretty unique. Powerful and Elemental are the key words here. Driven by thundering rhythms and frantic strings, this is not for the faint hearted. A combination of haunting, gothic/celtic atmospheres and thundering rhythms creates a music that is “spiritual” in the sense of the raw power of nature. This is music to make your spirit jump up and fling itself about in wild, whirling abandon. More than that, we'd like to offer a heart-felt thank you to the band for giving us unlimited access to their music for the Show. They are amazing people. You can find out more about the Keltoria on their website or on their Contributor Page.   Listener Feedback from James in London We read an email from James from London about Prof. Dr. Rotherham's Ladies of the Grail lecture and talk about Matthew and the Magical Times magazine.   Magical Times Magazine The Magical Times covers everything magical and with a faerie theme...  The environmentally-friendly A5 magazine is published three times a year by Magical Festivals. It was originally released as a pagan magazine but, after many requests from readers, it now includes artwork and features with faery subjects. Since the magazine's launch, the response has been overwhelming in its support. It has been great to hear such lovely words from people all over the world. You can find out more about the Magical Times on the website.   Promo - Pagan Perspectives on Blogtalk Radio The Revered Silvanius Treewalker presents the Pagan Perspectives show. He presents a show that deals with issues that Modern pagans deal with. Also he will discuss traditions and practices of many different Pagan groups You can find out more about the Pagan Perspectives on their website. They also have an online social community on the Ning network.   Promo - Pagan Perspectives on Blogtalk Radio   New Media From The New Forest? That's Right… From The Heart Of The Forest To Your Earbuds And Speakers, It's The Weekly New Forest Podcast With Me, Alex Fenson! It's Rather Good… You Should Listen To It… You can find out more about Alex and the the New Forest Podcast on their website.   Twa Corbies by Damh the Bard We're really proud to be able to bring you an early preview of the new album from the astounding Damh the Bard. The album, pictured left, is called Tales from the Crowman adn the track we have been allowed to bring you is the Twa Corbies - that classic folk-song that Damh adds his own unique style to. These songs (apart from the Green Fields of France and Wild Mountain Thyme) are modern interpretations of classic folk songs. The source of these songs lay with the great folk song collectors such as Cecil Sharp, Francis James Child, and the Copper family. These are songs that were transmitted through word of mouth, songs of the lower classes, music with no known composer. You can find out more about Damh, his wonderful albums and his Druidry on his website or on his Contributor Page.   Get EXTRA content in the Celtic Myth Podshow App for iOS, Android & Windows Contact Us: You can leave us a message by using the Speakpipe Email us at: garyandruth@celticmythpodshow.com. Facebook fan-page http://www.facebook.com/CelticMythPodshow, Twitter (@CelticMythShow) or Snapchat (@garyandruth), Pinterest (celticmythshow) or Instagram (celticmythshow)   Help Spread the Word: Please also consider leaving us a rating, a review and subscribing in iTunes or 'Liking' our Facebook page at http://www.facebook.com/CelticMythPodshow as it helps let people discover our show - thank you :) If you've enjoyed the show, would you mind sharing it on Twitter please? Click here to post a tweet! Ways to subscribe to the Celtic Myth Podshow: Click here to subscribe via iTunes Click here to subscribe via RSS Click here to subscribe via Stitcher   Special Thanks Frozen Silence, Winter from Heart of Winter. See the Contributor Page for details. Scott Boswell, Samhain Dance from Jug of Punch. See his Contributor Page for details. JEM, Marc et Virginie (instr) from Régression. See the Contributor Page for details. Jaime Heras, El Fuego Que Corre from Album de foto. See his Contributor Page for more details. Flavio Simone, Attente from Orchestrale. See his Contributor Page for more details. James Underberg The Battle, A Lonely Dance and Z. See the Contributor Page for more details.   For incidental music: Diane Arkenstone The Secret Garden. See the Contributor Page for details. Kim Robertson, Angels in Disguise. See the Contributor Page for more details. Time Ticks Away by Jigger See the Contributor Page for more details.   For our Theme Music: The Skylark and Haghole, the brilliant Culann's Hounds. See their Contributor page for details.   Additional Sources OBOD And, of course, the Awen - inspiration and imagination!   Extra Special Thanks for Unrestricted Access to Wonderful Music (in Alphabetic order) Anne Roos Extra Special thanks go for permission to use any of her masterful music to Anne Roos. You can find out more about Anne on her website or on her Contributor page. Caera Extra Special thanks go for permission to any of her evocative harping and Gaelic singing to Caera. You can find out more about Caera on her website or on her Contributor Page. Celia Extra Special Thanks go for permission to use any of her wonderful music to Celia Farran. You can find out more about Celia on her website or on her Contributor Page. Damh the Bard Extra Special thanks go to Damh the Bard for his permission to use any of his music on the Show. You can find out more about Damh (Dave) on his website or on his Contributor page. The Dolmen Extra Special thanks also go to The Dolmen, for their permission to use any of their fantastic Celtic Folk/Rock music on the Show. You can find out more about The Dolmen on their website or on our Contributor page. Keltoria Extra Special thanks go for permission to use any of their inspired music to Keltoria. You can find out more about Keltoria on their website or on their Contributor page. Kevin Skinner Extra Special thanks go for permission to use any of his superb music to Kevin Skinner. You can find out more about Kevin on his website or on his Contributor page. Phil Thornton Extra Special Thanks go for permisssion to use any of his astounding ambient music to the Sonic Sorcerer himself, Phil Thornton. You can find out more about Phil on his website or on his Contributor Page. S.J. Tucker Extra Special thanks go to Sooj for her permission to use any of her superb music. You can find out more about Sooj on her website or on her Contributor page. Spiral Dance Extra Special thanks go for permission to use Adrienne and the band to use any of their music in the show. You can find out more about Spiral Dance on their website or on their Contributor page. You'll also hear us wish you Nadolig Llawen a blwyddyn newydd dda at the end of the show - this is Welsh for Merry Christmas and a Happy New Year! :)   Save Save Save Save