No, it doesn't have to be acoustic, but it sounds more rootsy if it is. Also, I like singers who aren't breathy whisperers - I like singing that comes from the diaphragm in the thorax, not the one in the microphone.

It probably doesn't have to be acoustic, but I'm such a die-hard old folkie (fogie?) who's been listening to folk since 1959, from the Almanac Singers onward. So while I like to think I'm open-minded and progressive, when it comes to folk music I have to say that I am a traditionalist. Mountain dulcimers and hammered dulcimers only please; no electric dulcimers.

Its still acoustic if the mic is in front of the guitar or stuck inside the hole of an acoustic guitar. If the mic is replaced by a little metal strip under the saddle, is it picking up the string vibrations like an acoustic or like an electric?? We call it "electric" if the sound is modified by electronics other than an increase in volume. Technology does amazing things though. There are sampled electronic sounds that are all but indistinguishable from the real thing. That is, until the power goes out. (but folkalley quits then too.) All I can say is, I know what I like.

Plug 'em in! Any music you can play in your living room is folk music.

Well, I'm not one to get technical but sometimes foreign water will do that to me. I have those metalic strips under the saddle of my guitars, and I think of them more as "amplified" than electric. They sound just like an acoustic guitar should, just louder so they're heard above, coffee grinders, flushing toilets and police sirens. Of course the sound console could be changed to make them sound like a bowling alley, but then I'd be confused with some hip-hopping rapper instead of a folkike intent on not leaving a dry seat in the house.

Does it have to be acoustic? No... not unless you want me to listen to it~ *s* Yeah, I'm an old folkie.. and this discussion has raged on since before the first issue of the old "FRETS" magazine was published. However, I think we can all also agree that if it were not for the "Electric" part- there would be no pickups, no microphones, no mixing boards- no CD's- and no Folk Alley! And Tony Joe White, for one who comes to mind at the moment, can certainly make a solo electric guitar sound totally mournful. But, having said that, If perchance I should ever have a total meltdown- and want to listen to the crunch of screaming electric guitars, I will simply tune in to any local rock station in any town. And I don't think I'll be hearing "Folk" music!

I think of folk music as minstrel music; played by people on the road or at a campsite. I don't consider electric guitars as part of folk music. I realize there is enhancement of acoustic instruments by electrical devices, and that, to me, is still folk.

There's the tradition to folk music- the story telling and the poetry, which is a tradition going back hundreds of years - and then there's instruments that accompany. If you ask me - I say it must be acoustic. That's where I feel the emotions, the poetry, the story telling. But, if the tradition can be passed along with electric...sure, the stories are being told, but do we call it folk, or do we call it "easy listening" or "rock"? I prefer a singer and his guitar any time over anything electric - that's just not folk music to me.

Electric-folk is not a new concept. Witness bands such as Fairport Convention, and Steeleye Span. The key to using electric instruments is the same as the key to using acoustic instruments. Arrangement, arrangement, arrangement!!!

Yes--"electric folk" is certainly nothing new. And if it wasn't for the bands you mentioned above--Fairport and Steeleye, I never would have found the ecoustic more traditional stuff that I now love too. I came from rock, so when my uncle played me Steeleye, I was able to identifty with it. Just a couple months later, I was listening to the very raw, acoustic, and traditional first album from Martin Carthy and I loved it. That bit of electric guitar was all I needed to get "hooked." I found it interesting when Google's searches came up with no acoustic references with folk music. That was suprising. But if my uncle would have started me with that Carthy record, I probably would have rolled my eyes and said, "Where's Alice Cooper?" Instead, the electric versions of those songs only made me seek out the raw, more traditional side of the music. So if an electric guitar can convert some rock punk to folk music, maybe it's a good thing.

"My amp goes to 11"

Just remember that there are 2 worlds of "folk." There's the bigger picture that includes Nanci Griffith, Patty Griffin, Lyle Lovett, etc. ...All musicians who have great bands (usually) and have all sorts of electronics going on.
Then there's the kind of underground thin slice picture (think Folk Allicance) that kinda gets nervous when you plug in your guitar and are still suspicious of soundboards.

It's just a matter of preference. Different strokes and so on. Personally, I like a little production and life in my music.

Maybe in olden days musical instruments had to be purely acoustic because electricity had not yet been discovered much less utilized.

Being a city boy, the only purely acoustic music I ever hear is at a house concert in someones living room or around a campfire. When practicing I play my Martin D28 through a small acoustic amplifier.

My favorite place to experience folk music is Uncle Calvins Coffee House in Dallas, Texas. Uncle Calvins has a great sound system, and a great sound man. Some "folk" performers plug in their acoustic instruments while others prefer to be miked. Sound reinforcement is used to enhanse communication between the performer and the audience. If a song is worth writing and playing then it's also worth being heard.

Each summer I attend the Kerrville Folk Festival, the Woody Guthrie Folk Festival in Okemah Oklahoma, the Falcon Ridge Folk Festival in New York and in September I will go to the Sister's Folk Festival in Oregon. A lot of electrical juice is used at these "folk" festivals to amplify the instruments and the artists. Why so much amplification? My guess is so that thousands of people can hear what's going on up on the stage.

My conclusion: Do whatever works, and, hopefully, it will be appropriate to the situation.

My new Larrivee is the first "acoustic electric" guitar I've ever owned. I also own and record with a keyboard. My roots are deep in the blues tradition where a beat up amp on the front porch with an extention cord plugged running into the living room is commonplace.

Of course it's still folk music as long as the performer keeps to the basic feel of the song and doesn't turn it into a rap, heavy metal or hiphop remix! I recently bought a Larrivee electric acoustic, because I fingerpick and find that a microphone stuck close to my hand sometimes gets in the way. Unfortunately, we don't always get the chance to play in optimally quiet settings and have to get the sound out to those who really want to hear it!

One of my favorite folk singers is Greg Brown. His buddy Bo Ramsey's tasteful electric guitar backup makes Greg's songs work for me, adding just the right touch of feeling and excitement.

Garnet Rogers does some interesting "electric" stuff as well, very evocative.

When critics said Steeleye Span's electrified music wasn't authentic to the English folk tradition, band members replied that it was no less authentic than playing it with Spanish acoustic guitars, or for that matter, than singing English folk with harmonies. So how picky do we really want to get?

well if your listening to "folk alley" coming over the
iNet and it is being amplified thru the computer circuitry and then put thru some kind of electromagnetic transducers (speakers) - - this discussion is kind of like the bible - it's true because it's true because it's true - the logic is so simple

Folk music needs to be heard and sometimes it needs to be amplified, anyone who has played in large pub venues will tell you the voice loses all the emotion and feeling when you have to shout over the customer chatter. Its the sound which makes folk music, it needs to be played & sung with feeling and expression and you can't do that if you are hoarse, half way through a 3 hour Gig.
Billy J Island Folk

I definitely agree that amplification helps - I use it myself, especially in rowdy venues where a mic stand can come in handy.

I just don't want the mic to replace the vocal skill - the ability to sing from the gut - that I see so many young singers lacking.

SING the song, don't husk it, mic or no mic.

BTW, many times that hoarseness comes from singing from the throat, rather than the diaphragm. Relax and let your lungs work, and you'll find your voice carries farther and lasts longer.

Its the cigarette smoke that kills me!

Right on Wroy, (is that a typo?), while I spent 6 mo in Phoenix last year and frequented the Fiddlers Dream, an all-acoustic listening room/coffee house several times a week, on the way home I would often stop at an Irish Pub which featured amplified celtic-rock and traditional celtic music in a totally different atmosphere... drinking & smoking encouraged ! While I loved the "purity" of the former, I must admit that the raucous and celebratory atmosphere, (which is really more traditional?) of the latter was equally enchanting. Long live folk music in all of its forms! Ron Chamberlain

Hey Jim Ppkin, as an after thought, given your aversion to smoke,(does this also apply to fireplaces and campfires?), you would have missed ALL of the great roots & blues music that took place in such "negro" clubs and bars as Cunningham's Country Club in Gainesv ille FL in the early 60's. Your elitist attitude would have been seen as condescending at best and racist at worst by the great artists that came out of that tradition. Ron Chamberlain

I used to smoke. I also used to puke myself and wet my knickers, but I grew up.

I've had three great friends - all nonsmokers - die of lung cancer from playing in clouds of cigarette smoke all their lives. I've been left so hoarse from secondhand smoke that after a string of gigs my own wife didn't recognize my voice on the phone.

You want to start name-calling over a simple fact, that's your issue. Here's mine: cigarette smoke is a filthy killer, and those friends of mine that smoke are dooming themselves and those around them to the ugliest death known to mankind.

If that makes me an elitist or a racist in your book, Ron, I'll wear that badge with honor. I've earned the right to speak my mind through grief and pain I pray you will never know.

And I still go back into those smoky rooms, because that is where the money grows. I'd sure prefer it if all those rooms were smoke-free.

The point I wanted to make has already been made once, but it's worth emphasizing: if your objection to electric guitar (or dulcimer or whatever) is based on the sound of the instrument, that's a perfectly valid subjective choice. If it's based on some concept of "authenticity", however, it's short-sighted. Playing "Matty Groves" with a Telecaster is no more or less authentic to the history of the song than playing it on a Martin D28 or a banjo.

The kinds of arrangements that Steeleye Span made were completely within the spirit of the folk process, bringing the songs to a contemporary audience, just as the Weavers did with guitars and banjos.

There was an electric version of "Over the Hills and Far Away" that came out in the mid-80s, some band called Church or The Church...but it seems there were a couple of bands by that name, one did a great job, the other...not so great. Anyone out there recall who did the great version?

Over the hills and far away - Led Zepplin?

At the beginning of this year, Ireland's public places have become non-smoking. At first the publicans (bar owner/tenders) hated the idea. They saw it as chasing away business that had always smoked. Patron resisted and said they'd smoke anyway. There were fines imposed and all that sword rattling made for pretty decent song.

True enough, after a couple of early months of kicking and screaming the pubs regained the lost business (smokers would just go outside and litter the sidewalks) and new patrons entered happy to be smoke free.

Performing in pubs now is so much better, not just for us performers but the audience seems to like it better too. So whether they've been acoustic or electric fags (remember, there's s theme here) Everyone's better off without them.

I can remember in Chicago years ago, when Bonnie Koloc (who?) would stop in the middle of a song and yell at someone to put the fag out. Brave girl, way back then. More gutsy today.

"Hey Jim Ppkin, as an after thought, given your aversion to smoke,(does this also apply to fireplaces and campfires?), you would have missed ALL of the great roots & blues music that took place in such "negro" clubs and bars as Cunningham's Country Club in Gainesv ille FL in the early 60's. Your elitist attitude would have been seen as condescending at best and racist at worst by the great artists that came out of that tradition. Ron Chamberlain"

Where do you get off with this tripe? A singer indicates that playing smoky bars is hard on his throat and you call him elitist and condescending? Worst, you raise the spector of rascism? If there was any racist comment made, it was your prejudical stereo-typing. I know there has been many, many days where I paid for having played in very smoky clubs the night before. For me, when it is bad, it usually takes about 3 days before my voice returns. If that makes me an elitist, sign me up.

Maybe you are a defensive smoker who thinks you have a god-given "right" to do as you please regardless of others, but if that is what you think, you are dead wrong. You owe Jim an apology, but I suspect you will just turn on me instead. Well you can let her rip.

As for the topic at hand, I prefer acoustic folk music, but I am not a purist. I recently got a pickup for my acoustic guitar because I am tired of being drowned out by the other instruments that have them already. I just have to go with the flow, but my preference would always be to play without amplification of any kind. That is seldom possible for me when I am playing in public. Even when you have a decent sound engineer managing the board, if they are using the wrong mics, the acoustic instruments do not sound acoustic, anyway.

Jack Swain

No need to draw ire, Jack, and no apology needed or expected. I've been dealing with cranky, defensive drug addicts most of my life. Limitless self-justification, very little follow-through, and nothing written, said, or sung can wake'em up until they want to change themselves.

Still we can hate the sin but love the sinner, bless his nicotine-stained little head. I love you, Don, please find a way to get right with yourself.

Didn't I recently hear an interview where Pete Seeger said electric music is the folk music of the 21st century?...so if Pete says it's okay, it's okay.

I think anytime you try to slap one label on something that's alive and growing and constantly evolving you run into trouble - especially with music.

Myself, I'm far from a purist . My ears especially perk up at the sound of a steel guitar. Some people will say that makes it country music --- and the debate begins. Is country music folk music? ugh. This is exhausting. [The answer by the way is- yes. Country music is folk music....Fear Not the Steel Guitar!]

Used to love hearing Jerry Garcia's pedal steel work - his artistry on "Teach Your Children" is just timeless - so does this make CSN&Y "Country"...??

I'm with you, Linda, I just love HONEST music, something without too many corporate logos stamped on it, from the heart of the writers and players.

Let'a ask John Hiatt? If a song writer or performer needs an electric "push" to get the sound that he or she wants then who am us to question it anyway?

JimPipkin:

I want to echo Jack's comments about the about smoking. I would have remarked earlier but I didn't want to appear ganging up or contentious, etc. This is very timely given Peter Jennings and then Dana Reeve (allegedly, the latter never smoked and got lung cancer from second-hand smoke performing in smoky clubs). Just because humankind has made some poor to horrible to disastrous decisions in the course of history, doesn't mean we have to continue the tradition. It's hoped that the collective brain can learn from its mistakes.

Folk music does need to be pure acoustic, no under saddle pickups, no mics mounted inside guitars, etc. If it needs to be louder for performances to large crowds, use a mic, a Shure SM-94 does just fine. I once heard that if you don't play to the air first, its not acoustic. The wood, steel and the player, not the amps.

My humble definition of 'Folk Music', is, 'music enjoyed by folk'. Not original, but I like this definition. Not so many years ago, I could walk from room to room in our house and listen to, and enjoy, anything from Steeleye Span to Woody Nelson to the Bothy Band to Eric Clapton an on through Fleetwood Mac and Wagner. All of this music was amplified via radio, TV and music centre - I know that this is a silly point - but music is, by definition, amplified in some form or other, so - play in whatever form suits you - it's all music for Folk!

Maybe a lot of us who identify as folk fans have in common that a well played acoustic guitar tickles the pleasure centers of our brains. Pure acoustic even when amplified? Maybe not as contradictory as it sounds. I know that when I plug in my acoustic/electric, my guitar goes straight from Jeckle to Heckle. The rate of attack and decay for each note goes all out of whack, because the strings sustain like crazy, compared to what they do when I play into a mic but don't plug into the board. Pretty far along the road toward sounding like an electric guitar, really. When I play into a microphone, it sounds like an acoustic guitar, just louder. Sounds good, I just don't like being rooted into one place, pinned into position by both the microphones. It makes for a real awkward stage presence.

Oy, why do we always examine the fuzz in our belly buttons? I understand about the examined life, but folks, do we need to do this every other month?

While when I play an electric it sounds harsh and mechanical, I assume it's because I usually play acoustic. When I listen to St. George, Steel Eye Span and Fairport Convention I have to agree with Mr. Seeger.

I've noticed the piezos reduce the warmth and depth of my guitar and the $29.95 Radio Shack condenser mike I stuck inside my guitars seems to do OK for amplification. The added plus is I don't knock it six or seven times a minute as I usually do a guitar mike.

It sounds to me like the debate here is not so much about instruments, as it is about tradition. Splitting hairs over what the definition of acoustic is-seems endless…and honestly, fruitless. Tradition can be a beautiful thing-like an anchor, a heritage and above all, a strength to find comfort in. I think tradition also has an ugly side. It is fueled by fear (of what?)- And is bent on quenching the movement of freedom through song. I wonder how many who experienced the music of the 60’s had the full support of their elders?
Last weekend I had my first real campfire experience. When push came to shove, we joined together to sing (ironically) CSN’s “Teach your Children”. We sang the verse “and know they love you…” with every ounce of love we could muster. It was powerful and beautiful! That to me was folk music. Whether it’s acoustic, accapella or WHAT EVER, the music needs to come alive, show the love or tell a story that is timeless.
I suspect that while bickering over the legalities of what makes this acoustic, or that ‘real folk’- someone’s gonna miss the boat- and it’s begging to be heard.

I doubt too many people would have trouble with Enya on a Folk station, and almost EVERYTHING in her arsenal is electronic.

And who wouldn't enjoy an occasional string pad in a slow melodic folk guitar number?

In order for the music to be truly "folk' it must be in the tradition, communicating something that is in common between people, either lyrically or musically.
You can't communicate if the communication can't be heard. If the lyrics or the beauty of the music is distorted or obscured by drums or electrified instruments or any other impediment, they have no place there.

this is my first day on this site sooo... i figured id add a little something

i think the definition of folk music, like the music itself changes over the years. and what seems to me to be folk music can be thought of as many different things not just what is traditionally know as folk music. personally i like the raw acoustic sound that comes with front porches and campfires but its near impossible to get that anywhere else.

these days some sort of amplification seems needed if music is going to be played for (with?) more than just a few people. im a banjo player and very rarely can i play and be heard without a mic.

thanks

I don't mind the acoustic player who doesn't plug in or add amplification, but its a strain to hear them at a larger venue.

If they're using a microphone, I can hear the voice, but I can forget about catching the melody of the guitar. (too many years of listening to my music too loud in headphones no doubt.) But plug in and then put out a riff that's melodic finger pickin with some sweet vocals and I'll call it acoustic...You bet! And I'll stay for the entire show too. Rock it out and hit it hard and I call it Folk Rock. As long as there's a song with real words, a story to tell, and a heart break somewhere in the tale, I call it Folk first, and whatever describes the style as an addendum .

Holy crap (I'm avoiding the word smoke), I go on vacation for a week with no computer and come back to this conversation. I loved hearing all of the opinions both ways. I feel electric music can most certainly be used in "folk music" as many examples have been cited. It comes down to context with me. I play a number of instruments and one of them is ELECTRIC DULCIMER (lap dulcimer). There are times when I am just totally rocking out a normally acoustic folksong with full electric accompanyment. This just doesn't work for any folksong (many categories here, Irish, Old-Time, Bluegrass). There has to be an element or a feeling in the song that "translates" to an electric interpretation. What that means is my own personal feeling of translating well or correctly. I find most songs do not cross over well, but ones that do, really do. I also play the occasional Old-Time or Irish fiddle tune electrically. Again, most don't translate well but once in a while it will. I have a good version of Cluck Old Hen that I really like and also a version of Musical Priest, an Irish fiddle tune. Once in a while, an electric chord behind an otherwise all acoustic setting can emphasize a certain type of feeling. Again, it's got to be tastefull in the CONTEX of the song or tune. Then it goes back to personal taste.

A side note here. Bill Haley and the Comets, one of the acknowledged pioneers of rock and roll had a pedal steel guitar in his band. As everyone knows, they didn't play country music. In the 1940's Bill Monroe had an accordian player in his band and they didn't play polkas. To me a specific type of instrument doesn't make up the category. Thanks to all who participated. This was one great discussion.

Great example of non-country pedal steel use. There are many examples really... Which reminds of k.d lang's quote about the great and power Greg Leisz, where she says he has "single-handedly liberated pedal steel from the bondage of country.” Greg most recently recorded with Loudon Wainwright for his latest CD, "Here Come the Choppers," where he plays pedal and lap steel.

Also, there are the Campbell Brothers! Not country by any stretch of the imagination. They played the Folk Alliance conference a few years ago, so I guess that makes them folk musicians! Hooray! Hey Jim Blum, how about some Campbell Brothers! :-D

Chuck Berry recorded a song or two on a lap steel guitar in his early days and it wasn't meant to be country, although much of Chuck's music had a strong vein of country running through it. Robert Randolph plays straight out blues on his pedal steel guitar. There used to be a fellow named Jimmy Day who played pedal steel for Clay Blaker and the Texas Honky Tonk Band back in the 1970's who played plenty of country, but could play pretty much anything you threw at him on his pedal steel. He was very versatile. I don't know if he is still around.

I don't want to diminish the discussion, but Bill Haley played plenty of country music in his early days before he struck success with rock and roll. It was not unusual for the early rockers to borrow heavily from country music and include some of it in their acts.

Jimmy Day is in the International Steel Hall of Fame. He played with a lot of the greats - Ray Price, Charlie Walker and Willie Nelson among others. Some of his work can be heard on Nelson's "Shotgun Willie" album, also on Walker's 1958 hit "Pick Me Up on Your way Down."

Jimmy passed away in 1999.

Yes, that's the guy. He was a cantankerous old coot, but I loved him.

YES! Real folk music must be acoustic.

If we reel back in the blog (pardon the pun) Jim Pipkin on 18th August asked who produced the great version of "Over the hills & Far Away" in the mid-Eighties.
Well, the theme music to the Napoleonic era tv series "Sharpe"starring Sean Bean featured "Over the Hills & Far Away". The album is available through "Amazon" and the musicians were John Tams, Kate Rusby, the "Light Division Band & Bugles, & the "Moscow Symphony Orchestra", the former musicians definately folky, and yes, there was electric backing, but done very tastefully and well-arranged. The composer is credited as Dominic Muldowney, and the conductor as Captain RJ Owen.

Perhaps Folk Alley could review the album (please!!) and play some of the folky tracks sometime.

Anyway, I hope this helps

Thanks Suzy - I will head right out to Amazon to track that down!

punkabilly folkpop is the genre that i like - and no Ron - it's *not* a typo - just not too loud - about
83 - 85 dB SPL -

ans ps: don't you guys just LOVE this radio station!

I was just thinking about Fairport Convention & Steeley Eye Span and Jennifer Cutting's New Royal George.

Let's see.

They didn't have guitars when most of the Child ballads were originally sung. The dulcimer is a fairly recent invention as well (my understanding is it was developed to be cheap and small enough to haul into the valleys and hollers).

Things evolve.

I played Will the Circle Be Unbroken at a song circle a few weeks ago. A fellow came up to me afterwards and told me I played it too fast and too uptempo. I do it as a blues rather than a dirge and this guy was irate I had the nerve to do it in the manner I like. I didn't get mad but have been thinking about it a lot since it happened.

Me? I think we ought to encourage every member of the Folk Police to find something better to do.

The best definition of Folk Music I ever read was from Arlo Guthrie on the usenet a few years back. His contention is that folk music isn't a genre, but a collective name for a wide variety of musics- blues, country, old timey, etc. designed for folks to make themselves as oppposed to the 'fine arts' musics that require an acquired taste and a formal setting.

I liked that a lot.

Sure, acoustics are great,...when in the livingroom or the back yard, or around a campfire. But how do you reach an audience of thousands, indoors or out, without electric? And how do you record? It's the music and how you can make it sound. Does it work? If it works, do it.

In the mid 19th century there were two pitches for the violin or fiddle--low or home pitch and high or orchestral. Eventually, solo fiddle and low pitch died out. Not much of a gain in the view of some. Earlier, when the printing press arrived, extemporaneous composition began to fade in favor of more complex set melodies. Not much of a gain in the view of some. Earlier yet, the bardic order was disbanded because it posed a threat to the secular nobility. Not much of a gain in the view of some. Now we talk about acoustic versus electric. We drift through time. We hope to find the pathway.

Well , I'm new to all this but I love Folk Alley . I am the " king of the no - talent - bum - guitar wannabes." I say this because with my arthritis in my left hand,I might find the electric much easier to strum. I love the Arlo definition of Folk Music, I think it is a big tent. If I can do my Dylan , Simon , Taylor , Young , etc. on an electric turned real LOW, I'll do it and feel like a Folkie and be proud of it. At 56 , I am so much more spiritual and good music is about the most spiritual thing I do . If I could only play better .............. Thank you. This and WFUV will be my " points of listening " from now on !

The Oxford English Dictionary(is there any other?)says that folk music is a music of the people or popular of the time. On that basis could the Beatles, in the sixties or the Doors, of the seventies be classified as Folk? Maybe or maybe not! I tend to consider that an acoustic (ie not synthesized) instrument is an essential ingredient of the "folk sound" How do we diferentiate between a Bohdran or bongos or a full drum kit? Early Jazz and Blues was reliant on acoustic instruments due to the fact that amplification was not available. I would suggest that as "Folkies" we tend to derive our pleasure from the acoustic sound, wether or not this is amplified or not. I consider that if it is more audible and more accessible by the masses then we are providing music for the people. having recently discovered Folk Alley, I must congratulate the people who put the whole thing together for giving me the chance to experience new musicians and my old favourites at the same time. Well done.

Paul: I'm so glad you said what you said. If folk music is music for people about people--reflecting their troubles, dreams, environment, time, and social outlook, could we then say Urban Hip-Hop is folk music? Do not fear--we will not be adding Dr. Dre into rotation, but I think it's an interesting idea nonetheless. That music (Hip-Hop) certainly addresses these things, as does Jazz, and yes, The Beatles--who you will hear on FolkAlley! :)

The OED is a fine resource, Paul, but in this sliver of the music world, the experts seem to favor this definition: music handed down through the aural tradion

Whoops, hit post when I actually didn't want to- what I was trying to get at was the 'folk police' would have us believe the academic definition routed through the song collector's era of the 1900 to circa 1960 era. The song must not have an identifiable lyricist or composer and must have been handed down through x generations (to have withstood the test of time).

But I don't buy that anymore than I buy hip-hop records.

And yeah, Norwegian Wood is a great song.

Congrats on the new layout. Love listening. Times is 'Ard' at the moment and it is so reassuring to listen in.
Wednesday nights I play and sing at a session in Conklin Michigan.
You do good stuff.

>>And yeah, Norwegian Wood is a great song.

And it sounds great frailed on an open-back banjo, too!

I heard a great song Sunday, September 18 between 9 and noon (EST) on folk alley. I just can't get it out of my head and I cannot find it in the playlist for that day. I only remember a few of the lyrics and it was sung by a woman. It may have been a cover of the song. It was prefaced by the artist - she was saying she was so impressed by the lyrics.

The gist is man crawls out the ocean, evolves, sails viking ships, makes a mess of things continue on into outer space, faces up with God, and still asks: How did it come to this? I'm really worried about my creation, How did it come to this? I'm really worried about this......

The guitar riff is walk-up hook throughout the song.

Can anyone tell me the name of this song and the artist(s).

Thanks,

Dora

I rather like the definition "Music handed down through the aural tradition" as the definition of folk music as proposed by Scot Witt on the 14th Sept.

This definition encapsulates two distinct possibilities.

The first possibility is that folk music would reflect a point in time when it was decided that the epitome of "folk music" had been reached and from that moment on the entire body of work would be handed down without change to future generations ad nauseum. Uugh!

Alternatively, as the very first music must be derived from the first homonid humming away to himself while napping flint or some other erstwhile prehistoric activity, the definition could be argued to include all music around today.

Therefore, the definition is, in effect, a rather neat way of allowing anyone to decide what they consider to be folk music and still call themselves afficionados of folk music.

The second one, Bill, and yep, I agree. Big Bill Broonzy said it best I think when the Folk Police were on him for singing a pop song: I didn't hear no horse sing it....

Folk music can definately be electric. Eddy lawrence is my favorite folk artist and he plays some songs acoustic and some electric. His songwriting, singing and guitar playing comes with such heart and feeling. That's what matters the most.

I would consider Steve Earle to be a folk musician and he has many songs with electric instruments

I would consider Steve Earle to be a folk musician and he has many songs with electric instruments

If a forefront of amplification tends to diminish the focus of poetic vocalization, it is not the folk music it could be. Yet, if the artist's melodic message is enhanced by an electronic background, encouraging the appreciation of fictional fantasies, historical settings and, socio-cultural conflicts, it too ought to be blessed.

If a forefront of amplification tends to diminish the focus of poetic vocalization, it is not the folk music it could be. Yet, if the artist's melodic message is enhanced by an electronic background, encouraging the appreciation of fictional fantasies, historical settings and, socio-cultural conflicts, it too ought to be blessed.

If a forefront of amplification tends to diminish the focus of poetic vocalization, it is not the folk music it could be. Yet, if the artist's melodic message is enhanced by an electronic background, encouraging the appreciation of fictional fantasies, historical settings and, socio-cultural conflicts, it too ought to be blessed.

no any doubts try Runrig,full house ,the albion band

no any doubts try Runrig,full house ,the albion band

the music speaks for its self here in the uk folk has taken a journey from the uk to the world and back. We now dont just have folk we have world music ,that is folk music from everywhere else. What i considered to be folk is that that is just on a journey round the world So music is music ,enjoy i play both and say if you need to be heard electrifiy ,look at dylan they called him judas here in manchester when he first came to these shores , no he saw what was ahead and said "come with me "he still got back to his starting point. We all do if we leave it ,if not we may stagnate ? i would rather play whatever wherever i can and be heard and enjoy .Play it loud and play it proud anyway you can .

david alan garrity

i think the point of any music for any musician is get at what you hear in your head or feel in your soul or however you want to say it, and to communicate something meaningful to the audience. the tools you use really aren't the point in my opinion.

"All music is folk music. I ain't never heard no horse sing a song." Louis Armstrong