Search - Various Artists :: Washington Square Memoirs: The Great Urban Folk Boom

Revive us again

Jerome Clark | Canby, Minnesota | 06/16/2001

(5 out of 5 stars)

"The New York Times this week refers to the "new folk revival." Even from that elevated vantage it is clear that rooted sounds are rising from the ground once more, and that's a cause for rejoicing. Along with it, there's what might be called a folk-revival revival, a growing interest in the legendary folksong movement that reached its apex in the early to mid-1960s, leaving an indelible mark on American popular music ever after.

This welcome, (mostly) judiciously selected collection of songs covers the early revival and follows it to its end, just as "folk" was being redefined as a vehicle for personal introspection rather than as a traditional, communal form of expression. Anyone who was touched by the revival, or who is curious to know what it was about, should claim Washington Square Memoirs as quickly as it takes to retrieve cash, check, or credit card.Now the inevitable quibbles about choices: Joni Mitchell, James Taylor, and Simon and Garfunkel aren't here because the editors couldn't get legal clearance, so their absence is excusable. But why not Leonard Cohen? And why Bob Gibson's dopey "Fog Horn" and not Patrick Sky's great reading of "Reuben" or, failing that, "Cape Cod Girls"? Why Ed McCurdy's pedestrian "Darlin' Corey" and not his sterling version of "The Two Sisters"? Why not a less dated, more interesting Paul Siebel song than the mopish hippie ode "Then Came the Children" -- say, "Louise" or "Long Afternoons" or "My Town"? And it is hard to think or speak or write of the Limeliters' arrangement of "The Wabash Cannonball" without conjuring up the adjective "hideous."As one listens to these three discs, sometimes it is best to keep historical value as much as musical virtue in mind. You might say, if you're in a charitable frame of mind, that some of these songs -- the Big Three's "Nora's Dove (Dink's Song)" and Gibson and Camp's "Betty and Dupree" for two examples -- lose something in the translation from gritty folk plaint to pretty pop tune. Still, there are pleasures to be had in unexpected places. Not having heard the song for some 35 years, I was shocked at the lump in my throat as I was reintroduced to the Chad Mitchell Trio's earnest "Last Night I Had the Strangest Dream" (a once widely sung anti-war anthem and campfire song [composed by Ed McCurdy], for those of you too young to know what I'm talking about). And there's the almost maddeningly infectious melody of the Kingston Trio's "Molly Dee" (written by a very young John Stewart). Lucinda Williams has never been accused of writing maddeningly -- or even pleasantly -- memorable melodies. Maybe these uncool guys with crew cuts and striped shirts were on to something after all. Most of the music, though, lays claim to artistic seriousness and esthetic achievement. Lots of highlights, from the familiar to the obscure, and some happy surprises, such as the revelation of Judy Henske's excellence; her bluesy reading of Billy Edd Wheeler's "High Flying Bird" has an emotional and intellectual depth that probably didn't even shine as vague glimmer in the collective imagination of the Journeymen. Dylan, Dave Van Ronk, Ian and Sylvia, Koerner, Ray, and Glover, the late Fred Neil, Tom Rush, Odetta, Taj Mahal, Tom Paxton, Kweskin's Jug Band, and other giants of the revival deliver the goods (though -- so kill me -- Joan Baez bores as always). A special delight is the inclusion of the undeservedly forgotten Kathy and Carol's gorgeously harmonized "Wondrous Love," and it's good, too, to be reminded that there once was an Even Dozen Jug Band -- but jeez, why the merely decent "Take Your Fingers Off It" and not the hilariously inspired "Evolution Mama"? Ah, well, complain and listen and smile. Damn if it isn't true, but -- in the Weavers' words -- wasn't that a time?"

Was it that long ago?

Jerome Clark | 06/28/2001

(4 out of 5 stars)

"It is encouraging that this set may have been prompted by success of "The Best of Braodside" out on Folkways last year. In this case you get a pretty panoramic look at folk based music in the early 60s and people are certain to disagree on what is good or bad, should be in or should be out. The bottom line is that no matter what your point of view there is a lot of high quality music here and a good look at how folk music planted seeds for a lot of what is still happening in contemporary music. It was a great time, it was (and is) great music and one thing that can be agreed upon is that having Judy Henske's "High Flying Bird" back in print is a real important plus."