Off the Beaten Track
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Scotland's TANNAHILL WEAVERS “...an especially eloquent mixture of the old and the new...” NEW YORK TIMES Now in their 51st year, the Tannahill Weavers are one of Scotland's premier traditional bands. Their diverse repertoire spans the centuries with fire-driven instrumentals, topical songs, and original ballads and lullabies. Their music demonstrates to old and young alike the rich and varied musical heritage of the Celtic people. These versatile musicians have received worldwide accolades consistently over the years for their exuberant and humorous performances and outstanding recording efforts that seemingly can't get better...yet continue to do just that. ROY GULLANE PHIL SMILLE MALCOLM BUSHBY MIKE KATZ lead vocals, guitar flute, whistles, bodhran, vocals fiddle, vocals, bouzouki highland bagpipes, scottish small pipes, whistles SCOTLAND’S PREMIER TRADITIONAL BAND www.tannahillweavers.com [email protected] Scotland's TANNAHILL WEAVERS Listen: Òrach (listen on Spotify) The Geese in the Bog/The Jig of Slurs (download) Watch: Gordon Duncan Set Johnnie Cope Photos: (click for downloads) SCOTLAND’S PREMIER TRADITIONAL BAND www.tannahillweavers.com [email protected] Scotland's TANNAHILL WEAVERS Press Quotes "…the group has found an especially eloquent mixture of the old and the new. - Stephen Holden, New York Times “The music may be pure old time Celtic, but the drive and enthusiasm are akin to straight ahead rock and roll.” - Winnipeg Free Press “Formed from a Paisley pub session in 1968, seminal trailblazers the Tannahill Weavers now also rank as national treasures.” - Glasgow Celtic Connections 2018 “…the Tannies are the best that Scotland can aspire to (and believe me, that is THE BEST).” - The Living Tradition “Scotland’s Tannahill Weavers play acoustic instruments, but the atmosphere at their shows is electric. -
View Or Download Full Colour Catalogue May 2021
VIEW OR DOWNLOAD FULL COLOUR CATALOGUE 1986 — 2021 CELEBRATING 35 YEARS Ian Green - Elaine Sunter Managing Director Accounts, Royalties & Promotion & Promotion. ([email protected]) ([email protected]) Orders & General Enquiries To:- Tel (0)1875 814155 email - [email protected] • Website – www.greentrax.com GREENTRAX RECORDINGS LIMITED Cockenzie Business Centre Edinburgh Road, Cockenzie, East Lothian Scotland EH32 0XL tel : 01875 814155 / fax : 01875 813545 THIS IS OUR DOWNLOAD AND VIEW FULL COLOUR CATALOGUE FOR DETAILS OF AVAILABILITY AND ON WHICH FORMATS (CD AND OR DOWNLOAD/STREAMING) SEE OUR DOWNLOAD TEXT (NUMERICAL LIST) CATALOGUE (BELOW). AWARDS AND HONOURS BESTOWED ON GREENTRAX RECORDINGS AND Dr IAN GREEN Honorary Degree of Doctorate of Music from the Royal Conservatoire, Glasgow (Ian Green) Scots Trad Awards – The Hamish Henderson Award for Services to Traditional Music (Ian Green) Scots Trad Awards – Hall of Fame (Ian Green) East Lothian Business Annual Achievement Award For Good Business Practises (Greentrax Recordings) Midlothian and East Lothian Chamber of Commerce – Local Business Hero Award (Ian Green and Greentrax Recordings) Hands Up For Trad – Landmark Award (Greentrax Recordings) Featured on Scottish Television’s ‘Artery’ Series (Ian Green and Greentrax Recordings) Honorary Member of The Traditional Music and Song Association of Scotland and Haddington Pipe Band (Ian Green) ‘Fuzz to Folk – Trax of My Life’ – Biography of Ian Green Published by Luath Press. Music Type Groups : Traditional & Contemporary, Instrumental -
Social Issues in Ballads and Songs, Edited by Matilda Burden
SOCIAL ISSUES IN BALLADS AND SONGS Edited by MATILDA BURDEN Kommission für Volksdichtung Special Publications SOCIAL ISSUES IN BALLADS AND SONGS Social Issues in Ballads and Songs Edited by MATILDA BURDEN STELLENBOSCH KOMMISSION FÜR VOLKSDICHTUNG 2020 Kommission für Volksdichtung Special Publications Copyright © Matilda Burden and contributors, 2020 All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright owners. Peer-review statement All papers have been subject to double-blind review by two referees. Editorial Board for this volume Ingrid Åkesson (Sweden) David Atkinson (England) Cozette Griffin-Kremer (France) Éva Guillorel (France) Sabina Ispas (Romania) Christine James (Wales) Thomas A. McKean (Scotland) Gerald Porter (Finland) Andy Rouse (Hungary) Evelyn Birge Vitz (USA) Online citations accessed and verified 25 September 2020. Contents xxx Introduction 1 Matilda Burden Beaten or Burned at the Stake: Structural, Gendered, and 4 Honour-Related Violence in Ballads Ingrid Åkesson The Social Dilemmas of ‘Daantjie Okso’: Texture, Text, and 21 Context Matilda Burden ‘Tlačanova voliča’ (‘The Peasant’s Oxen’): A Social and 34 Speciesist Ballad Marjetka Golež Kaučič From Textual to Cultural Meaning: ‘Tjanne’/‘Barbel’ in 51 Contextual Perspective Isabelle Peere Sin, Slaughter, and Sexuality: Clamour against Women Child- 87 Murderers by Irish Singers of ‘The Cruel Mother’ Gerald Porter Separation and Loss: An Attachment Theory Approach to 100 Emotions in Three Traditional French Chansons Evelyn Birge Vitz ‘Nobody loves me but my mother, and she could be jivin’ too’: 116 The Blues-Like Sentiment of Hip Hop Ballads Salim Washington Introduction Matilda Burden As the 43rd International Ballad Conference of the Kommission für Volksdichtung was the very first one ever to be held in the Southern Hemisphere, an opportunity arose to play with the letter ‘S’ in the conference theme. -
For Immediate Release: GREY FOX BLUEGRASS FESTIVAL “A Who’S Who of Bluegrass Music” JULY 15-18, 2010
For Immediate Release: GREY FOX BLUEGRASS FESTIVAL “A Who’s Who of Bluegrass Music” JULY 15-18, 2010 WINNER of IBMA BLUEGRASS EVENT OF THE YEAR AWARD On the Walsh Farm, Oak Hill, NY 12460 In Greene County NY’s Beautiful Catskill Mountain Region For the die-hard bluegrass fan, the thought of summer means making an annual pilgrimage to Oak Hill, NY where a normally quiet, out-of-the-way farm in rural Greene County is magically transformed into a community of world-class performers, exuberant fans, devoted volunteers, non-stop jamming, funky campsites, scrumptious food and booths filled with crafts, instruments and clothing. For the third week in July, the Walsh Farm is home to a colorful tent city of music, laughter, cooperation and good will! Long-time Grey Fox fans say it is a homecoming: a cherished reunion of friends who may see each other just once a year. Newcomers are struck by how warm and welcoming everyone is as they are quickly befriended by fellow fans, volunteers, vendors and even artists. “There may be several thousand people in attendance, but it feels like a small town where you know everyone,” says Australian, Jason Nicholas, now planning his third year at Grey Fox. The Northeast’s largest bluegrass festival moved to Oak Hill in 2008 after being held for decades in nearby Columbia County. To the new location, organizers brought all the components for which it is famous: multiple stages, hands-on learning workshops, festive foods, rustic camping, round-the-clock jamming and thousands of fans from all over the U.S., Canada, Europe and the Far East. -
Flatpicking Guitar Magazine Index of Reviews
Flatpicking Guitar Magazine Index of Reviews All reviews of flatpicking CDs, DVDs, Videos, Books, Guitar Gear and Accessories, Guitars, and books that have appeared in Flatpicking Guitar Magazine are shown in this index. CDs (Listed Alphabetically by artists last name - except for European Gypsy Jazz CD reviews, which can all be found in Volume 6, Number 3, starting on page 72): Brandon Adams, Hardest Kind of Memories, Volume 12, Number 3, page 68 Dale Adkins (with Tacoma), Out of the Blue, Volume 1, Number 2, page 59 Dale Adkins (with Front Line), Mansions of Kings, Volume 7, Number 2, page 80 Steve Alexander, Acoustic Flatpick Guitar, Volume 12, Number 4, page 69 Travis Alltop, Two Different Worlds, Volume 3, Number 2, page 61 Matthew Arcara, Matthew Arcara, Volume 7, Number 2, page 74 Jef Autry, Bluegrass ‘98, Volume 2, Number 6, page 63 Jeff Autry, Foothills, Volume 3, Number 4, page 65 Butch Baldassari, New Classics for Bluegrass Mandolin, Volume 3, Number 3, page 67 William Bay: Acoustic Guitar Portraits, Volume 15, Number 6, page 65 Richard Bennett, Walking Down the Line, Volume 2, Number 2, page 58 Richard Bennett, A Long Lonesome Time, Volume 3, Number 2, page 64 Richard Bennett (with Auldridge and Gaudreau), This Old Town, Volume 4, Number 4, page 70 Richard Bennett (with Auldridge and Gaudreau), Blue Lonesome Wind, Volume 5, Number 6, page 75 Gonzalo Bergara, Portena Soledad, Volume 13, Number 2, page 67 Greg Blake with Jeff Scroggins & Colorado, Volume 17, Number 2, page 58 Norman Blake (with Tut Taylor), Flatpickin’ in the -
Dance Theater of Harlem and a Large-Scale Recycling of Rhythms
dance theater of harlem and a large-scale recycling of rhythms. Moreover, the Stolzoff, Norman C. Wake the Town and Tell the People: Dance- philosophical and political ideals featured in many roots hall Culture in Jamaica. Durham, N.C.: Duke University reggae lyrics were initially replaced by “slackness” themes Press, 2000. that highlighted sex rather than spirituality. The lyrical mike alleyne (2005) shift also coincided with a change in Jamaica’s drug cul- ture from marijuana to cocaine, arguably resulting in the harsher sonic nature of dancehall, which was also referred to as ragga (an abbreviation of ragamuffin), in the mid- Dance Theater of 1980s. The centrality of sexuality in dancehall foregrounded arlem ❚❚❚ H lyrical sentiments widely regarded as being violently ho- mophobic, as evidenced by the controversies surrounding The Dance Theater of Harlem (DTH), a classical dance Buju Banton’s 1992 hit, “Boom Bye Bye.” Alternatively, company, was founded on August 15, 1969, by Arthur some academics argue that these viewpoints are articulat- Mitchell and Karel Shook as the world’s first permanent, ed only in specific Jamaican contexts, and therefore should professional, academy-rooted, predominantly black ballet not receive the reactionary condemnation that dancehall troupe. Mitchell created DTH to address a threefold mis- often appears to impose on homosexuals. While dance- sion of social, educational, and artistic opportunity for the hall’s sexual politics have usually been discussed from a people of Harlem, and to prove that “there are black danc- male perspective, the performances of X-rated female DJs, ers with the physique, temperament and stamina, and ev- such as Lady Saw and Patra, have helped redress the gen- erything else it takes to produce what we call the ‘born’ der balance. -
Doo-Wah Riders
DOO-WAH RIDERS KENNY LEE BENSON— VOCALS, ACCORDIAN, KEYBOARD, & HARMONICA When I was in my early 20s I decided to quit playing coun- try music in the beer and honky tonks of New Mexico and study music "seriously." I left Albuquerque and moved to Boston to go to music school. After two semesters I ran out of money and did what came natural... playing country music in beer joints and honky tonks. This time in the Northeast. In spite of playing with some won- derful people and players (including the legendary Sleepy La- Beef), I came to the realization that no matter where I was, I was always playing the "the worst place in town" and decided to get the hell out of Dodge. Torn between moving to Nashville and Los Angeles (I had an "ex" in Texas), I let my record collection decide for me. Emmy- lou Harris, Rodney Crowell, Brian Ahern, Byron Berline, Albert Lee and Chris Hillman were all in California and making the kind of records I wanted to make, so I packed up and moved there. Once again, I went to school and studied arranging and orchestration with Dick Grove in Studio City, California (my cur- rent home). One night after playing music at a friend's house, the guitar player and I stood in the parking lot and talked about country music until the wee hours of the morning. We found that we had a mutual passion for Bob Wills, Asleep at the Wheel, Guy Clark and, of course, Emmylou Harris; we decided that we should put a band together just for "laughs." Little did I know that the band would become a major part of my life and that I'd still be working with Lindy Rasmusson 30 years later! . -
![Louisiana Folk [Spring 2014]](https://docslib.b-cdn.net/cover/7773/louisiana-folk-spring-2014-257773.webp)
Louisiana Folk [Spring 2014]
LOUISIANA FOLK OFFICIAL NEWSLETTER OF THE LOUISIANA FOLKLIFE CENTER THE 35th ANNUAL INSIDE THIS ISSUE: NATCHITOCHES-NSU FOLK FESTIVAL 2015 Natchitoches-NSU Folk Festival The 2014 Festival theme is “Tricentennial Natchitoches: Celebrating Louisiana’s Folk Heritage.” The oldest permanent settlement in the Lou- Hall of Master Folk Artists 2 isiana Purchase, Natchitoches was founded in the winter of 1713-14 when French explorer Louis Juchereau de St. Denis set up a trading post Narrative/Informance Sessions on the Red River. The region came to be known for its thriving agricul- Workshops tural economy and as a hub of international trade between the French, Crafts 3 Spanish, and Native American populations. These peoples combined Friday Music Schedule with each other as well as with the region’s black population (both Louisiana State Fiddle slaves and freed people of color) to become families, giving rise in the Championship 4 area to a vibrant Creole people, who made their homes along the Cane Saturday Music Schedule 5 and Red Rivers. Today much of the region’s population self-identifies as Thanks to Supporters 6 Creole, with continued African American, Anglo, and Hispanic popula- tions adding to the cultural mix of Natchitoches. Although its borders General Information are smaller than in the past, Natchitoches Parish today is geographically Fiddle Championship Donation Form the largest parish in Louisiana, and the people of Natchitoches consider KidFest Exhibits 7 their heritage to be deeply tied to who they are. This Festival will cele- brate the ways in which the people of the Natchitoches region in North- western Louisiana have kept their diverse folkways alive through pass- Folk Festival Donation Form 8 ing them down from one to another in person to person contact. -
One Good Prophet
Jeremiah 23:21-31 One Good Prophet One of the favorite stories of native Texans is the legend of the Ranger sent to quell a big disturbance in a small South Texas town. When he rides into town, the mayor looks him over, dismayed, and says, “Where are the others? Are you the only one they sent?” And the Ranger calmly replies, “Well, you’ve only got one riot.” I think we like to consider ourselves, as Texans, heirs to that same tough self-sufficiency. “One riot, one Ranger,” if true, is an amazing tale. But it’s more generally the case that one person is helpless against the many- or if not helpless, at least stands little chance of winning the fight. Perhaps the better example of one man against the mob, or against lawlessness or evil, is the movie “High Noon,” in which Marshal Will Kane, played by Gary Cooper, all alone must face Frank Miller and his gang. For several reasons the townspeople refuse to help, his deputy deserts him, his bride of only a couple of hours rides away: out of fear certainly, or religious vows of non-violence, or a sense of accommodation to the evil, or belief in the lie that if the Marshal will just go, and they remain quiet, everything will sort itself out. It’s said that the movie was a metaphor for the nation’s response to McCarthyism in the 1950s- or the lack of response- as so many people of the time were able to justify their own silence, their own inaction against the abuse of power by those political bullies. -
Top 40 Singles Top 40 Albums
23 February 1992 CHART #798 Top 40 Singles Top 40 Albums Smells Like Teen Spirit Don't Talk Just Kiss The Commitments OST The Globe 1 Nirvana 21 Right Said Fred 1 Various 21 Big Audio Dynamite Last week 2 / 6 weeks BMG Last week - / 1 weeks FESTIVAL Last week 1 / 6 weeks Platinum / BMG Last week - / 1 weeks SONY Rush Cream Nevermind We Can't Dance 2 Big Audio Dynamite 22 Prince 2 Nirvana 22 Genesis Last week 1 / 9 weeks SONY Last week 12 / 14 weeks WARNER Last week 2 / 11 weeks Gold / UNIVERSAL Last week 22 / 11 weeks Gold / VIRGIN Remember The Time Turn It Up Waking Up The Neighbours Blood Sugar Sex Majik 3 Michael Jackson 23 Oaktowns 3.5.7 3 Bryan Adams 23 Red Hot Chili Peppers Last week - / 1 weeks SONY Last week 18 / 9 weeks EMI Last week 4 / 18 weeks Platinum / POLYGRAM Last week 19 / 16 weeks WARNER Justified And Ancient Pride (In The Name) From Time To Time Mr Lucky 4 The KLF 24 Coles & Clivilles 4 Paul Young 24 John Lee Hooker Last week 11 / 4 weeks FESTIVAL Last week - / 1 weeks SONY Last week 3 / 6 weeks Gold / SONY Last week 24 / 19 weeks Gold / VIRGIN Let's Talk About Sex Is It Good To You Shepherd Moons Full House 5 Salt N Pepa 25 Heavy D & The Boyz 5 Enya 25 John Farnham Last week 5 / 17 weeks POLYGRAM Last week 48 / 6 weeks BMG Last week 5 / 11 weeks WARNER Last week 16 / 7 weeks Gold / BMG Remedy Martika's Kitchen Achtung Baby Armchair Melodies 6 The Black Crowes 26 Martika 6 U2 26 David Gray Last week - / 1 weeks WARNER Last week 24 / 7 weeks SONY Last week 8 / 10 weeks Platinum / POLYGRAM Last week 31 / 3 weeks BMG Don't -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
Tv Guide Boston Ma
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