Singer(s) / Songwriter(s)
|The following introduction was written by The Weavers for "The Weavers Song Book," copyright (c) 1960 by Lee Hays, Ronnie Gilbert, Fred Hellerman, and Erik Darling; Harper & Row, Publisher, Incorperated, 49 East 33rd Street, New York 16, NY.|
To most readers of a book like this the crediting of material is of minor interest. To say therefore that the name "Paul Campbell," to which many of the songs in this book are assigned, was a pseudonym adopted from 1950 to 1953 for Ronnie Gilbert, Lee Hays, Fred Hellerman and Peter Seeger should ordinarily suffice. However, The Weavers' employment of a nom de plume had a significance considerably beyond its use as a publishing device.
In 1950, when The Weavers made their professional debut, they came into the commercial music world not so much as performers but rather as a sort of performing workshop, in which each member functioned at times and to varying degrees as lyricist, composer, editor, arranger, and researcher as well as singer and actor. In doing so we were hardly being original. Throughout history, musicians, poets, storytellers, tutored and untrained, have been doing just that and have been giving the world the never-ending flow of literature and music that in this country we call "folk song." Indeed it is by being subjected over a period of time to this handling and rehandling by many people that a song or combination of songs takes on that patina that identifies it as a folk song.
The contribution to a given song of a housewife, a cafe singer, lumberman and penitentiary prisoner cannot possibly be estimated by even the great professional collectors like Sharp, Botkin and the Lomaxes. Yet the intentional or accidental creative work of such unrecorded "sources" is implicit in every recorded and published variant.
It is with this kind of music that The Weavers were and are concerned, a music highly fluid in nature in which editing, adding, changing, often almost total rewriting are appropriate and necessary. The result of weeks, sometimes months, of work on such material is a body of songs that in the music industry of that time came to be known as "Weavers' songs," as indeed they were, for inevitably they took on the characteristics of the group and the individuals in it. In just this way does a "blues song" or a so-called "Calypso," though it may be the blending of endless borrowings from dozens of singers, come to be at last identified with a Leadbelly, a Blind Blake, or a Big Bill Broonzy who loves it, takes it and remakes it for his own.
In the highly complex realm of recording and publishing of 1950, The Weavers found little precedent for processing material produced through our accustomed modus operandi. In this book are pieces which are enlargements of fragments of otherwise forgotten songs. There are songs which are the result of combining elements of several songs. Sometimes our contribution is no more than a unique arrangement, an added verse or a line or two, or the simple restatement of the story or melody as we originally heard it. There are others which are totally the creation of one or another member of the group, edited and reworked by the others. To those songs which were published during the period between 1950 and 1953 we assigned the name "Paul Campbell," as representing both the combined efforts of the four people then known as The Weavers and the concept of musical work to which they were committed.
-- The Weavers Song
Book, copyright (c) 1960 by Lee Hays, Ronnie Gilbert,
Fred Hellerman, and Erik Darling; Harper & Row, Publisher, Inc.,
49 East 33rd Street, New York 16, NY.
|Songs written by
|1.||(Come On and) Join into the Game|
|2.||Kisses Sweeter Than Wine (with Joel Newman (Huddie Ledbetter))|
|3.||Lulloo Lullay (The Coventry Carol)|
|4.||Old Riley(with Joel Newman (Huddie Ledbetter))|
|5.||Shalom Chaverim (Glad Tidings)|
|6.||Sylvie (with Huddie Ledbetter)|
|7.||We Wish You a Merry Christmas|
|8.||Wimoweh (with S. Linda)|
|9.||When the Saints Go Marching In|
|A partial Weavers diskography:||Album Title / Catalogue #|
|1957||. . . At Carnegie
Hall / Vanguard #VRS 9010.
|1963||. . . Return to
Carnegie Hall / Vanguard #VRS 9130.
Greatest Hits / Vanguard #VSD 15/16. (2 LPs)
When the Saints Go Marching In * Kisses Sweeter Than Wine * Tzena, Tzena, Tzena * Last night I Had the Strangest Dream * Wimoweh * On Top of Old Smokey * Follow the Drinking Gourd * Sixteen Tons * Guantanamera * Wreck of the "John B" * Rock Island Line * Around the World * Goodnight Irene * Erie Canal * Wild Goose Grasses (In Tarrytown) * This Land Is Your Land * House of the Rising Sun * Aunt Rhodie * Gotta Travel On * Michael Row the Boat Ashore * Old Riley * Brother Can You Spare A Dime * If I Had A Hammer * Darling Corey * So Long It's Been Good To Know You.
At Carnegie Hall, November 28th, 1980: Darling Corey * In a Jocular Vein * Get Up and Go * Tomorrow Lies In The Cradle * Wasn't That A Time * Dark As A Dungeon * hay Una Mujer * Venga Jaleo * Kisses Sweeter Than Wine * When I'm Down For The Count * All Night Long * Something About The Women * We Wish You a Merry Christmas * Wimoweh * Goodnight Irene.
|1985||On Tour / Vanguard Records #73116 (CD)|