HDTenEightyP/NetNews huggingface dataset:
From: eamon@netcom.com (Charles E Taggart)
Newsgroups: rec.music.folk
Subject: Re: Folk music from Israel
Summary: Artist recommendation
Keywords: israel folk pop music
Date: 16 Dec 92 08:09:57 GMT
Organization: Netcom - Online Communication Services (408 241-9760 guest)

In article <1992Dec9.141436.4875@olymp.informatik.uni-bonn.de> prante@radium.informatik.uni-bonn.de writes:
>I am looking for folk music from Israel (jewish folk music,
>hebrew or whatever) maybe available on CD. I would appreciate 
>if somebody can give me advice if there are some recommendable 
>albums, singers, groups, musicians, or about any other interesting 
>information.
>
>Thank you! 
>Joerg Prante, Student                 Institut fuer Informatik
>prante@radium.informatik.uni-bonn.de  Universitaet Bonn (Germany)

A friend of mine (who's from Israel) just gave me a birthday present of a
tape by an Israeli artist called Yehuda Poliker.  Apparently this guy is a
pretty huge star over there, and his concerts draw big crowds.

I haven't had a chance to listen to all of it yet, but what I've heard is
excellent.  I wouldn't exactly call it folk, but there are strong ethnic
and folk strains to it.  Mandolins, bouzoukis and shawms blend with
electric guitars and drums.  Pretty wild and funky so far, and I've yet to
come across any vocals.  Great stuff!

The album I have is called FOR YOUR BLUE EYES, and the label is NMC.  It
apparently is available on CD, although I have a cassette.  Other than
that, I can't tell you, since 98% of the writing on the J-card is in Hebrew!
(As Danny said in the film "Local Hero":  'It's not one of my languages.')

Cheers,

Chuck
-- 
          ,                                          
  Charles Eamon Taggart   | "Whatever you is, BE that!" 
     eamon@netcom.com     |                  -- Clifton Chenier's barber
   eamont@well.sf.ca.us   | "A day without getting a strange look is a
 Santa Monica, California |  day wasted."   -- J. Gough, Heretic (Toasted)   
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Newsgroups: rec.music.folk
From: "howard kaplan" <howard.kaplan@canrem.com>
Subject: holly berry song
Reply-To: "howard kaplan" <howard.kaplan@canrem.com>
Organization: Canada Remote Systems
Distribution: rec
Date: 13 Dec 92 13:56:19 EST

There seems to be some confusion here.

Bill Gawne asked for this:

> Oh the Holly bears a berry ....................
> And Mary bore Jesus ...........................
> And Mary bore Jesus Christ, our savior for to be
> And the first tree in the green wood, it was the holly.

In reply, he was give "The Holly and the Ivy", which
begins like this:

> The holly and the ivy, when they are both full grown,
> Of all the trees that are in the wood, the holly bears the crown

What he was requesting is actually "The Sans Day Carol", #35 in
The Oxford Book of Carols, 1964 edition.  I had some trouble
finding the text in an index of first lines, because I, too,
think of it as "Oh, the Holly ...", whereas in the book it is
printed as follows:

   Now, the holly bears a berry as white as the milk,
   And Mary bore sweet Jesus, who was wrapped up in silk:
     And Mary bore Jesus Christ our Saviour for to be,
     And the first tree in the greenwood, it was the holly,
     Holly, Holly!
     And the first tree in the greenwood, it was the holly!

   Now, the holly bears a berry as green as the grass,
   And Mary bore sweet Jesus, who died on the cross:
     And Mary ...

   Now, the holly bears a berry as black as the coal,
   And Mary bore sweet Jesus, who died for us all:
      And Mary ...

   Now, the holly bears a berry as blood is it red,
   Then trust we our saviour, who rose from the dead:
      And Mary ...

In the annual solstice pageants that I've been in, however, I think
the last verse goes more like this:

   Now, the holly bears a berry as red as the blood,
   And Mary bore Jesus to do sinners good:
      And Mary ...

I'm more certain about the first line than about the second.

The explanation given with the song is as follows:

   The Sans Day or St. Day Carol has been so named because the melody
   and the first verse were taken down at St. Day in the parish of
   Gwennap, Cornwall.  St. Day or St. They was a Breton saint whose
   cult was widely spread in Armorican Cornwall.  We owe the carol to
   the kindness of The Rev. G. H. Doble, to whom Mr. W. D. Watson sang
   it after hearing an old man, Mr. Thomas Beard, sing it at St. Day.
   A version in Cornish was subsequently published ("Ma gron war'n
   gelinen") with a fourth stanza, here translated and added to Mr.
   Beard's English version.

Perhaps that explains why there are discrepant versions of the last
verse.

Howard Kaplan, Toronto         howard.kaplan@canrem.com
--
Canada Remote Systems  - Toronto, Ontario
World's Largest PCBOARD System - 416-629-7000/629-7044
From: cudex@csv.warwick.ac.uk (Mr K R Smith)
Newsgroups: rec.music.folk
Subject: Re: The Great Selkie of Sule Skerrie
Date: 14 Dec 1992 10:27:25 -0000
Organization: Computing Services, University of Warwick, UK
NNTP-Posting-Host: violet.csv.warwick.ac.uk

I seem to remember that Joan Baez recorded it a long time ago - so you may
find it on an old LP.  It sounded fine when she did it but it was very
much of a dirge in a minor key and you had to be very good to hold
the interest of anyone other than a hardened folkie.

Kev
From: mudws@sunvis1.vislab.olemiss.edu (David Warren Steel)
Newsgroups: rec.music.folk
Subject: Re: Stephen Foster
Date: 18 Dec 92 17:00:43 GMT
   <1992Dec16.202824.10781@sequent.com>    <0fA=8h_00iV4I1jhpc@andrew.cmu.edu>
Organization: Mississippi State University

In <1992Dec18.151052.23428@dartvax.dartmouth.edu> David.T.Greenfield@dartmouth.edu (David T. Greenfield) writes:

>Does anyone have a recommedation for a good bio on Stephen Foster?

   William Austin, _"Susannah," "Jeannie," and "The Old Folks at Home"_
is an *exemplary* biography of Stephen C. Foster; I recommend it without
hesitation to anyone interested in the history of American popular song.

Warren Steel                      mudws@sunvis1.vislab.olemiss.edu
University of Mississippi    Department of Music     (601)232-5183
Newsgroups: rec.music.folk
From: aschwart@acs.ucalgary.ca (Arthur Schwartz)
Subject: Re: Makem & Clancy, Waltzing Mathilda
Date: Wed, 16 Dec 92 22:37:39 GMT
Organization: The University of Calgary, Alberta
Keywords: waltzing_matilda

>= In article <1992Dec15.094854.8168@teetot.acusd.edu>, jerry@teetot.acusd.edu (Jerry Stratton) writes:
>=> Okay, here's a lyric question for y'all. I've got an ancient Makem &
>=> Clancy tape; in the song 'Waltzing Mathilda' (which is not the standard
>=> Waltzing Mathilda previously posted), there's the following lines:
>=> 
>=> "Waltzing Mathilda, Waltzing Mathilda,
>=>  Who'll come a Waltzing Mathilda with me?
>=>  and their ghosts may be heard
>=>  as they march by the temenole,
>=>  who'll come a Waltzing Mathilda with me?"
>=> 
>=> Okay, what are they marching by?...

Both Jerry and the respondent(s) to his question might be
confusing the unofficial Australian national anthem "Waltzing
Matilda", which is quoted above (the original ending of the
fourth line is "billabong", as someone else has pointed out),
with a very different song -- Eric Bogle's "And the band played
'Waltzing Matilda' ", which is a powerful anti-war song about the
not-so-triumphant return of the wounded and maimed to the Sydney
dockside called "Circular Quay" after the Gallipoli campaign of
World War I. A number of groups have recorded it, but the
creative credit belongs to Eric Bogle.
-- 
     |Art Schwartz			     aschwart@acs.ucalgary.ca|
     |Educational Policy & Admin. Studies            (403) 220-5697  |
     |The University of Calgary                 FAX: (403) 282-3005  |
     |Calgary AB  T2N 1N4     Canada                                 |
Newsgroups: rec.music.folk
From: lwang@quip.eecs.umich.edu (Lawrence Wang)
Subject: Re: **QUICK SINEAD SURVEY PLEASE ANSWER**
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Mon, 14 Dec 1992 14:42:00 GMT

In article <3326@ucl-cs.uucp> J.Crowcroft@cs.ucl.ac.uk (Jon Crowcroft) writes:
>
> >I have seen much talk about Sinead on the net lately, 
> >and was wondering what the general opinion of Sinead
> >was.  Please take the 20 seconds it takes to reply to
> >this question and answer it.  (A simple Y or N will do).
>
>well, this aint my answer, so i can post it - i agree with Annie Lenox
>who wrote to the papers recently
>
> jon

what did Annie Lenox say?

larry
Newsgroups: rec.music.folk
From: bkelly@haydn.helios.nd.edu (b kelly)
Subject: Re: Stephen Foster
Organization: OUC, University of Notre Dame
Date: Wed, 16 Dec 1992 04:51:13 GMT

In article <799@blue.cis.pitt.edu> gusky@hamlet.phyast.pitt.edu (Norton Gusky) writes:
>would include contemporary renditions of Foster tunes.  Hard Times, for
>example, has been recorded by the Red Clay Ramblers, Bob Dylan (most
>recently) and others.  What are other tunes and artists that I could use?
>
Hard Times was recorded by Mary Black also. (I think it was on _No Frontiers_)

Brendan Kelly
.


Xref: sparky rec.music.folk:8652 soc.culture.german:9393
From: jack@dcs.glasgow.ac.uk (Jack Campin)
Newsgroups: rec.music.folk,soc.culture.german
Subject: Re: Looking for German lyrics of "Die Gedanken Sind Frei"
Date: 18 Dec 92 16:10:14 GMT
Reply-To: jack@dcs.glasgow.ac.uk (Jack Campin)
Organization: COMANDOS Project, Glesga Yoonie

icking@gmd.de (Werner Icking) wrote:
U15289@uicvm.uic.edu> writes:
>> For some time, I've been trying to track down the original German lyrics of
>> the old university song, "Die Gedanken Sind Frei," [...]
[ which Werner quoted ]

Is there a traditional tune for this, then?  I thought only the words were
traditional and Mahler's setting (in "Des Knaben Wunderhorn") was all the
music there was.  Do the other Knaben Wunderhorn songs have folk melodies?

-- 
--  Jack Campin    room G092, Computing Science Department, Glasgow University,
17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
From: jacob@cs.swarthmore.edu (Jacob Mattison)
Newsgroups: rec.music.folk
Subject: Re: Lyrics
Date: 18 Dec 92 16:29:15 GMT
Organization: Swarthmore College

jcf@world.std.com (Joseph C Fineman) writes:

>bulger@ug.cs.dal.ca (Fred Bulger) writes:

>>   I haven't been able to find the lyrics to these songs anywhere on the net,
>>so I would greatly appreciate it if anybody could help me out :

>>  "Galoway Races "   Irish folk song

>"Galway Races" is No. 168 in _The Oxford Book of Light Verse_, edited
>by W. H. Auden (Oxford U.P.; not to be confused with the more recent
>book of similar title edited by Kingsley Amis).  Like many Irish
>things, it is a little bit of paradise.  The first stanza is:



>I have never heard or seen a tune for it.  If you know one, I'd be
>much obliged.

I have a Clancy Brothers tape where they do one verse of this (actually
it's the one this poster quoted "There were half a million people there").
The Pogues also do it as part of a medley- the second song on side two of
_If I Should Fall From Grace of God_, a great album.  In the song, btw, the
words are slightly different and each verse ends with the refrain
"With me whack fol the doo fol the diddley-ay-de-lay" or some such.
                                             Jacob
-- 
                              Jacob Mattison
jacob@cs.swarthmore.edu                    If God meant people to be bisexual, 
jmattis1@cc.swarthmore.edu                 there would be two sexes.
"It's a thingie!  A fiendish thingie!" -George Harrison, _Help_
From: zbang@access.digex.com (Carl P. Zwanzig)
Newsgroups: rec.music.folk
Subject: Re: Autoharp?
Date: 16 Dec 1992 16:48:16 GMT
Organization: The Midnite Group
NNTP-Posting-Host: access.digex.com
Keywords: anything related to

Just adding to what Dan said about restringing an autoharp...
DON'T remove all the strings and then replace them!! this can cause the 
instrument to badly warp.  Remove a string, replace it with the new string,
tune it to pitch, wait a momment, tune it to pitch (repeat), then go on
to the next string.  By doing this you won't change the tension on the
body very much, and the instrument will be MUCH easier to bring to 
final tuning.  This method does take a little longer, but IMHO is easier
in the long run (and, besides, how often do you change the strings anyway?)

I've used this method a number of times (I have 5 autoharps), and have
had good success with it.

Now, anyone have information about my 43 string left-handed Chroma-Harp?
Like where to get new string sets?

Happy 'harping,

Carl Zwanzig
zbang@access.digex.com
From: sag@hera.Berkeley.EDU (Steve Goldfield)
Newsgroups: rec.music.folk
Subject: Re: The Great Selkie of Sule Skerrie
Date: 14 Dec 1992 16:06:20 GMT
Organization: University of California, Berkeley
NNTP-Posting-Host: hera.berkeley.edu

In article <1gettcINN9fi@agate.berkeley.edu> stevena@triangle.Berkeley.EDU (Steven Alexander) writes:
#>In article <1992Dec13.075210.2597@netcom.com> bosak@netcom.com (Jon Bosak) writes:
#>>
#>>Nathan Tenny (tenny@euclid.uucp) asks:
#>>
#>>NT> Does anyone have a working melody for this song?  There's one in
#>>NT> the Viking Press collection of ballads, but it's kind of clunky
#>>NT> and obvious to my ears.

In addition to Joan Baez' recording, Pete Seeger sings an antiwar
song, I think the title is "I Come and Stand at Every Door," with
words by a Turkish poet and the melody the same as "The Silkie."
You can certainly get that album since it was on Folkways, which
can be obtained from the Smithsonian on cassette. I think it was
on one of the Broadsides albums.

Steve Goldfield        :<{  {>:           sag@hera.berkeley.edu
University of California at Berkeley     Richmond Field Station
Newsgroups: rec.music.folk
From: brookeb@ksg1.harvard.edu (BRIAN BROOKE)
Newsgroups: rec.music.folk
Subject: Bela Fleck and the Flecktones
Date: 14 Dec 92 22:30:04 GMT
Organization: Kennedy School of Government

Yes, I'm posting again....
	Does anyone know any tour dates? (I saw Amherst but I don't know 
where that is)
From: ddyment@well.sf.ca.us (Doug Dyment)
Subject: Re: Looking for Joni Mitchell/K.D. Lang
Organization: Whole Earth 'Lectronic Link
Date: Fri, 18 Dec 1992 05:16:37 GMT


"Crying" is _also_ available on k.d.'s fantastic video, "Harvest of Seven
Years (Cropped and Chronicled)". It's an hour long, in both VHS and laser
disk formats, and is a must for all her fans. It also includes the song
from her film "Salmonberries", plus other live footage from concerts in
Alberta, Ontario, and other spots. Oh yes, and her video from the "Red
Hot and Blue" collection. Get it!
-- 
  Doug Dyment = ddyment@well.sf.ca.us = {pacbell,hplabs,ucbvax}!well!ddyment
From: meyer@brahma.edsg.hac.com (Mike Meyer)
Newsgroups: rec.music.folk
Subject: Re: Uncle Bonsai CD's
Date: 11 Dec 92 19:19:58 GMT
Reply-To: meyer@tcville.hac.com (Mike Meyer)
Organization: Hughes Aircraft Co., El Segundo, CA

>The Essential Uncle Bonsai
>  "greatest hits package containing...over 70 minutes of live Uncle Bonsai"
>
>Myn and Wymyn
>   "Uncle Bonsai's final never-commercially-released recording..."
>
>I Am Joe's Eyes
>   "The debut recording from Andrew Ratshin, principle songwriter
>    and guitarist for Uncle Bonsai"
>
>CD`s are $15.00.  Available from;
>
>Yellow Tail Records
>9102 - 17th NE
>Seattle, WA 98115
>206-527-3546
>
>-- 

After a delay of many months, these Uncle Bonsai CDs are finally out.  I
got my copies of 'Inessential' and `Myn and Wymyn' last week, and I like 
them.

Mastering and packaging on the two CDs is superb, unlike what happened to
'Boys want sex in the morning' when it went to CD.  Both CDs contain all
the lyrics, etc, and short notes from Andrew about what the band members
are up to now.  Both CDs contain more than 70 minutes of music.

The 'Myn and Wymyn' CD is about 74 minutes long.  Because the original release
was an extra-long cassette, there are 6 songs which do not appear on the CD:

	Boogie Woogie Bugle Boy
	I Like Girls
	Ein Klein.... (uh, whatever that classical thing was called)
	They're at it again
	Enterprising Young Man
	Ashley's Little Blues

The 'Myn Ynd Wymyn" version of Enterprising Young Man appears on 'Inessential'.

'The Inessential Uncle Bonsai'  is pretty darned essential, I think.  It contains
live and public radio versions of most of the songs from 'Lonely Grain of Corn' and
'Boys Want Sex in the Morning'.  The performances are superb, many of them better
than the 'Boys' versions.  Also, the 'Lonely Grain' songs benefit by live presentation.
The version of 'Penis Envy' , from a public radio 
broadcast, is hilarious, and somewhat ironic, considering the FCC's fining of public
radio stations for playing it.  Liner notes on this one give all the lyrics, and 
detail where the performances came from.

According to the 'Yellow Tail Records Hotline', Myn Ynd Wymyn cassettes are still available
as well.

I haven't heard 'I am Joe's Eyes', is it any good?  The second EBB record, 'But I'm Happy
Now', is being mixed now, I think, and was supposed to come out in January.  Call the
Yellow Tail hotline for details.  

If you make an order, you might want to mention that you heard about these releases on 
Usenet.  Andrew is familiar with the net, and finds it surprising that so much discussion
of his music goes on there.  (Not that I know him, but I did get him on the phone once or
twice.  Nice guy.  I feel good supporting his work.)


Mike 

meyer@tcville.hac.com
Mike Meyer				meyer@tcville.HAC.COM
Image and Signal Processing Lab		
Hughes Aircraft EDSG, El Segundo CA
"Shit happens, but it doesn't *just* happen." -- The Karma Police
Newsgroups: rec.music.folk,rec.music.misc
From: jmf@endor.harvard.edu ( ghost ) 
Subject: Modes; was: Re: Reading music - book sought.
Organization: DAS Purchasing, Harvard University
Date: Fri, 18 Dec 1992 06:17:22 GMT

In article <1992Dec17.175722.4795@pony.Ingres.COM> jonb@ingres.com writes:
>We must have a bad connection or something; I'd swear I just heard you say
>that you don't have to worry much about non-major scales in folk music.
>Naaah.  I don't think that's what you actually meant; what I suspect
>you meant is that virtually all of the scales you _do_ have to worry
>about can be constructed from the major scale by just starting it in a
>different place.  For instance, the minor scale starts on the sixth note
>of some major scale, which is called its "relative major".  If you play
>a diatonic instrument such as the harp -- by which I mean an instrument
>which contains only the notes of a single major scale, like a piano with
>no black keys -- you can play a minor scale by counting up six notes from
>where the major scale starts, and playing a scale starting on that note.
>If your harp is tuned in F, you'll find you're playing a D minor scale.
>Similarly, if you start on the fifth note, you'll be playing a Mixolydian
>scale, which is just like a major scale but with a flatted seventh note.
>If you start on the second, you get a Dorian scale, very common in
>Irish fiddle tunes.  If you start on the fourth, it's called Lydian;
>a bit unusual, but viz. Frankie Armstrong's "Maid on the Shore", or Bob
>and Carolanne Pegg's "Mr. Fox".
>
>These scales are called "modes" of the original major scale -- well,
>_technically_, they're all modes of the original _minor_ scale, but
>nobody worries about that much any more -- and they're used constantly
>in folk music.  In fact, the Dorian mode is so common that it's sometimes
>referred to as simply "modal".  They're definitely different from major,
>but, since they use the same notes, it's easy to think that it's all
>just one big happy scale.

Questions for Mr. Scale Man:

What is the mode that Andean music is in?
(Because it sounds like nothing else in this world, & because I love it.)


Are not some the best of modes limited to 5 notes rather than the 7
allowed in modern tradition? (I take it that examples above 
are intended to use 7.)


Could you post some more examples of 
"songs in mode X", going through all the modes?

May be that my only chance to learn is by examples, & there are going to
be less-diluted examples in folk music.

Turns out that sight-reading of music may not be for the even slightly
dyslexic; from time to time I was producing mirror image notes of
what I thought I was reading.  Nice trick, but evokes scowls from me
as well as my neighbors.


Doesn't help that the notation leaves out steps;
you're supposed to remember that there's a 1/2 step between notes a&b
but a whole step between notes x&y, but both pairs are written one 
gradation apart on the paper.
I asked a teacher about this, & he said he didn't know, but maybe they
had to conserve paper, a scarce commodity way back when.
My theory is that they wanted to keep it in code so fewer could learn,
which he thought an outside possibility.
From: GA3MPSYF@MIAMIU.BITNET
Newsgroups: rec.music.folk
Subject: Re: folk Christmas records
Date: 15 Dec 92 15:46:14 GMT
Distribution: na
Organization: Miami University - Academic Computer Service

My favorite quasi-folk Christmas record is 'We Three Kings' by
the Roches.  They have such wonderful arrangements of traditonal
tunes that the classic versions now sound strange to me.  Gordon
Newsgroups: rec.music.folk
From: dahe@cl.cam.ac.uk (David Elworthy)
Subject: New Incredible String Band releases
Organization: U of Cambridge Computer Lab, UK
Date: Mon, 14 Dec 1992 13:33:11 GMT

The new edition of Folk Roots lists the following new CDs:
 ISB: Earthspan and No Ruinous Feud (Edsel) - not two of my favourites.
 Robin Williamson: Myrrh (Edsel) - a gem.
 ISB: Live in Concert 1971-72 (Windsong International)
The last of these is previously unreleased and includes six pieces that have never
appeared before either in this version or any other. There's some good stuff:
excellent versions of Darling Belle and The Circle Is Unbroken. Amongst the new
pieces is an instrumental Whistle Tune, for two whistles and guitar: lovely.
The players are Mike, Robin, Licorice and Malcolm LeMaistre. You get the added bonus
of all those little mistakes which people make live, like Mike singing the wrong
line of Spirit Beautiful while everyone else sings the right one. 57 minutes running
time; originally recorded for BBC Radio 1. I got my copy for \pounds 10.99 at Our
Price in Cambridge, so it should be widely available in the UK. I haven't seen the
Edsel releases in the shops yet.

-- david elworthy
Newsgroups: rec.music.folk,soc.culture.german