Last edited by s.n.
02.08.2021 | History

4 edition of Folk song and folk life in Charlotteville found in the catalog.

Folk song and folk life in Charlotteville

aspects of village life as dynamics of acculturation in a Tobago folk song tradition

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Published by Administrator in s.n.

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  • United States
    • Subjects:
    • s.n.


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      • Includes unacc. melodies.

        Statements.n.
        Publisherss.n.
        Classifications
        LC Classifications1972
        The Physical Object
        Paginationxvi, 60 p. :
        Number of Pages76
        ID Numbers
        ISBN 10nodata
        Series
        1nodata
        2
        3

        nodata File Size: 5MB.


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With his plain voice and guitar he was no match for the emerging young folksingers in the Village who would later make it big. Dylan was soaking up traditional music and Paul was one of his early influences. As a sort of compensation for the disagreement over his song, Dylan invited Paul to accompany him on a cross-country road tour in 1964 to Los Angeles via Chicago.

Most of the songs were not wide known, perhaps only to those who knew whaling songs. Folk groups and individual musicians competed for exposure and a chance to rise above the crowd. From his youth in New Bedford through his time in Charlottesville, VA, he experienced homosexual tendencies, but these were kept tightly under wraps since at that time being gay was not something one would want to openly acknowledge.

Paul and Dylan later reconciled, but it still weighed heavily on Paul. From his grandmother, Elizabeth Hardy, he learned songs from Prince Edward Island.

Paul Clayton

In 1956 Paul moved to a new label, Tradition Records, owned by the Clancy Brothers. There was the temptation to add new verses to existing songs and slight changes to the words. Paul took to this new instrument and quickly became quite proficient. Paul Clayton, 1953, Paul Clayton Estate There is one name that is not well known in the history of the folksong revival beginning in the late 1940s and 1950s.

It soon became a popular hit recorded on Monument Records in 1960 by country music singer Billy Grammer in an upbeat version totally different from that sung by Paul.

This seemed to be the beginning of a slow downfall for Paul — more drugs, much later an arrest for marijuana use for which he managed to beat the charges, and deteriorating health. If you were just someone who was there to be entertained by a singer on stage, Paul was not entertaining. He wrote his own material and sang live music on his program, which was later expanded from a few minutes to one hour per week.

Other singers added verses, performed and recorded the song. The other info will be in any other book that comes out, as it all was given to those who care for his estate. Dylan was interested in traditional songs and melodies to appropriate into his songwriting, and Paul was a great source of that material.

This Folk song and folk life in Charlotteville an extremely well-written book on the life of Clayton and the early folksong revival — well worth a read. Unencumbered by instruments he sang these songs with the free rhythm of an unaccompanied singer; this led to his odd wayward conversational vocal style, different from that of most other folksingers.

Paul Clayton

With the surge of new folksingers coming into the city in the late 1950s and early 1960s Paul had the advantage of being there early. Paul brought suit against Dylan, but finally stopped short with just a cash settlement.

The folksong bug had bitten and his folksinging career had begun.