By Eric von Schmidt
Lengthy out of print, child, enable Me keep on with You Down is a vintage within the historical past of yankee pop culture. The ebook tells the tale of the people tune group in Cambridge, Massachusetts, from its beginnings in residing rooms and Harvard sq. coffeehouses within the past due Nineteen Fifties to the heyday of the people track revival within the early Nineteen Sixties. 1000s of old photos, rescreened for this version, and dozens of interviews mix to re-create the years whilst Joan Baez, Bob Dylan, and a full of life band of Cambridge folksingers led a iteration within the rediscovery of yank people song. Compiled via musicians who have been energetic contributors within the Cambridge people scene, the amount files a distinct time in usa tradition whilst the honesty and energy of conventional people song have been mixed with the uncooked strength of city blues and the excessive power of electrical rock and roll to create a brand new American renowned song.
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Additional info for Baby, let me follow you down: the illustrated story of the Cambridge folk years
It was called the coffee house. In the beginning there was Tulla's Coffee Grinder. That was it for coffee houses in Cambridge, circa 1957. Tulla's was one small, totally unpretentious room. It was crammed with small tables, many chairs, and the interior was on a level several feet lower than the sidewalk outside. The atmosphere was warm, womb-like, and it could get a little soggy when the cups were being washed and the coffee machine was in operation. It was run by a statuesque woman known simply as Tulla, and her husband.
It was collected first in Kentucky in 1937, yet it is about a whorehouse in New Orleans. Its tune is very close to the one Leadbelly used in "Black Girl," but he sings that in a major key, while "House of the Rising Sun" is in a minor. Wherever its roots may have been, it is always sung as a dirge, a slow and mournful song of warning. Page 22 Manuel Greenhill, who was to become Baez's manager, also had a record of Josh White playing the song. Manny's, however, was one of a kind. Josh had cut it himself on a portable disc cutter.
There was a similar group of people in Boston called "The Folk Arts Workshop," and when Pete Seeger came to Boston, that's where he'd sing. All of this was, of course, politically left, and the political motivation was as important as the musical for most people. In 1955 the Public Television Station in Boston, WGBH-TV, was about to go on the air and they had no program for preschool kids. So they went out to Tufts and talked to Saletan. At first he thought they wanted someone to come in every couple of weeks and play a few songs.
Baby, let me follow you down: the illustrated story of the Cambridge folk years by Eric von Schmidt