Buy used:. Used: Very Good Details. Sold by Zoverstocks. Condition: Used: Very Good. Comment: All Discs are inspected and guaranteed. All dispatched with 1 - 3 working days from the UK. Other Sellers on Amazon. Sold by: Shepard Media. Have one to sell? Sell on Amazon. Image Unavailable Image not available for Color:. The fact that the group was making money by getting Americans to buy their records, and that a company like Decca Records was earning hundreds of thousands of dollars in profits from their work, only meant that the Weavers were a corrupting force.
The very fact that they'd sneaked into their success so suddenly, virtually "under the radar" of the political right, was an offense. And the fact that no member of the group had ever uttered a word in public or, for all anyone knew, in private about the Korean War was, curiously, irrelevant amid all of the controversy.
By the end of , the group had called it quits. Decca no longer wanted to record them because it was difficult, if not impossible, to get their records into the stores, and it was no longer possible to get their music played on the radio. The label kept paying them for the duration of their contract until it ended in , and by then each of the members had moved on to other activities. Another key factor, even if the political and business climate had been more favorable, was Pete Seeger , who was never wholly comfortable working in a group context due to the limitations it placed on his repertory, and who liked even less the compromises that the Weavers had made in pursuing their work.
The group was seemingly forgotten by the public over the next three years, their music banished from the airwaves and their records withdrawn -- Ronnie Gilbert and her husband moved to California, Fred Hellerman became a music teacher, Seeger performed as a solo act at whatever schools would book him, and Lee Hays wrote radio commercials.
In , however, Harold Leventhal proposed a reunion concert for the four. They tried to book Town Hall in New York but weren't allowed to rent it, so controversial were they still. Instead, in a move that anticipated Brian Epstein 's boldness in booking the hall for the Beatles nine years later, Leventhal rented Carnegie Hall -- the irony was that Carnegie Hall's management, involved in the relatively rarefied world of classical music, was totally unaware of any controversy surrounding the Weavers and had no objections.
The Weavers reunion event proved to be a sellout and then some, with hundreds turned away; equally important, it was captured on tape, and the tape was then sold to Vanguard Records. Vanguard at that time was a small but enterprising label specializing in classical music, run by two brothers, Maynard Solomon and Seymour Solomon , a pair of music lovers and scholars.
They had no shareholders to answer to and no corporate structure, and even in the world of classical record distribution were fiercely independent. Vanguard released the reunion concert and did very well with it, they followed it up with a second volume, and suddenly Vanguard and the Weavers had a new recording contract.
It was through the Vanguard releases, the reunion concerts, and the recordings that followed, that most of the Weavers' baby-boom audience, and virtually any enthusiasts acquired during the folk revival of the late '50s and early '60s, and at any time after, discovered the group and its music.
Their Vanguard recordings were stripped down, very basic productions, just the group members playing with no dubbed-on accompaniment; these recordings are usually regarded more highly than the Decca material which, in any case, wasn't available for many years in any comprehensive form.
Seeger left the re-formed group in , preferring to pursue a solo career on his own. By that time, ironically enough, the stage had been set for just such an opportunity by the Weavers themselves. They may not have survived the blacklist intact, but the interest in folk songs that they'd fostered, along with the proof, in the form of millions of copies of "Goodnight Irene" and "Kisses Sweeter Than Wine" that had been sold, wasn't lost on the public or the music business -- by , groups like the Easy Riders led by Terry Gilkyson and featuring a pair of lesser-known People's Songs alumni, Frank Miller and Richard Dehr , had charted a few huge national hits in a distinctly folk-like idiom with "Marianne"; big record labels were looking at folk music, and smaller ones were recording it, and when the Kingston Trio broke out with the two-million-selling "Tom Dooley" in , the dam burst.
Rating Card The Weaver. Comments about The Weaver by Anonymous Works. Read all comments. Their four members were brought before the House Commitee on Un-American Activities during the McCarthy era of the s, and disbanded soon after. Seeger and Hays had started playing together in as two of the Almanac Singers which also included American folk pioneer Woody Guthrie.
This band had enjoyed some popularity on the radio until their leftist "subversive" tunes resulted in the questioning of their popularity. Throughout World War II, Seeger and Hays worked on peace campaigns and demonstrations for human rights, civil rights , and workers' rights.
By , Hays had suggested that he and Seeger try to start their own outfit separate from that of the Almanac Singers. Seeger had been hosting a song circle in his Greenwich Village apartment, known as People's Songs.
Gramm co-wrote this gorgeous ballad and delivered an inspired vocal, but the song was the beginning of the end of his time with Foreigner. Toggle navigation Welcome Guest.
The first result of their Decca contract was a collection of Christmas songs issued on a 10" LP, which didn't attract much attention. Scrobble from Spotify? Monday 7 Easy Rider Blues - The Weavers - Weavers Gold Folk Songs By The Weavers (Vinyl Newer Post Older Post Home. This poem has not been translated into any other language yet. For other uses, see The Weavers disambiguation. Songfacts Newsletter A monthly update on our latest interviews, stories and added songs. Producer: Victor Schoen. It was only when Mitch Miller at Columbia Records offered the quartet a contract that Jenkins got adamant; he had a contract written and a session booked, and the group was signed to Decca.
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