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Reflecting the cultures that settled North America, the roots of old-time music are in the traditional musics of the British Isles, [2] Europe, and Africa. African influences are notably found in vocal and instrumental performance styles and dance, as well as the often cited use of the banjo; in some regions, Native American, Spanish, French and German sources are also prominent. [3]
Music hall songs were sung in the music halls by a variety of artistes. Most of them were comic in nature. There are a very large number of music hall songs, and most of them have been forgotten. In London, between 1900 and 1910, a single publishing company, Francis, Day and Hunter, published between forty and fifty songs a month.
Unlike many states which support independent old-time and bluegrass associations, the Minnesota Bluegrass & Old-Time Music Association intermingles the genres. Peter Anick is a noted authority on fiddle music genres and is co-author with David Reiner of Old-Time Fiddling Across America [ 1 ] and a contributor of feature articles and "Folk ...
A version of the song appeared in the 1934 book, American Ballads and Folk Songs, by folk song collector John Lomax. Woody Guthrie recorded a version of the song at his Folkways sessions in the mid-1940s, and the song saw a resurgence in popularity with the rise of bluegrass and the American folk music revival in the 1950s. [ 1 ]
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The Smithsonian Folkways label repackaged and arranged these sessions in a series of 4 discs between 1997 and 1999. The first volume focuses on Guthrie's original compositions, [3] the second on folk and country covers, [4] the third on topical songs, [5] and the fourth on cowboy and western music.
The song was written for Frank Sinatra to introduce in the 1947 MGM film It Happened in Brooklyn. The pianist providing the offscreen accompaniment was André Previn to an arrangement of Axel Stordahl. Later in the film, the song was reprised in full by Kathryn Grayson. The only contemporary recording by a British artist was the one by Steve ...
The song remains a staple on classic rock radio. Billboard felt that the song's highlights are Seger's "rough-edged vocals and the power charged instrumentation." [14] Cash Box said it is "a piece of infectious raucous joy" that is a highlight of Seger's concerts. [15] In Australia, the song was released twice and charted for a total of 55 weeks.