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The Weavers Goodnight Irene, 1949-1953 (4-CD & 1-DVD)

Goodnight Irene, 1949-1953 (4-CD & 1-DVD)
 
 
 

catalog number: BCD15930

weight in Kg 1,900

 

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$129.74 *
 
 
 
 
 

The Weavers: Goodnight Irene, 1949-1953 (4-CD & 1-DVD)

4-CD/1 DVD box (LP-size) with 48-page hardcover book, 106 tracks. Playing time approx. 290 mns.

With its 1950 recording of Goodnight Irene, the Weavers brought folk music to the 'American Hit Parade.' The public immediately responded to the song's catchy melody and Gordon Jenkins' lush arrangement. But the quartet's dynamic, passionate vocals was what really made the record stand apart from everything else in pop music. No one could escape the song or its popular flip side,
Tzena, Tzena, Tzena. Juke boxes and radio stations kept both songs in constant rotation, and record sales snowballed into the millions. During the next eighteen months the Weavers dominated the charts with such folk anthems as So Long (It's Been Good To Know Yuh), The Roving Kind, On Top Of Old Smokey and Kisses Sweeter Than Wine. Suddenly, the creamy 1940s harmonies of the Pied Pipers, Six Hits and a Miss, the Merry Macs and the Modernaires seemed dated. Pop music would be different in the 1950s, and the Weavers were among the first artists to signal this new era.

No one was more surprised by this rush of success than the Weavers themselves: Ronnie Gilbert, Lee Hays, Fred Hellerman and Pete Seeger. Emerging from the embers of the postwar People's Songs movement, the group polished its sound and repertoire at New York hootenannies, union halls and political rallies. An extended booking at the Village Vanguard in early 1950 led to a friendship with arranger Gordon Jenkins, who convinced skeptical Decca Records executives to sign the quartet. But the Weavers' fortunes ultimately fell as quickly as they rose. Under the guise of patriotism, rightwing zealots gleefully exposed its leftist political affiliations. Through fear and intimidation, organizations like the American Legion pressured promoters, bookers and media executives to boycott the group. Airplay disappeared and jobs dwindled, yet Seeger, Hays, Gilbert and Hellerman persevered until they disbanded in 1953. However, the public's affection for the group never waned. A barely advertised Christmas Eve 1955 reunion at Carnegie Hall was an immediate sellout, and those who attended viewed their participation as a statement against rightwing hysteria.

A half-century after the release of Goodnight Irene, the Weavers remain one of the most beloved acts in American popular music. The group's saga has spurred dissertations and documentaries from historians and filmmakers. But ironically, those early records that helped shape the contemporary folk music revival have remained largely uncataloged and virtually impossible to find.

This 5-Disc Bear Family collection surveys the first five years of the Weavers' recording career, starting with the Charter and Hootenanny sessions from 1949, along with 16 previously unreleased audition acetates and WNYC airchecks. The complete Decca recordings and Snader soundtracks are included; the Deccas digitally transferred from the original session reels. The rare 10inch 'We Wish You A Merry Christmas' LP has been expanded with two previously unreleased carols. The last Disc contains the Weavers' uncredited appearances on two documentaries, a children's record and soundtrack recordings; Fred Hellerman's and Ronnie Gilbert's solo records; Gordon Jenkins' 1955 attempt to recreate the Weavers' sound with Hays, Hellerman and Sally Kaminsky; and a 1950 radio interview with Charles Buddy Rogers. Disc 5 is a DVD (NTSC format) containing the Weavers' Snader telescriptions, newly transferred from original 16mm prints.

But the Weavers' fortunes ultimately fell as quickly as they rose. Under the guise of patriotism, rightwing zealots gleefully exposed its leftist political affiliations. Through fear and intimidation, organizations like the American Legion pressured promoters, bookers and media executives to boycott the group. Airplay disappeared and jobs dwindled, yet Seeger, Hays, Gilbert and Hellerman persevered until they disbanded in 1953. However, the public's affection for the group never waned. A barely advertised Christmas Eve 1955 reunion at Carnegie Hall was an immediate sellout, and those who attended viewed their participation as a statement against rightwing hysteria.


4-CD/1 DVD box (LP-size) with 48-page hardcover book, 106 tracks. Playing time approx. 290 mns


 

Songs

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Artikeleigenschaften von The Weavers: Goodnight Irene, 1949-1953 (4-CD & 1-DVD)

  • Interpret: The Weavers

  • Albumtitel: Goodnight Irene, 1949-1953 (4-CD & 1-DVD)

  • Format Box set
  • Genre Country

  • Music Genre Folk
  • Music Style Folk
  • Music Sub-Genre 149 Folk
  • Edition 2 Deluxe Edition
  • Title Goodnight Irene, 1949-1953 4-CD-Box&48B.1 DVD
  • Label BEAR FAMILY RECORDS

  • Price code EK
  • SubGenre Country - General

  • EAN: 4000127159304

  • weight in Kg 1.900
 
 

Artist description "Weavers"

The Weavers

Carnegie Hall, New York City

Carnegie Hall, New York's premier concert venue, was filled to capacity on Christmas Eve, 1955. The occasion was the Weavers' first holiday concert in three years. Frankly, no one really expected to see them again. Starting in 1950, the folk group started a Gotham holiday tradition with its popular December concerts at Town Hall. But the Weavers quietly disbanded after its 1952 concert, partially because of internal pressures but primarily as victims of an unrelenting blacklist. "We took a sabbatical," bass singer Lee Hays later explained. "Then it turned into a Mondical and a Tuesdical."

But those years were creatively fallow, and some band members were virtually destitute. By 1955 banjo player and tenor lead Pete Seeger had built a small, loyal following through college appearances and steady-selling Folkways albums. But as Christmas bleakly approached, Seeger faced an uncertain future. In August he faced a hostile panel from the House Committee on Un-American Activities. Unlike other "unfriendly" witnesses who testified before HUAC, Seeger refused to invoke the Fifth Amendment when the committee prodded him about his political philosophies and connections to the American Communist Party. When he refused to answer questions that he felt were highly improper, the panel held the 36-year-old musician in contempt. Costly legal challenges and the likelihood of prison loomed ahead. College bookings Seeger counted on were cancelled after the press reported his testimony; the few jobs he was offered barely covered expenses.

Nor was Hays faring much better. Looking all of 60 years old but actually only 41, he scraped by as a free-lance writer, penning finely crafted stories for 'Ellery Queen's Mystery Magazine,' pseudonymous pulp for men's magazines and commercial jingles for radio. Like Seeger, Hays also was subpoenaed before that HUAC panel that August. And like Seeger, he was an "unfriendly" witness, but dodged potentially incriminating questions by invoking Fifth Amendment privileges.

Twenty-eight-year-old baritone singer/guitarist Fred Hellerman still earned a living through music, but not as an on-stage performer. Besides teaching guitar, he produced and arranged recordings for folk labels that were emerging around New York City 

By comparison, 29-year-old Ronnie Gilbert was doing considerably better than her former partners, but from a continent away. Married to a dentist, she now lived in California, devoting much of her time to raising her young daughter. Still, Gilbert often thought about singing again to appreciative audiences.

Harold Leventhal, then serving as Seeger's manager and mentor, felt the time was ripe to get the Weavers together again – if anything, to redirect its members away from the creative lethargy that marked the past three years. He also knew how contentious each of them could be. Making a few calls, he learned Town Hall was unavailable, but Carnegie Hall had Christmas Eve open. Clearly, it was an expensive gamble, but Leventhal secured the space for the evening. Knowing it would be difficult for the Weavers to refuse him, he told each member that the other three agreed to this one-night-only reunion. "Harold didn't know whether anyone would remember the Weavers, or whether anybody would show up," Hellerman told Mary Katherine Aldin in 1993. "But he felt something had to be done."

When a small display ad promoting the concert appeared in a New York newspaper, tickets sold out almost immediately and hundreds of others were turned away. Attending the show was an act of defiance against the bigots and rightwing zealots who unrelentingly harassed the group earlier in the decade.

The audience's highly charged, emotional response to the Weavers' first appearance on stage took the group by surprise. After unhappily ending its career playing second-rate clubs like Duffy's Stardust Room on the outskirts of Cleveland, the Weavers triumphantly reemerged in America's leading concert hall. After the holiday, promoters from across the country called Leventhal, inquiring about the group's availability.

 Carnegie Hall concert launched a new, highly rewarding phase of the Weavers' career, augmented by a series of popular albums on Vanguard. From LPs to eight-track cartridges to cassettes to compact discs, these recordings basically remained in print for forty years. However, the earlier Decca singles that made the group's national reputation have only been sporadically available.

from book BCD15930 - The Weavers Goodnight Irene, 1949-1953 (4-CD & 1-DVD)
Read more at: https://www.bear-family.de/weavers-goodnight-irene-1949-1953-4-cd-und-1-dvd.html
Copyright © Bear Family Records

 
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