For years, Todd Snider has been one of the most beloved country-folk singers in the United States, compared to Bob Dylan, Tom Petty, John Prine, and dozens of others. He's become not only a new-century Dylan but a modern-day Will Rogers, an everyman whose intelligence, self-deprecation, experience, and sense of humor make him a uniquely American character. In live performance, Snider's monologues are cheered as much as his songs. But never before has he told the whole story. Running the gamut from personal memoir to shaggy-dog comedy to rueful memories of his troubles and triumphs with drugs and alcohol to sharp-eyed observations from years on the road, I Never Met a Story I Didn't Like is for fans of Snider's music, but also for fans of America itself: the broad, wild country that has produced figures of folk wisdom like Will Rogers, Mark Twain, Ambrose Bierce, Tonya Harding, Garrison Keillor, and more. There are storytellers and there are performers and there are stand-up comedians. And then there's Todd Snider, who is all three in one, and something else entirely.

Sixty Three pieces of music for Baritone Ukulele. Book includes instrumental arrangements of popular traditional tunes, as well as favorite classical repertoire from well-loved composers. Pieces were carefully selected to ensure a satisfying variety. The arrangements range from easy through to advanced intermediate level. 122 pages. INSIDE YOU'LL FIND: CLASSICAL PIECES by Aguado, Bach, Beethoven, Carcassi, Carulli, Robert de Viseé, Giuliani, Küffner, Mozart, Narváez, Newsidler, Sanz, Schumann, Sor, Tarrega, Tchaikovsky, and Vivaldi, as well as the famous Spanish traditional, Malagueña, and early music by that prolific composer, Anonymous. ARRANGEMENTS OF FAVORITE TRADITIONAL TUNES such as Wayfaring Stranger, Old Joe Clark, St. James Infirmary, Streets of Laredo, Scotland the Brave, Happy Birthday, Amazing Grace, Adonai S'Fatai, Shalom Aleichem, Greensleeves, The Little Drummer Boy, Mary Hamilton, Pauve Piti Lolette, What Wondrous Love Is This, Dona Dona, Ashgrove, Father Kelly's Jig, Arirang, Be Thou My Vision, Hava Nagila, Long Long Ago, Ma'oz Tzur, Wildwood Flower, Utzo Étzo, Carol of the Bells, and The Water is Wide.

When singer, musician, and broadcast journalist Malka Marom had the opportunity to interview Joni Mitchell in 1973, she was eager to reconnect with the performer she'd first met late one night in 1966 at a Yorkville coffeehouse. More conversations followed over the next four decades of friendship, and it was only after Joni and Malka completed their most recent recorded interview, in 2012, that Malka discovered the heart of their discussions: the creative process.

In Joni Mitchell: In Her Own Words, Joni and Malka follow this thread through seven decades of life and art, discussing the influence of Joni's childhood, love and loss, playing dives and huge festivals, acclaim and criticism, poverty and affluence, glamorous triumphs and tragic mistakes . . .

This riveting narrative, told in interviews, lyrics, paintings, and photographs, is shared in the hope of illuminating a timeless body of work and inspiring others.

First published in 1932, Cecil Sharp's English Folk-Songs from the Southern Appalachians contains 274 songs -- ballads, songs, hymns, nursery songs, jigs, and play-party games -- with 968 tunes, collected between 1916 and 1918 from traditional singers in the mountains of Virginia, North Carolina, Kentucky, and Tennessee. It remains one of the foundational collections of American folk music.

Joe Hill emigrated from Sweden to the United States in 1902, eventually joining the Industrial Workers of the World and becoming the most celebrated labor songwriter in the country. In 1915, he was executed for a crime that is widely believed he did not commit, and in the 1930s, the song Joe Hill was created to honor this legendary labor martyr.

This book, the first to tell the story of the song Joe Hill, follows the song's national and international diaspora as it developed from a labor union ballad into an international anti-war anthem and rallying cry for all people to rise up against their oppressors. Included are the historical contexts of the song's many eras and the performers who ensured its continued relevance, such as Paul Robeson, Joan Baez, Pete Seeger, and Utah Phillips.

Between 1937 and 1940 fieldworkers in the Works Progress Administration's Federal Writers' Project interviewed around 3,500 formerly enslaved people in North America, resulting in roughly 20,000 pages of still unedited and inadequately indexed typescript. These accounts--the WPA ex-slave narratives--are the most substantial collection by far of folklore and oral history gathered directly from enslaved people in America. It is arguably the single greatest body of African American folklore extant, and a significant portion is devoted to folk music and song. This book considers this treasure trove in all its relevant social, cultural, and historical contexts.

Nineteenth-century Black folk music developed against the backdrop of North American slavery, the American Civil War, Emancipation, the Federal occupation of the South, and a successful white supremacist paramilitary and political insurgency that led to Federal withdrawal, officially sanctioned racial terror, and Southern apartheid. The WPA ex-slave narratives describe that history in remarkable detail. Despite their inestimable value, most of the ex-slave narratives remained unpublished until the late 1970s, being almost unknown except to folklorists. Even after publication, the collection's sheer size was a barrier.

Quoting extensively from the narratives and exhaustively annotated and indexed, this volume provides readers with detailed explanations and full references for every musical item or tradition featured in the ex-slave narratives. John Minton covers instrumental music and social dancing, spirituals and hymns, singing games and lullabies, ring plays and reels, worksongs, minstrel songs, ballads, war songs, slavery laments, and much, much more. Written for both specialists and general readers, with 134 illustrations, the book also offers a general overview of the ex-slave narratives, their contents, creation, and relation to the field of African American folklore as a whole.

Twenty-seven years in the making (1940-67), this tapestry of nearly two hundred American popular and protest songs was created by three giants of performance and musical research: Alan Lomax, indefatigable collector and preserver; Woody Guthrie, performer and prolific balladeer; and Pete Seeger, entertainer and educator who has introduced three generations of Americans to their musical heritage.

In his afterword, Pete Seeger recounts the long history of collecting and publishing this anthology of Depression-era, union-hopeful, and New Deal melodies. With characteristic modesty, he tells us what's missing and what's wrong with the collection. But more important, he tells us what's right and why it still matters, noting songs that have become famous the world over: Union Maid, Which Side Are You On?, Worried Man Blues, Midnight Special, and Tom Joad.

Now, at the turn of the century, the millennium, what's the future of these songs? he asks. Music is one of the things that will save us. Future songwriters can learn from the honesty, the courage, the simplicity, and the frankness of these hard-hitting songs. And not just songwriters. We can all learn.

In addition to 123 photographs and 195 songs, this edition features an introductory note by Nora Guthrie, the daughter of Woody Guthrie and overseer of the Woody Guthrie Foundation.

A spirited and intimate look at American icon and activist Pete Seeger.

Throughout his life, Pete Seeger transformed a classic American musical style into a form of peaceful protest against war, segregation, and nuclear weapons. Drawing on his extensive talks with Seeger, Alec Wilkinson delivers a first hand look at Seeger's unique blend of independence and commitment, charm, courage, energy, and belief in human equality and American democracy. We see Seeger as a child, instilled with a love of music by his parents; as a teenager, hearing real folk music for the first time; as a young adult, singing with Woody Guthrie. And finally, Seeger the man marching with the Rev. Martin Luther King in Selma, standing up to McCarthyism, and fighting for his beloved Hudson River. The gigantic life captured in this slender volume is truly an American anthem.

John Duffey's Bluegrass Life: Featuring The Country Gentlemen, Seldom Scene and Washington, D.C. with a Foreword by Tom Gray is the definitive biography of one of bluegrass music's most important artists of the genre. Through his work as a founding member of these two pioneering bands, John Duffey urbanized bluegrass and introduced it to a broad new audience. John's quotes from a four-hour, never-before-published 1984 interview are italicized throughout and provide the book's foundation.

The book begins with a profile of his father, John Humbird Duffey Sr, Metropolitan Opera star and chronicles Duffey's earliest exposure to music, listening to opera on the radio with his dad. Childhood friends Bill Blackburn, Bill Emerson, and Sterling Ellsworth serve up memories of Duffey from the 2nd grade through high school.

Accounts of Duffey's early musical career provide an overview of John's first bands, leading up to how The Country Gentlemen were formed following a horrific car accident. The Country Gentlemen's Bill Emerson, Charlie Waller, Eddie Adcock, and Tom Gray are profiled and interviewed.

For the first time, John's biological daughter, Ginger Sam Allred, speaks candidly about her relationship with both Duffey, and her father, Pete Kuykendall. Duffey discusses why he quit The Country Gentlemen, setting up the complete story of The Seldom Scene, as told by Duffey, John Starling, Ben Eldridge, Dave Auldridge, Mike Auldridge, Phil Rosenthal, and Tom Gray.

More than 50 rare or never-before-seen photographs create a fascinating portrait of the complex, iconoclastic entertainer. Gary Oelze, the owner of the Birchmere music club where the Scene became stars, share his memories of John.

Sam Bush, Jonathan Edwards, Pete Kennedy, Martha Adcock, Akira Otsuka, Dick Cerri, Emmylou Harris, Jimmy Gaudreau, Bryan Bowers, Peter Dr. Banjo Wernick, Tom Travis, Cliff Waldron, and others are among the many voices that contribute informative and compelling interviews.

The book's narrative is supplemented with a 43-page Discography that provides track listings, recording dates, producers, composers, and musicians for every time Duffey entered a recording studio. The book includes a Duffey genealogy and index.

This extraordinary encyclopedia covers all aspects of traditional music song and dance in Ireland. Six-hundred thousand words in fourteen-hundred main topics explore people, tunes, aesthetics, ideology, gender balance, history, organisations and affiliations, linking all dance and recreational music forms to biographies of stylists and figureheads, to regional music associations and practices. Extensive specialist articles give the widest range of one-stop information to date on all aspects of the subjects of dance and song, and on instruments--especially harp, uilleann pipes, fiddle, flute, bodhran, concertina, banjo and accordions. This immense volume of biography, history, hard facts and opinion is diverse and comprehensive, a knowledge base that has been drawn from the expertises of some two hundred musicians, researchers and teachers in the field. Now in its third edition, the Companion also uniquely includes county by county, regional and gender analysis of all 70 years of All-Ireland fleadh prizewinners in dance music and song competitions. Other major awards are reported, as are the role of media, and the practice of the music not only in each county on the island of Ireland, but also in the major diaspora cities, and other countries where the music is also played. The book is a vital, grounded resource in an era where superficial and artificial-intelligence internet data can be false and misleading. It lays out the canon of the traditional music of Ireland, an essential asset and a core reference for all sociological and musicological research and analysis in Irish music and Irish studies. A companion website for the book is available at https: //comitm.com

This book contains not only more than 400 sea shanties but as much of their history as Stan Hugill could collect in his extraordinary career as sailor, scholar, author, artist, and inspiration to new generations of sea-music enthusiasts and performers.

Pablo's Fandango is an endearing story about a special boy who discovers the cycle of life when he stumbles upon a lifeless animal. He embarks upon a journey through the Sierra Madre and soon discovers a tradition on the brink of extinction. With his grandfather's help, he revives a centuries old genre of Mexican folk music, and through it, his love for animals inspires an unexpected surprise for the entire village.

A celebration of a timeless figure whose music and influence will endure long after her voice is silenced.

Since she stepped onstage unannounced at the 1959 Newport Folk Festival, Joan Baez has occupied a singular place in popular music.

Within three years, she had recorded three best-selling albums and had embarked on a tour of southern US campuses, playing to integrated audiences in an era of segregation. When Time magazine chronicled the folk revival in November 1962, her portrait was on the cover. Her voice was as lustrous and rich as old gold. She has mentored generations of singer-songwriters, most famously Bob Dylan.

But Joan Baez has always been much more than simply a singer. Even before she stood on the podium beside Dr Martin Luther King at the March on Washington, her voice was raised in sorrow and anger as well as in song. The causes for which she has campaigned are legion and it's no surprise that she was chosen to open Live Aid in Philadelphia in 1985. In 1993, amid the siege of Bosnia, she donned a flak jacket to sing for the citizens of Sarajevo offering, as so many times before and since, an act of love, sharing, witness and music.

Now approaching 80, Baez has stepped down from the stage following a worldwide farewell tour and a final Grammy-nominated album. The Last Leaf is a celebration of a timeless figure whose music and influence will endure long after her voice is silenced. The Discography is by Grammy-nominated music historian Arthur Levy.

Joan Baez is the recipient of the 2020 Woody Guthrie Prize.