A Quote by Van Morrison
The whole trip that happened in the late 60s and 70s was kind of a throwback to a lot of folk styles. I got into it as well 'cause I started with the folk styles.
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I spent a few years here in Memphis, in the late '70s and early '80s, where I was studying a lot of country blues players and their styles. So it seems like every record I'll do, I will appropriate these blues styles that I remember.
I think there's a difference between the type of folk music that people put into the box of "folk music" and then there's the kind of folk music that I aspire to and am in awe of, and that is the kind of folk music where it's very limited tools - in most cases a guitar, in a self-taught style that is idiosyncratic and particular to that musician.
I was a virtuoso of all the folk-blues guitar styles by the time I reached 17.
The models for me were more the folk-rock singers of the '60s and '70s.
Well, I don't think it ever did, but in the early '60s I got interested in folk music.
That was sheer luck that it [being immersed into folk scene] happened when my voice began to develop. I don't know exactly what would have happened if I hadn't been alive and well and really lively in the Cambridge scene. But (the folk scene) was, and I fell into it absolutely naturally in the little coffee shops, and pretty soon it was Newport and then it was an overwhelming response internationally, actually.
The folk music definition has changed in this fast music world and musical styles are blending really quickly.
As I've grown older I've been more influenced by more meandering styles of guitar playing, whether it's Celtic or Ethiopian folk music or some kind of noisier jazz like Sonny Sharrock. In terms of songwriting, I don't know that I could even pin it down.
I think what makes the Byrds stand up all these years is the basis in folk music. Folk music, being a timeless art form, is the foundation of the Byrds. We were all from a folk background. We considered ourselves folk singers even when we strapped on electric instruments and dabbled in different things.
We understand that, in our communities, black trans folk, gender-nonconforming folk, black queer folk, black women, black disabled folk - we have been leading movements for a long time, but we have been erased from the official narrative.
If someone asked what kind of music I play, I wouldn't say I'm a folk singer; however, if folk music means music for the people, and playing music to entertain them and share different messages, then sure, I'd like to think that I'm part folk singer.
There's quite a few people getting into that - new acts coming along that are using a lot of stuff that happened in the 50s and 60s. They're completely ignoring the 70s which is kind of a turn on because to me nothing has really gone down in the 70s.
I'm a folk preacher. A folk therapist. A folk musician. I come from authentically that which is of my experience. Therefore, the music is strictly from the soul, strictly improvisational.
I don't think of myself as a folk singer per se, but I really like blues and string-band music. When I started listening to records when I was a teenager, the folk boom was going on.
Most people's intuitions are drowned out by folk sayings. We have a moment of real feeling or insight, and then we come up with a folk saying that captures the insight in a kind of wash. The intuition may be real and ripe, fresh with possibilities, but the folk saying is guaranteed to be a cliche, stale and self-contained.
When I was young I wanted to make films and then I got into folk music when I was about 12, and started going to this folk club in Auckland. My dad [Barry Andrews] was in punk and post-punk bands, so I guess it was a side of music I hadn't really listened to before - the really narrative form of songwriting.
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