A Quote by Mike Harding

Bare Foot Folk and is full of really interesting songs, Ange Hardy takes folk tales and creates new folk songs that sound traditional around the story. This is one she's called mother willow tree, it's beautiful
I used to go to the school folk club with my songs when I was only 13 or so and say "this is a traditional folk song" and sing it with a bad Irish accent to disguise the real source.
Folk songs in general, I like. The old spooky Scottish folk songs.
Folk music is not so much a body of art as it is a process, an attitude, and a way of life; its distinguishing features lie not within the songs themselves, but in the relations of those songs to a folk culture.
Folk music - and what people are now perceiving as being folk music - is music that's quite close to the ground. The songs sound quite old, even if they're new. They sound like they've been sung by different people for years.
Be serious. Folk songs are serious. That's what Pete Seeger told me. 'Arlo, I only wanna tell you one thing. Folk songs are serious.' And I said, 'Right.'
Lizz Wright, we call her lovingly 'Amazing Grace.' She has a folk and gospel kind of approach to the music, and she writes beautiful lyrics and songs. She's like this balm that is really full and very rich and deep.
My older brother was involved in the folk movement. We would gather every weekend in Washington Park. The folk songs were so important to my reality.
People sing each other's songs and they cultivate standards. That's the reason why we have folk music and folk stories. History is told through song.
I was immersed in popular songs of the time, of the '30s and '40s. I was writing songs, making fun of the attitudes of those songs, in the musical style of the songs themselves; love songs, folk songs, marches, football.
What I'm doing is basically the same as Bob Dylan did with folk songs and Woody Guthrie songs, the same as folk music's always done. I'm not going to sing about ploughing, but I'll write a song that sounds like it should be about ploughing.
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.
Cornelius Cardew very famous in Britain, because he was the darling of the avant-garde, and he played in a band called AMM, which was an improvising band in the '60s. Paul McCartney used to come watch them. Later on in life, he became disenchanted with avant-garde music, because he felt it couldn't reach the public. It didn't have a wide enough appeal. So he'd take these tunes of old English folk songs and write Stalinist lyrics over the top of them. I do think that when he changed to folk songs, he actually lost the tiny audience he already had, which is quite interesting.
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.
My music doesn't really sound like punk music, it's acoustic. And it doesn't really sound like folk music 'cause I'm thrashing too hard and emoting a little too much for the sort of introspective, respectful, sort-of folk genre thing. I'm really into punk and folk as music that comes out of communities and is very genuine and very immediate and not commercial.
The truth is, my folk-lore friends and my Saturday Reviewer differ with me on the important problem of the origin of folk-tales. They think that a tale probably originated where it was found.
I love a lot of Irish folk music and Irish folk songs.
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