My main influences are pop and folk music - Bob Lind, Neil Young, Joni Mitchell, Bob Dylan, the Motown collection, The Zombies, Elliott Smith, and a ton of 70's AM radio hits. I love powerpop too.
The Swedish folk music - I can't hear any connection between my music and fiddle tunes, but I guess since I grew up with that, kind of, Swedish tone or harmony.
There's not that much English folk music that is really that appealing.
There's always something in most world folk musics that always seems connected; whether it's a bagpipe or a tambura, there's always some sort of drone instrument, and there's always percussion.
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.
I was very engaged by the folk music movement.Bob Dylan; Joan Baez; Peter, Paul and Mary. And then I sort of discovered world music, and fell in love with ethnic music of all sorts.
I loved Israeli music, Israeli folk music.
Folk music has a sort of a bubbling-under quality. The stream runs through the cultural consciousness, and whether or not it's on the radio is not the issue. Folk music is always there.
I've always thought about myself as somewhat of a folk musician. I just write words.
Folk music had long been political but [Bob] Dylan's poetry took it to a new level.
That ideology was never going to work, was it? It was just cobbled together from different beliefs: The anti-intellectualism of the Khmer Rouge, the religious persecution of the Nazis, the enforced beard-wearing from the world of folk music, and the segregation and humiliation of women from the world of golf.
The Urban Literate Southern California Sub-Group of the Early Atomic Period has not yet produced a distinct body of folk music of its own.
I didn't know folk music growing up, no. It's something I've come to study, really, because I think there's so much to learn from traditional music in the sense of the way music began as a way of communication, the traveling storyteller, the bard, the minstrels.
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.
Then about 12 years ago it dawned on me that folk music - the music of Woody Guthrie and Phil Ochs, early Bob Dylan, Johnny Cash, Pete Seeger - could be as heavy as anything that comes through a Marshall stack. The combination of three chords and the right lyrical couplet can be as heavy as anything in the Metallica catalogue.
Hymn tunes are the nearest we've got to English folk music.
There are two types of folk music: quiet folk music and loud folk music. I play both.
Folk musicians have a lot of the same self-importance, but they're way more cruel and jealous than rock musicians - I know this for a fact because I used to be a folk musician.
I do notice that I spend a lot of all my time steeped in different forms of myth, such as English folk music, for example, not really studying it necessarily, but just trying to experience it so I can recall it later.
It seems to me that the American popular song, growing out of American folk music, is the basis of the American musical theater… it is quite legitimate to use the form of the popular song and gradually fill it out with new musical content.
Most of the music I've become interested in is hybrid in its originsClassical music, of course, is unbelievably hybrid. Jazz is an obvious amalgam. Bluegrass comes from eighteenth-century Scottish and Irish folk music that made contact with the blues. By exploring music, you're exploring everything.
When I really started liking music was when I could play some of it myself, and after a couple of years of playing folk music, I kinda rediscovered those hits that were on the radio all the time when I was a kid.
I don't really know what 'folk music' means anymore.
And this is the origin of pop music: it's a professional music which draws upon both folk music and fine arts music as well.
Our peasant music, naturally, is invariably tonal, if not always in the sense that the inflexible major and minor system is tonal. (An "atonal" folk-music, in my opinion, is unthinkable.) Since we depend upon a tonal basis of this kind in our creative work, it is quite self-evident that our works are quite pronouncedly tonal in type. I must admit, however, that there was a time when I thought I was approaching a species of twelve-tone music. Yet even in works of that period the absolute tonal foundation is unmistakable.
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