Bursting onto the L.A. punk scene in 1985 like the proverbial breath of fresh air, self-proclaimed Jewish lesbian folksinger Phranc has one of the most beautiful vocal instruments in the business. Born Susan Gottlieb in Los Angeles in 1957, Phranc began as a folksinger in the '70s before becoming a member of L.A. hardcore bands Catholic... [+] Read More

Bursting onto the L.A. punk scene in 1985 like the proverbial breath of fresh air, self-proclaimed Jewish lesbian folksinger Phranc has one of the most beautiful vocal instruments in the business. Born Susan Gottlieb in Los Angeles in 1957, Phranc began as a folksinger in the '70s before becoming a member of L.A. hardcore bands Catholic Discipline and Nervous Gender. Tiring of the genre's sexist and fascist leanings, she picked up her acoustic guitar again and debuted with Folksinger in 1985 -- a spare affair that tackled such topical and taboo subjects of the time like lesbianism, L.A. coroner Thomas Noguchi and "Female Mudwrestling." Delivered in Phranc's unique, forthright punk/folk style, the album received critical endorsement but never led to wider acceptance. Signed to Island by 1989, she enlisted the services of a band to play on the more fleshed-out I Enjoy Being a Girl, which included one of her trademark odes to a female sports figure in "Martina" (as in Navratilova). She followed it with 1991's Positively Phranc, a return to the spare style with which she made her mark. For the 1995 EP Goofyfoot, she paired up with Team Dresch's Donna Dresch and other Olympia, WA underground female musicians for a collection of novelty songs. During the four-year period she didn't record, Phranc occasionally performed in drag as Neil Diamond. Though not extremely prolific, Phranc was and is an icon among alternative and lesbian musicians, as well as folksingers everywhere. ~ Denise Sullivan, All Music Guide [-] Hide

Buffy Sainte-Marie has enjoyed a long career that has seen her rise to stardom on the folk circuit and try her hand at country, rock, soundtrack themes, acting, activism, and children's television. For most listeners, she remains identified with the material she wrote and sang for Vanguard in the mid-'60s. Her songs that addressed the plight of... [+] Read More

Buffy Sainte-Marie has enjoyed a long career that has seen her rise to stardom on the folk circuit and try her hand at country, rock, soundtrack themes, acting, activism, and children's television. For most listeners, she remains identified with the material she wrote and sang for Vanguard in the mid-'60s. Her songs that addressed the plight of the Native American, particularly "Now That the Buffalo's Gone" and "My Country 'Tis of Thy People You're Dying," were the ones that generated the most controversy. Yet she was also skilled at addressing broader themes of war and justice ("Universal Soldier") and romance ("Until It's Time for You to Go"). She was also a capable interpreter of outside material, although her idiosyncratic vibrato made large-scale commercial success out of the question.

Sainte-Marie was born to Cree Indian parents and adopted by a white family. Signed to Vanguard, she was one of the folk scene's more prominent rising stars in the '60s, and certainly the only widely heard performer articulating Native American viewpoints in song. Much of her best material from this era, however, gained its greatest commercial inroads via cover versions. "Universal Soldier" was one of Donovan's first hits. "Until It's Time for You to Go," perhaps her best composition, was covered by numerous pop singers, and became a big British hit for Elvis Presley in the early '70s. "Cod'ine," one of the few '60s songs to explicitly address the dangers of drugs, was covered by Californian rock bands Quicksilver Messenger Service and the Charlatans.

Sainte-Marie didn't pigeonhole herself as a folky, though, recording in Nashville in the late '60s in attempts to break into the country market. In the 1970s, she would make some rock records, including one (1971's She Used to Wanna Be a Ballerina) with contributions from Ry Cooder and Crazy Horse. These country and rock outings were far less successful, both commercially and artistically, than her early folk efforts.

But Sainte-Marie was never as reliant on selling units as most musicians. She kept busy with a long-running stint on Sesame Street, performing benefits for and organizing on behalf of Native Americans, and composing for movies (she won an Oscar for the theme to An Officer and a Gentleman, co-written with her husband, producer Jack Nitzsche). She hadn't made an album for 15 years before issuing Coincidence and Likely Stories in 1992. ~ Richie Unterberger, All Music Guide [-] Hide

Although she was a significant presence on the folk scene between the late '70s and mid-'80s, it's difficult to categorize Kate Wolf as a folk performer (though that is ultimately the broad category that suits her best). Although she largely employed acoustic instrumentation, she really owed more to the contemporary singer-songwriting movement... [+] Read More

Although she was a significant presence on the folk scene between the late '70s and mid-'80s, it's difficult to categorize Kate Wolf as a folk performer (though that is ultimately the broad category that suits her best). Although she largely employed acoustic instrumentation, she really owed more to the contemporary singer-songwriting movement than folk-based traditions. While it's easy to imagine her music appealing to fans of, say, Joni Mitchell, she never made the slightest impact on the rock audience, and barely drew from rock elements at all in her own work. Her music also had a strong country flavor, though not of the Nashville variety. Her fusion of country, folk, and singer-songwriter influences helped point the way for later country-folk-pop performers such as Nanci Griffith and Mary-Chapin Carpenter.

The appeal of Wolf's music is broad -- folk, pop, and rootsy country fans can all find something to like -- yet elusive. Her songs are not necessarily immediately striking upon first listen, and her body of work, if taken more than an album at a time, can justifiably be described as rather heterogenous. Her style is one that tends to grow on listeners over time, as Wolf is not about flash. Her songs, characterized by a strong narrative thread, are about the ebbs and flow of adult life, in terms that are neither overly sentimental nor mundane. She describes family, romance, and the rural life of her native Northern California with fine (though not studious) detail, projecting a sort of reserved sensitivity with her lower-than-average vocals. Hers is a voice of wisdom, comfort, and independence. If those aren't the most exciting things around, there are few other performers who convey such consistent warmth and dignity, making listeners she never met personally feel as if they were hearing letters from a friend.

Wolf didn't get her recording career going until the mid-'70s, by which time she was well into her 30s. Prior to emerging as a solo artist, she had headed the band Wildwood Flower (who backed her on her first two albums), and organized folk concerts and festivals in Northern California. Very much a self-starter, her first two albums were released on her own Owl label; thereafter, her catalog was handled by Kaleidoscope.

Over the next few years, Wolf built a strong following on the folk circuit with a series of fairly similar but remarkably consistent albums. Her recordings always benefited from first-rate instrumental support from various small bands; guitarist Nina Gerber was her most important associate in this regard. She was still at her peak when her life was tragically cut short by leukemia in 1986.

Rhino Records has reissued all of Wolf's albums on CD; in addition to the five studio discs, there are several collections of live and previously unreleased material. It's a bit much all in one gulp for most listeners, though there is an undisputed audience for her more marginal work. Neophytes are advised to start with the two-CD Gold in California set, a career-spanning retrospective of some of her best songs. ~ Richie Unterberger, All Music Guide [-] Hide

Loudon Wainwright III grew up in the town of Bedford in wealthy Westchester County north of New York City, the son of Loudon S. Wainwright, Jr., a writer and editor at Life magazine, and a direct descendant of colonial governor Peter Stuyvesant. Wainwright became a folk singer/songwriter in the late '60s, singing humorous and nakedly honest... [+] Read More

Loudon Wainwright III grew up in the town of Bedford in wealthy Westchester County north of New York City, the son of Loudon S. Wainwright, Jr., a writer and editor at Life magazine, and a direct descendant of colonial governor Peter Stuyvesant. Wainwright became a folk singer/songwriter in the late '60s, singing humorous and nakedly honest autobiographical songs. Signed to Atlantic Records, he recorded Album I (1970) and Album II (1971), accompanying himself on acoustic guitar, before switching to Columbia Records, for which he made the folk-rock Album III (1972), which featured the Top 40 novelty hit "Dead Skunk." Attempted Mustache (1973) and the half-live Unrequited (1975) did not continue that commercial success, though Wainwright's humor and engaging stage persona made him a cult figure and a concert favorite. Meanwhile, his songs were recorded by others, notably Kate (his wife, since divorced) and Anna McGarrigle, and Wainwright appeared in the off-Broadway show Pump Boys and Dinettes and played a featured role on the successful M*A*S*H television series. He moved to Arista Records for T Shirt (1976) and Final Exam (1978), on which he was backed by a rock band, but departed the major labels for a more appropriate home on the folk-based indie Rounder for A Live 0ne (1980) and Fame and Wealth (1983). Wainwright began to gain more notice in England than in the U.S., and he moved to London in 1985. I'm Alright (1985) and More Love Songs (1986) were co-produced by British singer/guitarist Richard Thompson. Therapy (1989) found Wainwright on the major label-distributed Silvertone imprint and back living in the U.S., and he signed to Virgin Records' Charisma subsidiary for History (1992) and the live Career Moves (1993). Grown Man, his 15th album, was released in 1995, followed three years later by Little Ship. In 1999, there appeared a collection of topical, humorous songs Wainwright had been composing since the late '80s for National Public Radio, titled Social Studies; the following year, The BBC Sessions collected favorites and new compositions. The Last Man on Earth followed in 2001, and the live album So Damn Happy marked his debut for Sanctuary in 2003. Another studio album, Here Come the Choppers, was released in 2005. ~ William Ruhlmann, All Music Guide [-] Hide

The most popular folk group of the 1960s, Peter, Paul & Mary in later decades have also proved themselves to be among the most durable music acts in history. Their longevity dwarfs that of the Weavers, while the fact that the trio continues to be associated with a major record label (Warner Bros.) after decades in the business sets them apart... [+] Read More

The most popular folk group of the 1960s, Peter, Paul & Mary in later decades have also proved themselves to be among the most durable music acts in history. Their longevity dwarfs that of the Weavers, while the fact that the trio continues to be associated with a major record label (Warner Bros.) after decades in the business sets them apart from rivals like the Kingston Trio and the Brothers Four. Then again, perhaps it isn't so surprising -- Peter, Paul & Mary's roots run deeper than almost any other folk act one might care to name, while their appeal crosses audience lines that other acts couldn't (and can't) even approach.

Peter, Paul & Mary were part of the 1960s folk revival, but they can trace their roots and inspiration back to music and events from the late '40s, and the founding of the Weavers. In 1948, the musical and political left had been galvanized behind the presidential campaign of former Vice President Henry Wallace and his running mate, Senator Glen Taylor. In the wake of that ticket's defeat that year, in the course of trying to pick up the pieces, singer/composers Lee Hays and Pete Seeger, whose history together went back to the early '40s, and a group called the Almanac Singers, joined with Fred Hellerman and Ronnie Gilbert in forming the Weavers. They subsequently found themselves with the top-selling record in the country, Goodnight, Irene, and for the next two years, the Weavers entertained millions and brought folk music to the public consciousness in a new and vital way through recordings such as "Kisses Sweeter Than Wine." Then, as word of the members' personal leftist political histories began circulating, their bookings came to a halt -- ironically enough, the Weavers as a performing group were virtually apolitical in their songs and presentation, but that didn't save them from being blacklisted by the entertainment industry.

They broke up in late 1952, but they left behind two seeds planted in American popular culture. One, deriving from their success, was a modest folk song revival, in some small clubs and especially on college campuses, mostly as entertainment; and the other, a byproduct of their blacklisting, was the coalescing of newly vital, very politically focused branch of folk music. The latter existed as an underground phenomenon, "apart" from a few relatively friendly locales such as New York City's Greenwich Village; it was invisible to most Americans, but it provided a modest living for older performers, and drew and nurtured new, younger talent.

The entertainment branch manifested itself in the guise of acts like the Easy Riders and their younger successors the Kingston Trio, the Limeliters, the Brothers Four, and the Highwaymen, trios and quartets of male singers who brought a smooth veneer to the music. Each of them had their moment -- and sometimes much more than a moment -- in the sun and on the charts beginning in the late '50s. Older performers such as Pete Seeger of the Weavers (as well as the reunited group itself), Ed McCurdy, and Oscar Brand were also around, selling fewer records but making more serious, purposeful records, aimed at smaller audiences. And younger, grittier performers such as Eric Von Schmidt, Dave Van Ronk, and Ramblin' Jack Elliott were also working and recording. And in 1962 and 1963 came the big-band folk outfits the New Christy Minstrels and the Serendipity Singers, who applied elaborate arrangements, utilizing up to nine singers, to folk melodies.

It was against this backdrop, from the late '40s onward, that Mary Travers (b. November 9, 1936, Louisville, KY), Peter Yarrow (b. May 31, 1938, New York, NY), and Paul Stookey (b. December 30, 1937, Baltimore, MD), all came of age. Travers, the daughter of journalists, was raised in Greenwich Village, and was both politically and musically aware; she'd made her first recordings while still in high school, during 1954, in a chorus backing Pete Seeger for Folkways Records. She became a member of the Song Swappers, doing albums of international folk songs and camp songs, and also participated in a stage production, The Next President, written by and starring topical comedian Mort Sahl. As a singer, she was heavily influenced by Ronnie Gilbert of the Weavers and also by Jo Mapes, a bluesy white folksinger from Los Angeles who'd emerged in the mid-'50s.

Paul Stookey, born Noel Paul Stookey, had become a huge fan of jazz and what was later called R&B in the mid- to late '40s, took up guitar, and had formed his first band, the Birds of Paradise, in high school during the early '50s. He continued singing in college, and also discovered two additional talents, as a raconteur and as a standup comic, with a special knack for improvising sound effects. He gravitated to Greenwich Village, where he began to learn about folk music. He and Travers became friends and occasionally performed and composed music together. Mostly, however, he did his comedy at local clubs and she made her living working at Elaine Starkman's boutique on Bleecker Street. (Starkman, later a pioneering art gallery owner in New York's SoHo, was a well-known Village designer who made the gown Travers wore for her first wedding. In 1961, part of Stookey's comedy act was captured in Jack O'Connell's film Greenwich Village Story, another part of which was also shot at the Starkman boutique, though Travers was never glimpsed).

Peter Yarrow was a graduate of Cornell University who fell into music while serving as a teaching assistant. By the end of 1959, he was playing in Greenwich Village and, the following year, was booked on a CBS network television show about folk music, during which he met Albert Grossman. Grossman, who went on to manage Bob Dylan and the Band, proposed the idea to Yarrow of forming a trio that would offer serious folk songs, but utilize the same kind of mixed male/female voices as the Weavers, and also the humor of the Limeliters, and the overall spirit of fun found in acts like the Kingston Trio. Yarrow and Grossman approached Travers, and Stookey came aboard last, dropping his first name in favor of his better-sounding middle name Paul, and Peter, Paul & Mary was born. With the guidance of arranger Milt Okun, who had worked with Harry Belafonte and the Chad Mitchell Trio, they put together a three-part vocal sound that was distinctive and, after seven months of careful preparation, the group emerged to instant acclaim in Greenwich Village.

They were signed to Warner Bros., and their first, self-titled LP was released in March of 1962. It was accompanied by a single, "Lemon Tree," that rose to number 35 on the charts late that spring. This was a good beginning, but it was their second single, "If I Had a Hammer," that marked their breakthrough. The song, written by Seeger and Hays in the days of the Weavers, was a rousing number with great hooks and a memorable chorus, and also a definite (yet not threatening) philosophical and political edge. As topical songs go, its timing was perfect -- in late 1962, the civil rights movement was becoming a concern to a growing number of middle-class onlookers; "If I Had a Hammer" embodied this zeitgeist in its most idealistic form and, with its upbeat, soulful performance -- which made it seductive even to those listeners who cared little about the political controversy of the times -- the single hit number ten on the charts. It also won the trio their first two Grammy Awards, for Best Performance by a Vocal Group and Best Folk Recording.

In their first six months of existence, Peter, Paul & Mary, working in a somewhat more favorable political climate, had managed to do what the Weavers never had a chance to do, bringing political concerns to the public through song. And it was a massive public, owing to the fact that PP&M also had a foot in the entertainment side of the folk song revival -- their music had a decidedly serious edge, but it and the group were also as much fun to listen to as anything the Limeliters or the Highwaymen were doing. Their stage act, as captured on the In Concert album, poked fun at what they did and at themselves, and one couldn't help but laugh at Stookey's comedy, which drew on music, self-generated sound effects, and a self-deprecating manner second only to Woody Allen (then a standup comic himself). Additionally, although this has seldom been discussed in retrospect, they had Mary Travers, who not only had a big voice that helped make the records extraordinary, but was also drop-dead gorgeous, and a great asset in their photographs, television appearances, and concerts.

The overall effect, between the entertainment and the songs, was as though the Kingston Trio had suddenly started doing the repertory of the Almanac Singers, and people were listening. Phil Ochs would attempt a similar but less successful approach to mixing popular music and ideology with his Gold Suit Tour, trying to turn Elvis Presley into Che Guevara. But John Phillips, at that time a folky himself as a member of the Journeymen, would perfect the formula behind PP&M's visual appeal in 1966 with the Mamas the Papas, by putting his wife, Michelle, an ex-model, out front in that lineup.

With "If I Had a Hammer" wafting over the AM airwaves, the Peter, Paul & Mary LP rose to number one and subsequently spent years on the charts. Their second album, Moving, released in January of 1963, got off to a slightly slower start, but it found its way to number two and a 99-week run with help from "Puff (The Magic Dragon)," a song that Peter Yarrow had written in college. The single rose to number two that spring and became one of the most beloved children's songs of all time, as well as the trio's passport through any potential controversy.

It was on the heels of that year's success that Bob Dylan entered the group's orbit. The young folksinger and songwriter -- who came under Grossman's management in 1963 -- hadn't made much impact with his own recordings on Columbia Records; his lyrics were too piercing and his voice too bluesy, in an environment dominated by much smoother folk sounds. PP&M, however, had no problem with public acceptance, and they took Dylan's song "Blowin' in the Wind" to the public in a way that he never could have. Their recording, released in June of 1963, was an instant hit, shipping over 300,000 copies in less than two weeks -- many times the number of records that Dylan himself had sold up that point -- and eventually rising to number two on the charts. Once more, the trio seemed to grab the moment in history, politics, and art with a song. The era of public activism over civil rights, directed at the administration of President Kennedy, was rising to new heights, and "Blowin' in the Wind" embodied the spirit of the time. In one fell swoop, it established Bob Dylan as the new conscience of a generation, and PP&M as the voice of that conscience, culminating with their performance of the song at the same August 1963 March on Washington where Martin Luther King Jr. gave his I Have A Dream speech.

The trio's third album, In the Wind, which was released in October 1963, not only hit number one on the charts but pulled their two previous albums back into the Top Ten with it. Up to this point, all of the trio's successes took place during a relatively quiet time in popular music, in which there was little distraction from rock & roll. With the exception of Elvis Presley and a handful of newer acts such as the Beach Boys and Del Shannon, the music was going through one of its periodic flat periods, which had left the field open to folk acts like Peter, Paul & Mary. All of that changed as 1964 dawned.

Suddenly, PP&M found themselves competing with the Beatles and other groups out of England, playing a new, forceful, and relatively sophisticated brand of rock & roll. Peter, Paul & Mary were the only folk-revival group to survive the British Invasion and the ensuing folk-rock boom with their audience and visibility largely intact. Their record sales slackened somewhat, especially their singles, which had a hard time competing on AM radio with the sounds of the British Invasion, and it was three years before they would enjoy another Top Ten hit. Their albums, however, continued selling well, and their bookings never dropped off.

One of the reasons for their continued success, popularity, and relevance was a series of political and historical events separate from the music. The civil rights movement was still going strong as the battleground shifted from the Lincoln Memorial to the back roads of Mississippi -- where three college students who had come to help register black voters were murdered in 1964 -- to the halls of Congress. The murder of President Kennedy in November of 1963 and Lyndon Johnson's ascent to the presidency began a series of events that finally forced meaningful civil rights legislation out of Congress. Even as that battle continued raging in the streets, from Birmingham, AL, to Cicero, IL, and other points north. Once the laws were on the books, however, Johnson's presidency also opened up a new political wound on the American landscape with his escalation of the Vietnam War. In that uneasy environment, Peter, Paul & Mary had the history of involvement, the credentials, and the credibility to address this new issue in ways that, say, the Kingston Trio never could have, even if they'd wanted to. Moreover, their records had a way of not only staying relevant -- "If I Had a Hammer" was as topical in 1965 as it had been in 1962, but it was still fun to sing around a campfire -- but evolving in their relevancy; as the Vietnam War ran on, and draft notices and departures for the military and service overseas became more commonplace, cuts like the beautiful "500 Miles," off of their debut album, took on deeply personal resonances for tens, and then hundreds of thousands of people.

For the remainder of the decade, the trio walked a fine line, appealing to liberals and anti-war activists, and raising the consciousnesses of the interested, but also entertaining middle-of-the-road listeners, and especially to parents who felt their music was safe for younger children. They were accomplishing precisely what the Weavers had set out to do a decade and a half earlier (and, not coincidentally, also exactly what the Weavers' political opponents had feared the latter group would do, spreading liberal ideas and politics on the popular landscape with pretty music).

Their commercial fortunes and mass appeal remained intact into the second half of the decade. The album In Concert, an unprecedented (for a folk group) double LP, hit number four during the summer and fall of 1964, and the group's next studio LP, A Song Will Rise got to number eight in the spring of 1965. At the same time, however, its highest-charting single, For Loving Me," only reached number 30. See What Tomorrow Brings peaked at number 11 in late 1965, their first placement outside of the Top Ten with an LP, but hardly unrespectable. By 1966, PP&M were feeling the pressure to embellish their music, however, and began adding significant numbers of backup musicians to their records, and exploring more rock-oriented sounds, on The Peter, Paul & Mary Album and, later, Album 1700. Those albums were considered solidly competitive in the musical environment of 1966 and 1967, amid the sounds of folk-rock and psychedelic rock of the era, and both have held up better than those by most of the competition, mostly owing to the quality of the music and the songs. From the beginning of their history, the trio displayed an uncanny ear for great songs and songwriters -- Stookey had steered Grossman to Bob Dylan before many people in Greenwich Village had even heard of him. And in early 1962, before their debut album had even been released, the Kingston Trio had picked up a then-new Pete Seeger song, Where Have All the Flowers Gone," from one of the group's live performances and had a hit with it. During the years 1965-1966, Peter, Paul & Mary gave the first serious airings to the music of Gordon Lightfoot ("For Lovin' Me"), Laura Nyro ("When I Die"), and John Denver ("For Baby (Goes Bobbie)"), interspersed with the occasional unrecorded Dylan tune, such as When the Ship Comes In" and "Too Much of Nothing." Their sales might not have matched the chart-soaring days of 1963, but the albums had the class, beauty, and substance to stand the test of time.

And when they caught the moment again with a song, the trio proved that they could sell records with the best of them. "I Dig Rock 'n' Roll Music," written by Paul Stookey, brought PP&M back to the upper reaches of the charts and heavy AM radio play with a number nine single in the fall of 1967, right in the middle of the psychedelic boom. The song, which parodied the styles of the Beatles, the Mamas & the Papas, and Donovan, was not only catchy and memorable, but also a reminder to the public that, for all of their devotion to causes and issues, Peter, Paul & Mary was a very funny group as well. For much of the year that followed this commercial comeback, the group was involved in politics, in the form of Senator Eugene McCarthy's anti-war campaign for the White House. They appeared on behalf of McCarthy, and even released a record supporting him. McCarthy's candidacy ultimately failed, in a year that also saw the murders of Martin Luther King Jr. and Robert Kennedy, though one personal, positive by-product of the peace campaign was that Peter Yarrow ended up marrying the senator's daughter.

In 1969, they returned to the middle of the charts again with Yarrow's "Day Is Done," a surprisingly autumnal work. They also chalked up another Grammy Award that year for Peter, Paul & Mommy, an album of children's songs that became a mainstay of their catalog, reaching generation after generation of parents and children. During the summer of 1969, Warner Bros. got word that DJs around the country had begun playing one of the tracks off of the then two-year-old Album 1700, "Leaving on a Jet Plane," authored by John Denver. Released that September, the single "Leaving on a Jet Plane" peaked at number one, the trio's only chart-topping single, and also pulled Album 1700 back onto the list of top-selling LPs.

By 1970, PP&M had played many hundreds of concerts together and had spent nine years in harness to each other. It was inevitable that there would be a split at some point, given their different, evolving lives. Mary Travers was now the mother of two daughters, Yarrow was newly married, and Stookey, in addition to wanting to work with new and different musical sounds, had developed a serious belief in Christianity. Amid a flurry of sales behind "Leaving on a Jet Plane," and the release in the spring of Ten Years Together: The Best of Peter, Paul & Mary (which rose to number 15), the trio completed their concert obligations and announced in the fall of 1970 that they were taking a year's sabbatical from Peter, Paul & Mary.

The next eight years saw the three musicians release various solo recordings that failed to catch the public's attention in anything resembling PP&M's impact. Mary Travers continued working in a folk-pop vein for a time, while Peter Yarrow wrote topical songs dealing with the politics of the time, and Paul Stookey proved the most adventurous of the three musically, exploring harder rock sounds as well as jazz, and delving into Christian-oriented music. They moved around each other's orbits, appearing on each other's albums occasionally and even reuniting on behalf of George McGovern's 1972 presidential campaign, but it was clear by the late '70s that none of them had enough of an audience on his own to sustain a full-time performing career. Travers moved from Warner Bros. to Chrysalis Records, and to a very brief stay with the Arista label, all without any hits, while Yarrow enjoyed a hit as a songwriter with "Torn Between Two Lovers," and also saw one of his '70s compositions, "River of Jordan," turn up in the 1980 comedy film Airplane, sung by Lorna Patterson in an excruciatingly funny scene.

This was all a long way from their 1960s heyday, and a 1978 reunion album also proved a false start, selling more poorly than any LP in their history. The concerts surrounding that album, however, marked the beginning of a gradual re-forming of the trio. Travers, a single mother with two daughters and a menagerie of pets to look after, was nonetheless concerned with the anti-nuclear movement, with which Yarrow had long been involved. Stookey rejoined after some hesitation, and by the early '80s Peter, Paul & Mary were a functioning trio again, playing concerts occasionally and trying to record, including their annual Christmas concerts at Carnegie Hall in New York. Without skipping a beat, they picked up from their early-'60s beginnings, only the civil rights anthems had new meaning in an era when the laws protecting those rights were under attack by the Reagan administration. And they were interspersed with songs about the political strife in El Salvador and the nuclear arms race. As long as they included "Puff (The Magic Dragon)" in their repertory, however, the trio was still largely immune from attack by the right. The real difficulty was getting their work heard by a larger public in the music environment of the 1980s.

By that late date, none of the major labels were interested in the work of folk groups of their vintage so they did it themselves, initially releasing the live reunion album Such Is Love in America on their own Peter, Paul & Mary label. They were associated with Gold Castle Records, a promising independent label, for much of the late '80s, until its failure, but they did get to record a handful of LPs that they ended up owning outright. They retained good relations with Warner Bros., sufficient for Peter Yarrow to personally supervise the digital remastering and transfer of their classic 1960s catalog to compact disc at the end of the 1980s. Finally, in 1992, some 30 years after the trio signed with them, Warner Bros. Records became interested in doing a follow-up to Peter, Paul & Mommy, which had been a perennially good seller in its catalog. The resulting album, Peter, Paul & Mommy, Too and an accompanying television special heralded a return of the group to Warner Bros., which subsequently reissued their entire Gold Castle catalog on CD. Since the 1980s, the group had been moving into the role of elder statesmen of the folk community -- Mary Travers even hosted a television special that brought together the entire present and former membership of the Kingston Trio on stage -- and this status was borne out in 1995 with the Lifelines album. The latter, an all-star concept album featuring the trio performing with colleagues, older and younger -- including Ex-Weaver Ronnie Gilbert and blues legend B.B. King -- was sufficiently successful to generate a concert follow-up, Lifelines Live, the following year. In 1998, they carried the same all-star singalong concept a step further, in a slightly different direction, with Around the Campfire, and in 1999, Warner Bros. issued its second PP&M best-of compilation, Songs of Conscience and Concern. The trio, starting their fifth decade together at the outset of the 21st century, remained as committed to good music and to fighting the good fight as they were in 1962. ~ Bruce Eder, All Music Guide [-] Hide

Like Infamous Angel, My Life opens on a light note, which is hardly adequate preparation for the emotional turbulence that follows. The album is dedicated to Iris Dement's father, who passed away prior to its release, and although there are some scattered moments of joy here, they are largely absorbed by a collection of songs dealing with primal... [+] Read More

Like Infamous Angel, My Life opens on a light note, which is hardly adequate preparation for the emotional turbulence that follows. The album is dedicated to Iris Dement's father, who passed away prior to its release, and although there are some scattered moments of joy here, they are largely absorbed by a collection of songs dealing with primal anguish and longing. DeMent's writing has hardened a bit, producing her most mature and encompassing song in "No Time to Cry," which serves as an anchor for the album's rich sentimentality and is also an indication, in its social obsessions, of the direction her next album would take. Elsewhere, DeMent's songcraft remains exceptional but, as before, the true magic is in her voice, which imbues even the simplest songs with perfect, pure emotion. Highlights include Maybelle Carter's "Troublesome Waters," "Easy's Gettin' Harder Every Day," and a terrific rendition of Lefty Frizzell's "Mom and Dad's Waltz." The gorgeous title track closes the album, a piano-cello duet that is one of her most moving performances. For those who appreciate DeMent's rough-hewn voice, it is nearly impossible to exaggerate the beauty of these recordings. ~ Jim Smith, All Music Guide [-] Hide

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After about 20 years, Butch Hancock has released his first produced studio album for a national label not compiled from his previously released Rainlight Records LPs. In many ways, Hancock set his style down with his very first self-produced album, West Texas Waltz. All the elements from that period remain -- the Dylanesque vocal sound, his love... [+] Read More

After about 20 years, Butch Hancock has released his first produced studio album for a national label not compiled from his previously released Rainlight Records LPs. In many ways, Hancock set his style down with his very first self-produced album, West Texas Waltz. All the elements from that period remain -- the Dylanesque vocal sound, his love of wordplay, and a deep feeling for the stories that make up an individual's life. The warm sound of this album makes it easier for newcomers to get past his dry voice, and the inclusion of his hit "If You Were a Bluebird" will help a new audience locate him properly in the contemporary Texas songwriting scene. The band is tight and steps back enough to let Hancock's stories and personality shine through. ~ Richard Meyer, All Music Guide [-] Hide

This posthumous compilation, released on Goodman's own Red Pajamas label, spans two discs: the first highlighting his best studio cuts, with the second disc exclusively devoted to live tracks. About half of the songs are previously unreleased material or unreleased live recordings. This is probably overkill for the casual fan who just wants the... [+] Read More

This posthumous compilation, released on Goodman's own Red Pajamas label, spans two discs: the first highlighting his best studio cuts, with the second disc exclusively devoted to live tracks. About half of the songs are previously unreleased material or unreleased live recordings. This is probably overkill for the casual fan who just wants the "hits." Diehard Goodman aficionados, however, are in luck. The live disc especially brings out the artist's witty, versatile songwriting personality, showing how he could work a crowd by not taking the material (or himself) too seriously. Copious liner notes from close friends and family pay tribute to Goodman the man, songwriter, and performer. An essential buy for completists (due to the unreleased material), the compilation takes material from Goodman's Buddah and Asylum albums, making it perhaps the best survey of his career to date. ~ Jim Esch, All Music Guide [-] Hide

Here's the group you've never forgotten and never can forget. ~ Mike Fleischer, All Music Guide

Here's the group you've never forgotten and never can forget. ~ Mike Fleischer, All Music Guide [-] Hide