Topic: Commercial Folk Music Revival
Continued from previous post dated 13 October 2019
Performers
Vocal Soloist: male
Vocal Group: Scott McKenzie, tenor; John Phillips, baritone; Dick Weissman
Instrumental Accompaniment: guitar and banjo
Rhythm Accompaniment: none
Credits
McKenzie—Phillips—Weissman
Notes on Lyrics
Language: English
Pronunciation: KUM by ah
Verses: kumbaya, laughing, sleeping
Vocabulary
Pronoun: someone
Term for Deity: my Lordy
Special Terms: none
Basic Form: verse-burden
Verse Repetition Pattern: AxA1xA where A = two lines of kumbaya, and A1x = the full kumbaya verse
Ending: none
Unique Features: begins and ends with two-line verses
Influences: Pete Seeger
Notes on Music
Opening Phrase: 1-3-5
Tempo: upbeat
Basic Structure: soloist supported by group
Singing Style: one syllable to one note
Solo-Group Dynamics: soloist in sleeping and laughing verses, with group echoing "kumbaya"
Vocal-Instrumental Dynamics: First line of two-line introduction lets guitar play melody and rhythm; second line is played by banjo. After that, the guitar plays a simply, unvarying, arpeggio rhythm during the singing and in the one-measure breaks between sung verses.
Influences: Kingston Trio
Notes on Audience
The most vocal members of The Journeymen, Phillips and McKenzie, were raised in northern Virginia. Weissman noticed the group was particularly popular in that state, and the Southeast in general. They also attracted a following in Minneapolis, Minnesota. [1]
This preference turned into a curse in late 1963 when they were on a bus tour exploiting the popularity of the Hootenanny television show. [2] Most of the shows were in the Southeast, [3] where audiences were testy over African-American demands for equality. The tour was scheduled to perform in Jackson, Mississippi, in November where Medgar Evers had been murdered in June. [4]
They were greeted in Jackson with a message from the Student Non-Violent Coordinating Committee telling them the city still practiced de facto segregation, and no African Americans would be allowed near the concert. The decision by the performers on the tour to boycott the city was relayed by the news media. When they got to their next stop, the singers were met by locals carrying baseball bats ready to beat anyone who got off the bus. [5]
Phillips recalled:
"The "Hoot Tour" was never conceived as a political event, but in the south during the end of 1963, if you were white, on a bus, and played guitar and sang for a living, it didn’t matter—you were political." [6]
The Journeymen already recognized their audience was declining, and life on the road without rewards no longer held any attractions. [7] They fulfilled their final commitments, and disbanded.
Audience Perceptions
Those who remembered The Journeymen, almost always commented on their harmonies. Nate told Amazon buyers their "music represents the finest vocal harmonies and arrangements from the early ‘modern folk’ days," [8] while someone calling herself Betsey Ross said:
"I always loved the Journeymen above most other groups. I loved the way their voices blended together. Their harmony was wonderful, such a great sound. I liked them better than the Kingston Trio. They were a little more cerebral." [9]
John Yoakum generalized from the music to the general small-group social life it represented when he noted "The harmonies, the songs, the cameraderie are all good." [10]
Notes on Performers
Phillips and Weissman were born in 1935, in the middle of the Depression, and McKenzie in 1939.
Phillips is the best known member of The Journeymen. After the trio disbanded in 1964, he organized The New Journeymen with his wife, Michelle Phillips, and Denny Doherty. With the addition of Cass Elliot, it was transformed into The Mamas and The Papas. Phillips wrote his autobiography in 1988, when he was trying to rehabilitate his image after an arrest for drug use. It appeared before his daughter’s memoir accused him of incest. [11]
Weissman joined The Journeymen as a way to earn enough money to study music. He moved to Colorado, where he has written a number of books on the music industry. He published his autobiography in 2016 to create an objective chronology of the past.
McKenzie is the least known. He was born Phillip Blondhein, but changed his name when The Smoothies were working their first job in Windsor, Ontario. [12] He enjoyed singing, but not performing. He told a friend of his mother that "I have stage fright - I’m comfortable in the studio, but not on the road." [13] Both Phillips and Weissman commented on his problems with the stress of performing every night. [14] Later, McKenzie made one successful record as a soloist, [15] sometimes worked with Phillips, and spent most of his time away from the limelight.
Phillips died in 2001 from heart failure. [16] McKenzie developed Guillain-Barré syndrome and died in 2012. [17]
Availability
Single: The Journeymen. "Soft Blow The Summer Winds" / "Kumbaya." Capitol Records 4678. 1962.
Single: The Journeymen. "Ja-Da" / "Kumbaya." Capitol Records 5031. 1963.
YouTube: The Journeymen. "Kumbaya." Uploaded by oldiesrnow on 27 March 2009.
End Notes
1. Dick Weissman. The Music Never Stops. Anaheim Hills, California: Centerstream Publishing, 2016. 47 and 51.
2. The Hootenanny television program is discussed in the post for 3 November 2019.
3. John Phillips. Papa John. With Jim Jerome. Garden City: Doubleday and Company, 1986. 116.
4. Wikipedia. "Medgar Evers."
5. Phillips, 116—118; and Weissman, 54–55.
6. Phillips. 116.
7. Phillips, 120; and Weissman, 55.
8. Nate. Comment posted 29 January 2014. Amazon website for The Very Best Of The Journeymen.
9. Betsey_Ross. Comment posted 4 May 2013. Amazon website for The Journeymen’s New Directions in Folk Music.
10. John M Yoakum. Comment posted 24 February 2013. Amazon website for The Journeymen’s Coming Attraction - Live.
11. Mackenzie Phillips. High on Arrival. New York: Simon Spotlight Entertainment, 2009.
12. "A Change of Name." Scott McKenzie website. Maintained by Gary Hartman. It must have been a cultural shock for the young man raised in the South to hear Canadian English.
13. Susan Fallon. Comment on Gaestbuch page, Scott McKenzie website.
14. Phillips, 113; and Weissman, 85.
15. Scott McKenzie. "San Francisco." Ode Records ZS7-103. 1967. [18]
16. Wikipedia. "John Phillips (Musician)."
17. Wikipedia. "Scott McKenzie.
18. "Scott McKenzie – San Francisco (Be Sure To Wear Flowers In Your Hair)." Discogs website.
Showing posts with label Journeymen. Show all posts
Showing posts with label Journeymen. Show all posts
Sunday, October 20, 2019
Sunday, October 13, 2019
The Journeymen - Kumbaya (Part 1)
Topic: Commercial Folk Music Revival
The commercial folk-music revival began on 19 June 1958 when Paul Coburn played "Tom Dooley" [1] on his Salt Lake City, Utah, radio program. The response to the Kingston Trio song goaded Capitol Records into releasing it as a single from their album in August. [2] The album reached the Billboard sales charts in October, and "stayed there for nearly four years." [3]
The taboo against American folk music, which was constructed by the FBI, was broken by an Appalachian murder ballad [4] that some thought was about a naval surgeon recruited by the CIA to spy in Vietnam. [5] Ironically, Dr. Dooley contributed to the fear of communism in southeast Asia in that led to the war in Vietnam and the repoliticalization of the folk-music revival. [6]
The three young men in the Kingston Trio were very different from The Weavers [7] and other New York City-based folk singers. They hadn’t know the familial and financial insecurities of the Depression. As a younger generation, they were affected by World War II. Two members, Dave Guard and Bob Shane, were living on Oahu when it was bombed by the Japanese in 1941. [8] Guard’s father was a civil engineer for the army, [9] while Shane’s father soon joined the naval reserve. [10] The father of the third member, Nick Reynolds, was a career navy man. [11]
Even though Reynolds had listened to bootlegged tapes of the Weavers as a teenager, [12] the group’s musical influences were more Harry Belafonte [13] than rural Southern singers. They heard local music as adolescents: mariachi bands in México [14] and tourist and seamen’s music in Hawaii. [15] Their music was not in the tradition of any of the current popular genres: big bands, African-American rhythm and blues, Southern rockabilly associated with Elvis Presley, or Italian-American styles promoted by Dick Clark’s American Bandstand in Philadelphia.
Record companies and booking agencies had problems finding similar groups to promote because they were they first of their kind. The main employers at the time were night clubs that often hired jazz-influenced groups. The Trio’s manager, Frank Werber, had spent years working backstage at the hungry i in San Francisco, [16] and prepared them to entertain that type of audience. [17]
When the group was still relatively unknown, Werber was able to sign a one-year contract with a national booking agency. Within the year, he and two men from that company formed International Talent Associates. [18] Dick Weissman remembered ITA soon dominated the college concert circuit. [19] By representing so many folk-revival music groups, it was able to offer artists for any budget or schedule. [20]
Werber’s intertwined interests helped the Trio when Guard left the group in 1961. He looked for replacements among groups handled by ITA. [21] John Phillips claimed Werber tried to recruit him as a singer and songwriter. Since Phillips had just formed his own group that was handled by ITA, Werber suggested the other vocalist in The Journeymen become a solo opening act for the Trio, and the instrumentalist take Guard’s place as the guitar and banjo player. [22]
Before the Kingston Trio selected John Stewart to replace Guard, Werber’s subordinate got The Journeymen a recording contract with the Trio’s label, Capitol, [23] and moved them from ITA to a booking agency that didn’t compete with his most important performers. The Journeymen noticed they lost interest in them after the future of the Trio was assured. [24] The three had to extricate themselves from Werber’s managerial control. [25]
Phillips began his professional career with a quartet modeled on popular groups from the early 1950s. When the Smoothies failed to attract an audience, [26] he decided to add some elements of the Kingston Trio sound. Phillips asked people in a New York folk-music store to recommend some session musicians. [27]
Weissman was hired to work on some demos, [28] and he and Phillips became friends. When Phillips’ group returned from its final tour, two of the members quit. Phillips then proposed a trio with the remaining member, Scott McKenzie, and Weissman. [29]
Weissman was the only one who knew any folk songs. He had become involved with the New York City scene when he was a student at Goddard College, and lived in the city after he graduated. [30] He remembered:
"the three of us rehearsed for six weeks, six days a week, ten hours a day, until we had an albums worth of material. The songs were a blend of traditional songs that I brought into the group, some things John wrote, and another song I had written." [31]
The three grew frustrated when other acts they believed were less talented were more successful. Phillips was particularly incensed by the success of "Michael Row the Boat Ashore," [32] which was Billboard’s top selling record in September 1961. [33] Weissman recalled "we worked out an arrangement of the old chestnut Kumbaya." [34]
Their version was based on Pete Seeger’s. [35] They used his pronunciation and his "sleeping" verse, which they paired with "laughing." Weissman adopted the Caribbean rhythms of the Kingston Trio, and the group sang "Oh Lordy" instead of "Oh Lord."
Their melodic development followed that of Seeger on his Carnegie Hall album. On the third line of the full "kumbaya" verse, one person went high. The final repetition of "kumbaya" must have been overdubbed. [36] The group sang the lines in harmony, and, while they were holding the final note, they echo the phrase in harmony.
Their version "began to hit the charts in Minneapolis, Vancouver, and it even got into the top ten records in Boston," where it upset the sensibilities of a minister who thought it "anti-religious." Weissman said, "he counted the number of times that we sang Oh Lordy, and began a campaign to get it off the radio. Unfortunately for us, he succeeded. Our attempt to capitalize on Michael sank in to oblivion." [37]
(To be continued in next post)
End Notes
1. Kingston Trio. "Tom Dooley." The Kingston Trio. Capitol Records T-996. Recorded February 1959, released June 1958.
2. Ronald D. Cohen. Rainbow Quest. Amherst: University of Massachusetts Press, 2002. 131.
3. Wikipedia. "The Kingston Trio (Album)."
4. Gilliam Banmon Grayson and Henry Whitter recorded the song in 1929. [38] In 1940, Frank Warner transcribed a version from Frank Proffitt that appeared in an anthology published by Alan Lomax in 1947. [39] Lomax and Warner sued for copyright infringement and negotiated rights to the royalties for the Kingston Trio’s version of "Tom Dooley" in 1962. [40]
5. Cohen. 131. You have to wonder if these people actually listened to the Kingston Trio record.
6. Wikipedia. "Thomas Anthony Dooley III." His book, Deliver Us from Evil, was as truthful as Harvey Matusow’s reports on Pete Seeger that were discussed in the post for 18 August 2019. It was published in New York by New American Library in 1956.
7. The members of The Weavers were discussed in the posts for 12 October 2017, 14 July 2019, 28 July 2019, 11 August 2019, 18 August 2019, and 6 October 2019.
8. William J. Bush. Greenback Dollar. Lanham, Maryland: Scarecrow Press, 2013. 25.
9. Bush, Greenback. 23.
10. Bush, Greenback. 20.
11. Wikipedia. "Nick Reynolds."
12. Bush, Greenback. 6. The group later saw them perform at the San Francisco Opera House. [41] Dick Weissman said "Guard had attended a Weavers concert in 1957 and then learned to play banjo from Pete Seeger’s instruction book." [42]
13. William J. Bush. "Bob Shane of the Kingston Trio." Lazyka website.
14. Bush, Greenback. 4–5.
15. Bush, Greenback. 4–5 and 26–27.
16. Bush, Greenback. 52–53.
17. Bush, Greenback. 58–59.
18. Bush, Greenback. 124.
19. Dick Weissman. The Music Never Stops. Anaheim Hills, California: Centerstream Publishing, 2016. 39.
20. Weissman, Music. 47.
21. Weissman, Music. 40. ITA suggested Rene Cardenas become their manager. He was an associate of Werber. Weissman remembered: "Werber and Cardenas were interested in us as an insurance policy, in case the trio was unable to find a replacement." John Phillips later said: "Werber had us believing we couldn’t fail to make it. We soon learned that he planned to sign us as insurance against the imminent—but still secret—breakup of the Kingston Trio." [43]
22. John Phillips. Papa John. With Jim Jerome. Garden City: Doubleday and Company, 1986. 101. The chronicler of the Kingston Trio, said none of the Trio members remembered auditioning Phillips. [44] Given the duplicity of Werber and Cardenas, everyone’s memory may be accurate. There is evidence Phillips got ensnared: he and his family lived in an apartment owned by Shane, [45] and he began writing songs for the group to pay debts. [46]
23. Phillips, 97; and Weissman, Music, 41.
24. Weissman, Music. 44. "By this time we had become thoroughly skeptical about what Rene Cardenas and Frank Weber were going to be able to do for us. They had dragged us out of the one booking agency that seem to have a lock on pop-folk gigs and college concerts, and put us in an old line booking agency that was best known for booking Louis Armstrong. We regretted leaving ITA, and we also realized that Weber and Cardenas had lost interest in us when the Kingston Trio re-formed."
25. Weissman, Music. 45.
26. Phillips. 95.
27. Phillips, 95; and Weissman, Music, 35.
28. Weissman, Music. 35.
29. Weissman, Music. 36.
30. Weissman, Music.
31. Dick Weissman. Which Side Are You On? New York: Continuum, 2006. 84.
33. Wikipedia. "The Highwaymen (Folk Band)."
34. Weissman, Music. 52.
35. Pete Seeger’s version was discussed in the post for 6 October 2019.
36. Weissman said they overdubbed on their first album. [48] He probably also did that on the instrumental introduction to "Kumbaya."
37. Weissman, Music. 52.
38. Grayson and Whitter. "Tom Dooley." Victor 40235.
39. "Tom Dooley [Laws F36A]." The Traditional Ballad Index. California State University-Fresno website. Version 4.5. The anthology was John Avery Lomax and Alan Lomax. Folk Song U.S.A. New York: Duell, 1947. 82.
40. Michael John Simmons. "Bob Shane: Behind the Stripes." August 2012. Fretboard Journal website.
41. Bush, Greenback. 61.
42. Weissman, Side. 74–75.
43. Phillips. 97.
44. Bush, Greenback. 161.
45. Phillips. 101.
46. Weissman recalled in his autobiography, "desperate for some source of income, John started writing songs with John Stewart, Guard’s replacement," [page 43] while Phillips simply admitted "I was writing songs with John Steward after he replaced Dave Guard in the Kingston Trio." [page 106]
47. "The Highwaymen – Michael / Santiano." Discogs website.
48. Weissman, Music. 42.
The commercial folk-music revival began on 19 June 1958 when Paul Coburn played "Tom Dooley" [1] on his Salt Lake City, Utah, radio program. The response to the Kingston Trio song goaded Capitol Records into releasing it as a single from their album in August. [2] The album reached the Billboard sales charts in October, and "stayed there for nearly four years." [3]
The taboo against American folk music, which was constructed by the FBI, was broken by an Appalachian murder ballad [4] that some thought was about a naval surgeon recruited by the CIA to spy in Vietnam. [5] Ironically, Dr. Dooley contributed to the fear of communism in southeast Asia in that led to the war in Vietnam and the repoliticalization of the folk-music revival. [6]
The three young men in the Kingston Trio were very different from The Weavers [7] and other New York City-based folk singers. They hadn’t know the familial and financial insecurities of the Depression. As a younger generation, they were affected by World War II. Two members, Dave Guard and Bob Shane, were living on Oahu when it was bombed by the Japanese in 1941. [8] Guard’s father was a civil engineer for the army, [9] while Shane’s father soon joined the naval reserve. [10] The father of the third member, Nick Reynolds, was a career navy man. [11]
Even though Reynolds had listened to bootlegged tapes of the Weavers as a teenager, [12] the group’s musical influences were more Harry Belafonte [13] than rural Southern singers. They heard local music as adolescents: mariachi bands in México [14] and tourist and seamen’s music in Hawaii. [15] Their music was not in the tradition of any of the current popular genres: big bands, African-American rhythm and blues, Southern rockabilly associated with Elvis Presley, or Italian-American styles promoted by Dick Clark’s American Bandstand in Philadelphia.
Record companies and booking agencies had problems finding similar groups to promote because they were they first of their kind. The main employers at the time were night clubs that often hired jazz-influenced groups. The Trio’s manager, Frank Werber, had spent years working backstage at the hungry i in San Francisco, [16] and prepared them to entertain that type of audience. [17]
When the group was still relatively unknown, Werber was able to sign a one-year contract with a national booking agency. Within the year, he and two men from that company formed International Talent Associates. [18] Dick Weissman remembered ITA soon dominated the college concert circuit. [19] By representing so many folk-revival music groups, it was able to offer artists for any budget or schedule. [20]
Werber’s intertwined interests helped the Trio when Guard left the group in 1961. He looked for replacements among groups handled by ITA. [21] John Phillips claimed Werber tried to recruit him as a singer and songwriter. Since Phillips had just formed his own group that was handled by ITA, Werber suggested the other vocalist in The Journeymen become a solo opening act for the Trio, and the instrumentalist take Guard’s place as the guitar and banjo player. [22]
Before the Kingston Trio selected John Stewart to replace Guard, Werber’s subordinate got The Journeymen a recording contract with the Trio’s label, Capitol, [23] and moved them from ITA to a booking agency that didn’t compete with his most important performers. The Journeymen noticed they lost interest in them after the future of the Trio was assured. [24] The three had to extricate themselves from Werber’s managerial control. [25]
Phillips began his professional career with a quartet modeled on popular groups from the early 1950s. When the Smoothies failed to attract an audience, [26] he decided to add some elements of the Kingston Trio sound. Phillips asked people in a New York folk-music store to recommend some session musicians. [27]
Weissman was hired to work on some demos, [28] and he and Phillips became friends. When Phillips’ group returned from its final tour, two of the members quit. Phillips then proposed a trio with the remaining member, Scott McKenzie, and Weissman. [29]
Weissman was the only one who knew any folk songs. He had become involved with the New York City scene when he was a student at Goddard College, and lived in the city after he graduated. [30] He remembered:
"the three of us rehearsed for six weeks, six days a week, ten hours a day, until we had an albums worth of material. The songs were a blend of traditional songs that I brought into the group, some things John wrote, and another song I had written." [31]
The three grew frustrated when other acts they believed were less talented were more successful. Phillips was particularly incensed by the success of "Michael Row the Boat Ashore," [32] which was Billboard’s top selling record in September 1961. [33] Weissman recalled "we worked out an arrangement of the old chestnut Kumbaya." [34]
Their version was based on Pete Seeger’s. [35] They used his pronunciation and his "sleeping" verse, which they paired with "laughing." Weissman adopted the Caribbean rhythms of the Kingston Trio, and the group sang "Oh Lordy" instead of "Oh Lord."
Their melodic development followed that of Seeger on his Carnegie Hall album. On the third line of the full "kumbaya" verse, one person went high. The final repetition of "kumbaya" must have been overdubbed. [36] The group sang the lines in harmony, and, while they were holding the final note, they echo the phrase in harmony.
Their version "began to hit the charts in Minneapolis, Vancouver, and it even got into the top ten records in Boston," where it upset the sensibilities of a minister who thought it "anti-religious." Weissman said, "he counted the number of times that we sang Oh Lordy, and began a campaign to get it off the radio. Unfortunately for us, he succeeded. Our attempt to capitalize on Michael sank in to oblivion." [37]
(To be continued in next post)
End Notes
1. Kingston Trio. "Tom Dooley." The Kingston Trio. Capitol Records T-996. Recorded February 1959, released June 1958.
2. Ronald D. Cohen. Rainbow Quest. Amherst: University of Massachusetts Press, 2002. 131.
3. Wikipedia. "The Kingston Trio (Album)."
4. Gilliam Banmon Grayson and Henry Whitter recorded the song in 1929. [38] In 1940, Frank Warner transcribed a version from Frank Proffitt that appeared in an anthology published by Alan Lomax in 1947. [39] Lomax and Warner sued for copyright infringement and negotiated rights to the royalties for the Kingston Trio’s version of "Tom Dooley" in 1962. [40]
5. Cohen. 131. You have to wonder if these people actually listened to the Kingston Trio record.
6. Wikipedia. "Thomas Anthony Dooley III." His book, Deliver Us from Evil, was as truthful as Harvey Matusow’s reports on Pete Seeger that were discussed in the post for 18 August 2019. It was published in New York by New American Library in 1956.
7. The members of The Weavers were discussed in the posts for 12 October 2017, 14 July 2019, 28 July 2019, 11 August 2019, 18 August 2019, and 6 October 2019.
8. William J. Bush. Greenback Dollar. Lanham, Maryland: Scarecrow Press, 2013. 25.
9. Bush, Greenback. 23.
10. Bush, Greenback. 20.
11. Wikipedia. "Nick Reynolds."
12. Bush, Greenback. 6. The group later saw them perform at the San Francisco Opera House. [41] Dick Weissman said "Guard had attended a Weavers concert in 1957 and then learned to play banjo from Pete Seeger’s instruction book." [42]
13. William J. Bush. "Bob Shane of the Kingston Trio." Lazyka website.
14. Bush, Greenback. 4–5.
15. Bush, Greenback. 4–5 and 26–27.
16. Bush, Greenback. 52–53.
17. Bush, Greenback. 58–59.
18. Bush, Greenback. 124.
19. Dick Weissman. The Music Never Stops. Anaheim Hills, California: Centerstream Publishing, 2016. 39.
20. Weissman, Music. 47.
21. Weissman, Music. 40. ITA suggested Rene Cardenas become their manager. He was an associate of Werber. Weissman remembered: "Werber and Cardenas were interested in us as an insurance policy, in case the trio was unable to find a replacement." John Phillips later said: "Werber had us believing we couldn’t fail to make it. We soon learned that he planned to sign us as insurance against the imminent—but still secret—breakup of the Kingston Trio." [43]
22. John Phillips. Papa John. With Jim Jerome. Garden City: Doubleday and Company, 1986. 101. The chronicler of the Kingston Trio, said none of the Trio members remembered auditioning Phillips. [44] Given the duplicity of Werber and Cardenas, everyone’s memory may be accurate. There is evidence Phillips got ensnared: he and his family lived in an apartment owned by Shane, [45] and he began writing songs for the group to pay debts. [46]
23. Phillips, 97; and Weissman, Music, 41.
24. Weissman, Music. 44. "By this time we had become thoroughly skeptical about what Rene Cardenas and Frank Weber were going to be able to do for us. They had dragged us out of the one booking agency that seem to have a lock on pop-folk gigs and college concerts, and put us in an old line booking agency that was best known for booking Louis Armstrong. We regretted leaving ITA, and we also realized that Weber and Cardenas had lost interest in us when the Kingston Trio re-formed."
25. Weissman, Music. 45.
26. Phillips. 95.
27. Phillips, 95; and Weissman, Music, 35.
28. Weissman, Music. 35.
29. Weissman, Music. 36.
30. Weissman, Music.
31. Dick Weissman. Which Side Are You On? New York: Continuum, 2006. 84.
33. Wikipedia. "The Highwaymen (Folk Band)."
34. Weissman, Music. 52.
35. Pete Seeger’s version was discussed in the post for 6 October 2019.
36. Weissman said they overdubbed on their first album. [48] He probably also did that on the instrumental introduction to "Kumbaya."
37. Weissman, Music. 52.
38. Grayson and Whitter. "Tom Dooley." Victor 40235.
39. "Tom Dooley [Laws F36A]." The Traditional Ballad Index. California State University-Fresno website. Version 4.5. The anthology was John Avery Lomax and Alan Lomax. Folk Song U.S.A. New York: Duell, 1947. 82.
40. Michael John Simmons. "Bob Shane: Behind the Stripes." August 2012. Fretboard Journal website.
41. Bush, Greenback. 61.
42. Weissman, Side. 74–75.
43. Phillips. 97.
44. Bush, Greenback. 161.
45. Phillips. 101.
46. Weissman recalled in his autobiography, "desperate for some source of income, John started writing songs with John Stewart, Guard’s replacement," [page 43] while Phillips simply admitted "I was writing songs with John Steward after he replaced Dave Guard in the Kingston Trio." [page 106]
47. "The Highwaymen – Michael / Santiano." Discogs website.
48. Weissman, Music. 42.
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