Ever since the breakout of the first single as a hit, the members had expected that somewhere down the line their past political affiliations would be thrown back in their faces. The Weavers, an American folk music quartet, sold millions of records in the late 1940s and early 50s.

The quartet went from being embraced by the public, and selling four million records, to being reviled and rejected over the political backgrounds of its members, and disbanding after only four years together.

But their second session yielded a pair of songs, "Tzena Tzena Tzena," which got to number two, and "Goodnight Irene," which hit number one and stayed there for 13 weeks, and ended up selling two million copies as a double-sided hit single. Fred Hellerman They went over so well that the gig was extended through the winter and then the entire spring, for $250 a week split four ways. Their manager did his best to downplay any political associations by the group -- they were never booked into potentially controversial events, such as union meetings or political rallies, and avoided doing songs that were overly controversial. "Great songwriters don't necessarily have hit songs," says Chris. "Hangin' Tough" came at the peak of New Kids on the Block mania. Ronnie Gilbert Explore releases from The Weavers at Discogs. In 1955, however, Decca no longer wanted to record them because it was difficult, if not impossible, to get their records into the stores, and it was no longer possible to get their music played on the radio. A renowned guitarist and rock revivalist, Dave took "I Hear You Knocking" to the top of the UK charts and was the first to record Elvis Costello's "Girls Talk. Fate took a hand when the group, as a last-ditch effort to keep going, auditioned for a spot performing for the Christmas week of 1949 at the Village Vanguard, a New York club owned by Max Gordon, which was most closely associated with jazz.

The avoidance of controversy, which made the group such pariahs to their compatriots on the left and utterly infuriating to their opponents on the right, gave the Weavers' music a universality that topical songs of the era would have sorely lacked ten or 20 years later. Join Napster and access full-length songs on your phone, computer or home audio device. Producer Rupert Hine talks about crafting hits for Tina Turner, Howard Jones and The Fixx. Another key factor, even if the political and business climate had been more favorable, was Yet, despite the controversy that surrounded them, and the fact that their work was interrupted at its peak, the Weavers managed to alter popular culture in about as profound a manner as any artist this side of Listen to albums and songs from The Weavers. In November of 1980, a pair of reunion concerts at Carnegie Hall became the final appearance of the original quartet and the focal point of the film Wasn't That a Time, a documentary that chronicled the Weavers' history. Their Vanguard recordings were stripped down, very basic productions, just the group members playing with no dubbed-on accompaniment; these recordings are usually regarded more highly than the Decca material which, in any case, wasn't available for many years in any comprehensive form. It was written in 1949 in support of the progressive movement, and was first recorded by The Weavers, a folk music quartet composed of Seeger, Hays, Ronnie Gilbert, and Fred Hellerman.It was a number 10 hit for Peter, Paul and Mary in 1962 and then went to number three a year later when recorded by Trini Lopez.

"The Third Day frontman talks about some of the classic songs he wrote with the band, and what changed for his solo country album.

It was from the Village Vanguard shows that the group first hooked up with Folksinging by then had become something of an "art," an elitist, academic activity attuned to scholars, but the Weavers came off completely the opposite of this -- guileless and honest, literally four hay seeds without any experience of playing in clubs. It was written by Ednaswap's Anne Previn and Scott Cutler, who went on to write some hits for Miley Cyrus.
The Weavers, Ronnie Gilbert, left, Pete Seeger, Lee Hays and Fred Hellerman perform at the Blue Angel nightclub in New York circa 1948. Buchan points out its early 20th century place in Ford’s Vagabond Songs and Ballads (1899 -1901), where another verse is given: “The ploughman lads they mock us, and speak aye about’s, And say we are thin-faced, bleach’d-like clouts; But yet for a’ their mockery they canna do withoot’s – Na, they canna want the honourable weavers.”

The first result of their Decca contract was a collection of Christmas songs issued on a 10" LP, which didn't attract much attention. At the same time, the group's unaffected style, partly a result of their sheer inexperience, gave the recordings an honesty and directness that was lacking in the more scholarly approach to folk music that was more typical of the era. For two years, from the middle of 1950, when the first accusations of the group's alleged disloyalty surfaced, until the summer of 1952, The Weavers song lyrics collection. The label kept paying them for the duration of their contract until it ended in 1953, and by then each of the members had moved on to other activities. Their six months at the Vanguard changed the group's fate. The Weavers had the most extraordinary musical pedigree and prehistory of any performing group in the history of folk or popular music. Lee Hays

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