{"id":1108,"date":"2020-11-02T17:01:00","date_gmt":"2020-11-02T17:01:00","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2020-11-2-redefining-folk-via-fast-folk-musical-magazine\/"},"modified":"2020-11-02T17:01:00","modified_gmt":"2020-11-02T17:01:00","slug":"2020-11-2-redefining-folk-via-fast-folk-musical-magazine","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2020-11-2-redefining-folk-via-fast-folk-musical-magazine\/","title":{"rendered":"Redefining Folk via Fast Folk Musical Magazine"},"content":{"rendered":"
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By Erin Christie<\/strong><\/p>\n

When I bought a random edition of Fast Folk Musical Magazine<\/em>\u2019s LP compilation series this summer, I had no idea I was stumbling upon a Smithsonian-lauded<\/span><\/a> piece of New York\u2019s sonic history. <\/p>\n

Fast Folk Musical Magazine<\/em> (previously called The Co-Op<\/em>) was founded in New York in 1982, in the midst of a musical landscape ripe with singer-songwriters looking for their big break. Organized under the guidance of iconic folk artist Jack Hardy, the songwriter\/performer cooperative and non-profit aimed to provide local musicians with an outlet through which they could release their first recordings, unveil their demos, and, otherwise, share their work with the greater Greenwich Village and nationwide music communities. <\/p>\n

Though an unfortunate expiration date of the venture arrived in 1997, that\u2019s not to say that they went out without a massively impactful legacy in tow. After its first edition, Fast Folk <\/em>released dozens of compilations and accompanying print issues throughout their 15-year run. Historically, they featured over 600 writers and over 2,000 songs in total, including content from artists who later spearheaded musical genres such as alternative country and anti-folk. They even hosted early recordings from later Grammy Award-winners such as Lyle Lovett, Suzanne Vega, Julie Gold, Tracy Chapman, and Shawn Colvin, among many others. <\/p>\n

The copy I came across \u2014 Volume 3, No. 10; dated December 1986 \u2014 was tucked away among the records in the \u201clocal\u201d section at the Allston location of the record store franchise, In Your Ear. Upon finding it, I was immediately compelled by it\u2019s cover artwork: a hand drawn design, exhibiting two spindly, distorted figures engaging in a sort of synchronized dance, painted over with what looked like bright pink watercolor. Maybe you aren\u2019t meant to \u201cjudge a book by it\u2019s cover,\u201d or \u201cjudge a record <\/em>by it\u2019s cover,\u201d in this case, but I undoubtedly did. When I got home that evening after purchasing it, I found the compilation record, alongside a copy of the print issue that went along with it inside\u2014 needless to say, my impulse decision had led me to unknowingly uncover a motherload of early folk excellency.<\/p>\n

Compilation-wise, Volume 3, No. 10 features a handful of contributors, including David Roth, Sid & Elmer, Jane Gillman, Richie Havens, Pierre Millery, Michelle Shocked (who has an awesome<\/em> name), Buddy Mondlock, Peter Brown, Lillie Palmer, Fred Small, Kim Wallach, and Left Field. The print magazine essentially serves as a companion to the listening material, with inclusions such as artist interviews, lyrical transcriptions, artist bios, and more, adding context to what you\u2019d hear on the album. In addition, you might also find a bit of editorial content, which is the case with this specific edition: on the very first pages sits a piece from the publication\u2019s editor, Richard Meyer, which details the sort of content the Fast Folk<\/em> team looks for when compiling each edition, and, moreover, the content that is (by his standard) worth listening to.<\/p>\n

\u201cFast Folk<\/em> strives to build a community to support and encourage contemporary songwriting that is based in the folk genre, but that works to refine and develop it,\u201d Meyer writes. He continues that, in his opinion, the most compelling material, the sort of material Fast Folk<\/em> looks to include, comes from musicians who \u201cchallenge the niceties of the day.\u201d \u201cPeople who feel free to make art that is considered ugly or primitive by some can often create disturbingly beautiful work,\u201d he explains. \u201cArt that accepts the challenge of rawness may repel audiences who are numb, complacent, and bored; at least it offers the chance for some stimulation.\u201d<\/p>\n

On first glance, Meyer\u2019s piece may appear entirely pretentious, as it essentially seeks to dictate what is worth paying attention to and what isn\u2019t, totally based on his opinion and his opinion alone. However, in the cockiness of it all, he does make some subtle points: it\u2019s valid to suggest that interesting content does reveal itself among the musical landscape\u2019s \u201codds\u2019n\u2019ends;\u201d from the little-known creators who get little coverage or recognition but, still, create with their own incentive, motivation, and framework. With Fast Folk<\/em> in mind, folk itself is a perfect example of this standard: the genre is typically considered anti-commercial, distinguished from the mainstream, and, rather, riddled with unique, heartfelt composition. \u201cThe writer must be willing to go to the wall with his ideas, popular or not, to see if he is being honest with himself,\u201d Meyer continues, essentially saying, folk isn\u2019t folk if it doesn\u2019t break boundaries.<\/p>\n

With this edition\u2019s compilation in mind, then, it\u2019s clear that the team abided by Meyer\u2019s general opinion: it begs the listener to become completely enveloped in each track, to pick apart the words, and get lost in the musical content. More than just being \u201cnice\u201d recordings, they\u2019re completely note-worthy in different ways, which is another distinction Meyer makes in his editorial piece.<\/p>\n

From the gate, the record calls on what you might expect from the classic \u201cfolk\u201d genre with David Roth\u2019s \u201cShould On You,\u201d in which the singer-songwriter turns the tables on his partner telling him what to do by describing his various grievances. In a contemporary context, his words might be a lot out of line, as he has no right to tell someone how to do their hair or what TV shows to watch. Alas, sonically, the track still contains all the hallmarks of a typical, good ole fashioned country folk song: bouncy, warbled vocals and twangy, plucked bass strings. That said, it\u2019s a great introductory piece.<\/p>\n

Aside from vaguely misogynistic content such as this, the compilation also features a handful of excellent additions from women, one being Lillie Palmer\u2019s melancholic, haunting \u201cGone To His Head,\u201d which appears more like an existential, religiously-questioning soliloquy, or a sort of tragic tale taken to song. \u201cGone are the days when I\u2019d look up night\u2019s skirt \/ I\u2019d laugh at the stars \/ And I\u2019d reach out to touch,\u201d she professes in one verse, hidden in between unanswered prayers and accounts of lives come and gone. Another track, \u201cOne Look Back,\u201d is instrumentally jovial, on the other hand, culminating in what one might compare to a love-lorn ditty, with harmonica and all. \u201cWhen this old life is over \/ Lay me down in a field of clover \/ Let that sweet old honey bee \/ Make sweet honey out of me,\u201d Pterodactyl Music\u2019s Jane Gillman croons.<\/p>\n

Furthermore, the compilation also includes a handful of culturally and socially relevant tracks. Peter Brown\u2019s \u201cTo the Future,\u201d for example, is probably one of the most profound inclusions, tackling Brown\u2019s personal upbringing, his culture and lineage, and his understanding of race and prejudice in America as a Black man. \u201cBeen a hundred years of suffering \/ And a hundred years of strife, \/ But a hundred years has taught us \/ We either suffer or we fight,\u201d he speak-sings, amidst descriptions of the horrors his family and ancestors faced. Similarly, Brewester Paley and John Amato\u2019s suave, silky smooth \u201cDon\u2019t Look Now\u201d encourages a people-focused message, emphasizing the importance of community outreach and togetherness in the fight against injustice. The lyrics ring out, \u201cWhere we\u2019ve got to turn is to each other for the power.\u201d<\/p>\n

With tracks such as this considered, Vol. 3, No. 10 covers a wide array of styles and thematic topics under the folk label, helping to redefine the genre in a manner that was not limited by convention or compositional style. With its folk roots considered, then, Fast Folk <\/em>was able to serve as a blueprint of sorts, a means for musicians from all walks of life and musical stylings to find a home for their work, to redefine what \u201cfolk\u201d could mean. Like Meyers wrote in hs editorial piece, \u201cThe roots of the style that is now considered folk are political, work songs, murder ballads, and emotional love songs from all points of view.\u201d Within this compilation alone, each box was absolutely checked off, which is what makes it, and Fast Folk<\/em> in general, so significant, during its time in print, and still today.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

When I bought a random edition of Fast Folk Musical Magazine<\/em>\u2019s LP compilation series this summer, I had no idea\u2026 <\/p>\n","protected":false},"author":1,"featured_media":1109,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[25,26],"class_list":["post-1108","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-feature","tag-historical-perspective"],"yoast_head":"\nRedefining Folk via Fast Folk Musical Magazine - 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