Since the first folk boom
of the 1950s and 60s, the term "folk music" has had an unduly narrow
definition; encompassing practitioners of music's traditional to narrow,
specific, ethnic and regional groupings; made exotic by geography, history,
or social class (as if only oppressed people can make "folk" music). When
the folk musician is not himself a member of an oppressed or exotic group,
he or she takes on the trappings of working class dress and shows up onstage
carrying an acoustic guitar, wearing demins, flannel, and ugly shoes,
mumbling between songs disparaging remarks about at least one other current
genre of popular music. All this works to turn "folk" music into a classical
form, as strict in rules of sound and presentation as concert music or heavy
metal: play particular instruments, maintain a particular attitude, wear a
particular set of clothes.
We at Real Folk believe that in the last half of the twentieth century,
voices from all the cultures of the world; Western "high" culture, American
pop culture, and a thousand traditional cultures have been talking to, and
more importantly, listening to each other. That conversation is the process
of producing a new world folk culture that includes elements of everything
that has become part of the environment we all live in. A real folk music
will include all the sounds we hear now (on radio and CDs and movies and
commercials) and all the music that preceded these sounds; the chants of
medieval troubadours, polyrhythm's of West Africa, rock'n'roll, rap, Celtic,
flamenco, bluegrass, ragas, heavy metal, blues, Balinese gamelan music,
western concert music, CW, funk, and on and on and on. Real"folk" music for
the next century will be inclusive of all these. And a real folk music will
speak for and to the high-rise working, computer geeking,
information-market-world-economy wage slaves and entrepreneurs, as well as
to the granola-crunchers and hemp-wearers of the world.
Real Folk Music has produced two records so far, with work recently begun on third:
Loky's
Here in Paradise brings elements of 60s psychedelic rock and
old-time CW into a mix with multiple hand percussion to create a groove that
evokes Afro-pop and reggae as interpreted by spaced-out hillbillies. The
songwriting has strong roots in its native locale, urban Houston, and tells
real-life stories with humor and intelligence.
Life is Good,
by David Fahl, is Real Folk's second release. It includes songs that are
molded in classic folk, blues, and country forms, as well as experiments
that stake out new territory for folk music. Fahl's vocals and guitar
playing are enhanced with contributions by players from Houston's blues,
techno, and jazz scenes.
Shoulda Known
Better by Fahl & Folk includes some newer tunes that
showcase the musicians I’ve been working with since 2003.
Future releases will feature songwriters from Houston's pool of
exceptionally talented unknowns and sounds from players who thrive on the
cross-pollination of the musical cultures in this city; a happy byproduct of
Houston's status as a crossroads for the world energy business.
Copyright © RealFolkMusic.com Andrea Jaume', A.D. Publishing, Richmond, TX
