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Peter Paul & Mary
Like the Weavers before them, and like their contemporary Joan Baez, Peter Paul and Mary played a crucial role in popularizing many fine traditional and contemporary songs in the folk idiom. And they were equally committed to singing political songs and using music for political activism. Of particular significance were their early covers of Dylan's songs. Their version of Dylan's "Blowin' In the Wind" soon after it was written quickly made it one of the most widely known folksongs in the world. They were a crucial tool for the brash, raw Dylan to reach a mainstream audience. As for their own music, Yarrow's setting of Leonard Lipton's lyric, "Puff the Magic Dragon," and the group's performance of it, made the song an instant children's classic. Yarrow's "Day is Done" has also become a folk classic.
Peter Paul & Mary started out in Greenwich Village in the early 60s. In the beginning, this hip, politically savvy trio was a welcome alternative to the Kingston Trio and the Limelighters - the boy groups of their day. But while Dylan and the Village beat poets remained irascible and revolutionary, PP&M succumbed to their success. Their pleasant sound and four-square approach to rhythm and harmony insured their popularity, and allowed them to make folk music a household word throughout conservative America. They were "nice" people playing "nice" music. Over the years, they have continued to capitalize on their early fame to promote a progressive political agenda, working closely with mainstream organizations and political parties.
Peter Paul & Mary's signature sound is instantly recognizable and indelibly impressed on anyone who grew up with their recordings.
Surprisingly, there are few if any heirs to this folk supergroup. With the number of excellent songwriters that arose in the 70s 80s and 90s you might think there'd be a group specializing in clear vocals and beautiful harmonies that could help promote them beyond the insular folk circles. The Greenwich Village-based Song Project (featuring Lucy Kaplansky and Frank Christian) in the early 80s was a short-lived experiment along these lines, but by and large, the emphasis in the folkscene has been on songwriting.
Hugh Blumenfeld, Editor
hugh@balladtree.com
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