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A scholar and a balladeer, Paul Clayton (1931-1967) is credited with the Top-Ten hit "Gotta Travel On" and was a key figure in the mid-1950s rise of folksong to media popularity. Clayton single-handedly brought hundreds of obscure folksongs to the mainstream radio and recording market, and he influenced listeners and friends from Dave Van Ronk to Bob Dylan, who considered Clayton a mentor, "mindguard," and well of folksong. Paul Clayton and the Folksong Revival is the first biography of the folk singer and song collector.
Using accounts from friends, family, and fellow musicians, author Bob Coltman relates the breadth and depth of Clayton's extraordinary life, from his birth into a singing family and his teenage years as a radio singer and folksong collector, to his establishment in New York as a folk performer and recording artist, to his tragic early suicide. Clayton's recordings are also examined, interspersed with his insights and adventures as a performer and songwriter in the folk world. Gradually, Clayton's achievements become overwhelmed by his disintegration as a drug user, failing musician, and bipolar gay man, culminating in eyewitness accounts relating to his tragic end.
Presenting an in-depth look at folk music in the 1950s, Coltman illuminates what it meant to be a working, but not starring, folksinger in this period. With quotes from a number of folksongs, a discographic summary, and a bibliography, this volume brings to life this intelligent, perceptive, and largely unknown scholar-folksinger.
- Sales Rank: #3598147 in Books
- Published on: 2008-09-05
- Released on: 2008-09-05
- Original language: English
- Number of items: 1
- Dimensions: 9.10" h x .79" w x 6.05" l, 1.20 pounds
- Binding: Paperback
- 336 pages
Review
Well-researched tome. (Craig Harris Dirty Linen, June 2009)
Coltman's book is thoroughly detailed and annotated, with interviews with colleagues, family, friends, lovers and creative collaborators. . . . Bob Coltman's friendly prose, eye for detail and exceptional research capture a significant, if overlooked, player in the mid-century folk revival. . . . Recommended. (Sing Out!, July 1, 2009)
Coltman's book was published in 2008, and it is a fine study of a nearly forgotten but still significant figure in the folksong revival of the 1950s and 1960s. The discography is useful, especially in its listing of non-commercial recordings, but equally fascinatingis the appendix of Clayton's copyrighted songs, divided into original compositions hybrids, and traditional songs. While there may not be many who have been longing for a book-length biography of Paul Clayton exists, there may be more people discovering the song and voice that I have respected for over twenty years. (Morris S. Levy, December, 2009)
Coltman, writing with obvious love for the time, the music, and the people who made the folk music revival of the mid-1900s a resource for all of us, provides a glimpse into the story of a man often walking the thin line between genius and insanity. As one who lived that era, I relived many times, places, and feelings reading this book. A must-read for old folkies, scholars of the folk revival, and indeed anyone who wants to read a vivid portrait of a man possessed with immeasurable talent and demons who left an indelible footprint on the folk music of his time." (Ed Trickett, folk recording artist)
About the Author
Bob Coltman is a traditional folksinger, writer, and composer of several folk standards, and has published articles in Old Time Music and JEMFQ. He is a contributor to Exploring Roots Music: Twenty Years of the JEMF Quarterly (Porterfield, ed., Scarecrow Press, 2004).
Most helpful customer reviews
6 of 6 people found the following review helpful.
The Folk Revival--It's ups and downs
By Arthur Thieme
Bob Coltman's book on Paul Clayton and his era of the Folk Song Revival in the USA is right on. From where I sat within the revival, he was a valued finder/collector of these songs. As a singer of traditional ballads and story songs, Paul Clayton put the tale in the songs first---even before himself--possibly partially because of his own vocal limitations. --- After reading this illuminating and sad story of his life, I come away feeling that his life might've been happier if he had been satisfied with being what he did best, a singer and interpreter of traditional material. As Bob Coltman analyzes here quite eloquently, the changing musical times and tastes, the intrusion of pop/Beatles/rock/Dylan and all that that entails (made vibrant in these pages) created a gestalt that Paul could not deal with adequately at all. His guilt and self recrimination from being gay in a time when it was not at all accepted in American life, is poignant, tragic, and sadly ironic as we in the 21st century try to live our ideals in a more enlightened way than our forebears ever would consider. His frustrations with the tremendous successes of his "friend" Bob Dylan -- combined with the fact that many who were there felt Bobby had "taken" one of Paul's found songs and made a million selling song when Peter Paul and Mary recorded it. Paul Clayton's life is filled with the ups and deep downs that flesh is heir to---and it's all in this fine biography of a very sensitive bipolar man who, after hitting bottom, saw the only way to end his pain was to end his own life.
Another sad irony is that, in our time, we now have psychiatric drugs to alleviate many of Paul Clayton's symptoms. ---- I met him only once---and he taught me a song -- a vivid and transporting folk song lyric that I sang for the next 30 years. --- Also, listen to Bob Coltman's fine recordings of folk songs -- and especuially his own composed songs like "Lonesome Robin" and "Before They Close The Minstrel Show." You won't be sorry. (I just had to toss that in.---A.T. ;-)
Art Thieme
7 of 7 people found the following review helpful.
A spellbinding read,and lingering mistery revealed
By Bill Clifton
An extraordinarily well-documented and insightful view into the life and times of, perhaps, the finest interpreter of traditional folksong in the 20th century...and the movement that gave birth to the 1960s folk revival. Coltman writes with creativity and enthusiasm and an uncanny ability to interpret the life of a very complex character who dominated the folk scene in the U.S. in the 1950s...a truly gifted genius in the field of songwriting and performance, as well as a seer (he foresaw in early 1961 that Bob Dylan was destined to be a superstar!).
Through extensive interviews with both sides of Paul's family, we learn of the impact on him that came from his mother's side, and of the old ballads he learned orally from members of the Hardy family...most particularly the whaling ballads that had gained prominence in his hometown of New Bedford, Massachusetts. He listened eagerly and learned well...and shared his knowledge as widely as possible through radio (establishing his own program on a station in Charlotte Town, Prince Edward island, Canada, at the tender age of 16) and live performances and recording (not only of himself).
When Dylan responded to New York Times writer Robert Shelton's question as to which folksingers he admired, by saying "There's only one...and that's Paul Clayton...he's a spell", it encouraged Clayton to consider Dylan a disciple. And, while there is no hard evidence to support it (and Coltman does not prognosticate), there are those of us who had Paul as a personal friend for many years prior to his association with Dylan...as well as during those years) who believe that Paul's deep depression and eventual suicide were in some way connected to a cross-country tour that they (along with a couple of others) took together in early 1964...a trip which was described to me by Clayton as a "LOOK-SEE TOUR of AMERICA". Bob Coltman surmises that Paul became excess baggage, more or less, a position that would never have been acceptable to him.
For those of us who were not living or working in New York City in the mid 60s, Coltman has put together a fascinating word-picture of the events that occurred during the days leading up to Clayton's suicide, by electrocution, just a few short weeks after his 36h birthday in March 1967.
Coltman concludes his excellent book with an Appendix of Paul Clayton's copyrighted songs. And if this reviewer is to find any shortcoming at all in Coltman's work, I shall have to find it here. While he admits that he has not heard all of the songs, he still cannot resist making educated guesses. For example: He describes LAZY COURTSHIP as "maybe a takeoff on courting ballads like DEAF WOMAN'S COURTSHIP, whereas it is simply an alternative title to THE YOUNG MAN WHO WOULDN'T HOE CORN. JIM HARFIELD'S SON, he correctly concludes may be an original. Paul based the text of the song on documents from the trial in Frankfort, KY...something which Coltman could hardly be expected to know. So...the Appendix may not provide all the information about every single song, but it is an invaluable reference to the complete catalog of Clayton's copyrighted material.
Following the Appendix, a DISCOGRAPHIC provides complete and accurate information about Clayton's incredibly long list of recorded projects (Most-Recorded Folk Singer in the 1950s) including non-commercial transcriptions that can be heard at The Library of Congress, the Flanders Archive, or Kenneth Goldstein Archive, University of Massachusetts, Dartmouth.
NOTES, GENERAL INDEX, and INDEX OF SONG TITLES completes this "labor of love"...a treasure-trove of valuable information that deserves a special place in out hearts, and a place of honor on your bookshelf.
Bill Clifton
2 of 2 people found the following review helpful.
a long time comin'
By larry hoffman
Mr. Coltman's book is insightful, thoughtful, and probing-- replete with a professional scholar's assessment of Mr. Clayton's achievements and history. This academic orientation does not temper the author's empathetic and all-encompassing look at the artist/scholar's ebullient and tragic personal life, however.
Having known Paul Clayton at the University of Virginia while a young aspiring guitarist/folksinger/English major back in the 1960's, I can attest to the accurate nature of this portrait. I was amazed to read of the many Paul Clayton's I did NOT know, however. Clayton was perhaps the most hypnotic,enigmatic person I have ever known--certainly among the most unforgettable.
On another count, this work is essential reading for anyone interested in the confluence of people and events that shaped and motivated the revolutionary folk music revival of the 1960's --especially as it unfolded in the streets, apartments, and clubs of Greenwich Village (Paul had already been there for over a decade!)
Dave Van Ronk, Bob Dylan, Phil Ochs, Carolyn Hester-all --and so many more--"came up" in one way or another under the influence and mentoring of the under-heralded composer of "Don't Think Twice" and "Gotta Travel On"---the singular Paul Clayton. Perhaps this stunning volume will help give Mr. Clayton his rightful, long-awaited, albeit posthumous place in the history of American folk music.
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