The Folk Legacy Trio

I've been thinking 'bout Isaac Newton And the apple that fell from his tree And the subsequent insight Leading him to then write All about gravity.

Most people say that he's best known For the laws and the theories he proposed But we found Newton to be a humble dude When we read something else that he composed He said we're standing on the shoulders of giants Inheriting the knowledge of the ones who came before us Standing on the shoulders of giants And from way up here, you can see much more We're standing on the shoulders Standing on the shoulders Standing on the shoulders of those who came before us Standing on the shoulders, standing on the shoulders Standing on the shoulders I'm just a simple songwriter, but The thought did occur to me If the theory is true, then what about The musical piece of our history?

Aren't we all standing on the shoulders Standing on the shoulders, standing on the shoulders Of those who came before us Standing on the shoulders, standing on the shoulders Standing on the shoulders Who's to say how it all began?

The story of a woman and the story of a man And the first piece of music, you can bet it wasn't planned Was when a little baby cried, "I am, I am, I am" Standing on the shoulders, standing on the shoulders Standing on the shoulders of those who came before us Standing on the shoulders, standing on the shoulders Standing on the shoulders Gather 'round, we got a story to tell 'Bout the power of music and the magic spell That weaves a hope for the future with the lessons of the past In a tapestry of song at last, at last, at last, At last, at last Standing on the shoulders, standing on the shoulders Standing on the shoulders of those who came before us Standing on the shoulders, standing on the shoulders Standing on the shoulders Of love.

There is a meeting, hmm There is a meeting, hmm There is a meeting, hmm There is a meeting, hmm There is a meeting here tonight.

There is a meeting here tonight.

There is a meeting here tonight.

There is a meeting here tonight.

There's a meetin' here tonight.

There's a meetin' here tonight.

I can tell by your friendly faces There's a meetin' here tonight, hallelujah.

There is a meetin' here tonight.

There's a meetin' here tonight.

I can tell by your friendly faces.

There's a meetin' here tonight.

Well, I went down to the valley one day.

I went down to the valley one day.

Well I met old Satan on my way.

I met old Satan on my way.

What do you reckon 'ol' Satan did say?

What do you reckon 'ol' Satan did say?

Well, I turned back, "Young man, you're too young to pray, Too young to pray, too young to pray.

Well, there's a meetin' here tonight.

There's a meetin' here tonight.

I can tell by your friendly faces.

There's a meetin' here tonight.

There is a meeting.

There is a meeting.

There is a meeting here tonight.

There is a meeting.

There is a meeting.

There is a meeting here tonight.

Well, there's a meetin' here tonight.

There's a meetin' here tonight.

I can tell by your friendly faces.

There's a meetin' here tonight.

Well, Satan got mad, and I am glad.

Satan got mad, and I am glad.

Lost a soul he thought he had.

Lost a soul he thought he had.

Satan is a liar and a conjuror, too.

Satan is a liar and a conjuror, too.

You better watch out, brother, he'll conjure you.

Conjure you, conjure you.

Well, there's a meetin' here tonight.

There's a meetin' here tonight.

I can tell by your friendly faces.

There's a meetin' here tonight.

There is a meeting.

There is a meeting.

There is a meeting here tonight, hallelujah.

There is a meeting.

There is a meeting.

There is a meeting here tonight.

There is a meeting here tonight.

male: Hey!

[audience applauding] Richard Risk: Hailed as the living library of music of the great folk era, George Grove, formerly with The Kingston Trio for 41 years; Rick Dougherty, former member of the Limeliters and Kingston Trio for 25 years; and Jerry Siggins, former lead singer for 27 years of the legendary doo-wop group The Diamonds, preserved that slice of Americana as The Folk Legacy Trio.

George and Rick are reunited for this performance at the historic Will Rogers Auditorium in Tulsa with Paul Gabrielson, who was the bass player for The Kingston Trio also for many years.

They deliver songs from the great American folk song book that spans the 1950s into the '70s with their signature dynamic vocals and instrumental arrangements.

Their repertoire includes songs from The Weavers; The Kingston Trio; the Limeliters; Peter, Paul and Mary; The New Christy Minstrels; The Brothers Four; The Chad Mitchell Trio; Tom Paxton; Judy Collins; Joan Baez; Gordon Lightfoot; Simon and Garfunkel; John Denver; and many others.

Blending stories, history, and humor, they've received accolades from venues across the country.

They bring back the nostalgia of that great era of folk music with a marvelous blend of their powerful voices and acoustic musical instruments.

In the early morning rain.

With a dollar in my hand.

With an achin' in my heart.

And my pockets full of sand.

I'm a long way from home.

And I miss my darling so.

In the early morning rain.

With no place to go.

Out on runway number nine.

Big 707 set to go.

But I'm stuck here on the ground.

Where the cold winds blow.

Well, the liquor tasted fine.

And the women all were fast.

There she goes, my friend.

Well, she's rollin' down at last.

Hear the mighty engines roar.

See the silver wing on high.

She's away and westward bound.

High above the clouds, she'll fly.

Where the mornin' rain don't fall.

And the sun always shines.

She'll be flyin' o'er my home.

In about three hours' time.

This old airport's got me down.

It's no earthly good to me.

'Cause I'm stuck here on the ground.

Cold and drunk as I can be.

You can't jump a jet plane.

Like you can a freight train.

So, I'd best be on my way.

In the early morning rain.

You can't jump a jet plane.

Like you can a freight train.

So, I'd best be on my way.

In the early morning rain.

So, I'd best be on my way.

In the early morning rain.

[audience applauding] George Grove: You've probably recognized that so many of these songs are so iconic and such a part of the fabric of our musical history here in America.

This next song is one of the most memorable.

It was sung by Peter, Paul, and Mary in 1963 on the steps of the Lincoln Memorial as Dr.

Martin Luther King gave his I Have a Dream speech.

If I had a hammer, I'd hammer in the morning I'd hammer in the evening, all over this land.

I'd hammer out danger, I'd hammer out warning.

I'd hammer out love between my brothers and my sisters all over this land.

Ooh, if I had a bell, I'd ring it in the morning.

I'd ring it in the evening, all over this land.

I'd ring out danger, I'd ring out a warning.

I'd ring out love between my brothers and my sisters all over this land.

Ooh, if I had a song, I'd sing it in the morning.

I'd sing it in the evening, all over this land.

I'd sing out danger, I'd sing out a warning.

I'd sing out love between my brothers and my sisters all over this land.

Ooh, well, I've got a hammer and I got a bell.

And I got a song to sing all over this land.

It's the hammer of justice, it's the bell of freedom.

It's a song about love between my brothers and my sisters all over this land.

It's the hammer of justice, it's the bell of freedom.

It's a song about love between my brothers and my sisters all over this land.

[audience applauding] Riding on the City of New Orleans.

Illinois Central, Monday morning rail.

15 cars and 15 restless riders.

Three conductors and 25 sacks of mail.

All along the southbound odyssey.

The train pulls out at Kankakee.

Rolls along past houses, farms and fields.

Passing trains that have no names.

Freight yards full of old black men.

And the graveyards full of rusting automobiles.

Singing, Good morning, America, how are you.

Say, don't you know me?

I'm your native son.

I'm the train they call the City of New Orleans.

And I'll be gone 500 miles when the day is done.

Dealin' card games with the old men in the club car.

Penny a point ain't no one keepin' score.

Pass the paper bag that holds the bottle.

Feel the wheels rumblin' 'neath the floor.

And the sons of Pullman porters.

And the sons of engineers.

Ride their father's magic carpet made of steel.

Mothers with their babes asleep.

Are rockin' to the gentle beat.

And the rhythm of the rail is all they feel.

Singing, Good morning, America, how are you.

Say, don't you know me?

I'm your native son.

I'm the train they call the City of New Orleans.

And I'll be gone 500 miles when the day is done.

Nighttime on the City of New Orleans.

Changing cars in Memphis, Tennessee.

Halfway home, we'll be there by morning.

Through the Mississippi, darkness rolling out to the sea.

But all the towns and people seem.

To fade into a bad dream.

Old steel rail, she ain't heard the news.

The conductor sings his songs again.

Passengers will please refrain.

This train got the disappearing railroad blues.

Singing, Good night, America, how are you.

Say, don't you know me?

I'm your native son.

I'm the train they call the City of New Orleans.

And I'll be gone 500 miles when the day is done.

Jerry Siggins: Everybody, sing with us now, come on.

Good night, America, how are you.

Yeah, don't you know me?

I'm your native son.

I'm the train they call the City of New Orleans.

And I'll be gone 500 miles when the day is done.

When the day is done.

[audience applauding] When I was a young man and never been kissed.

I got to thinkin' it over, what I had missed.

I got me a girl, I kissed her and then, well.

Oh Lord, I kissed her again.

She had, oh, kisses sweeter than wine.

She had, oh, kisses sweeter than wine.

Well, I asked her would she marry and be my sweet wife.

I said that we'd be so happy the rest of our lives.

I begged her and I pleaded like a natural man.

And then, oh Lord, well she gave me her hand.

She had, oh, kisses sweeter than wine.

She had, oh, kisses sweeter than wine.

Well, we worked very hard, both me and my wife.

Workin' hand-in-hand to have a good life.

We had corn in the field and wheat in the bin.

I was, oh Lord, the father of twins.

Oh, kisses sweeter than wine.

She had, oh, kisses sweeter than wine.

Well, children, they numbered just about four.

And they all had a sweetheart a knockin' at the door.

They all got married and they didn't hesitate.

I was, oh Lord, the grandfather of eight.

From those, oh, kisses sweeter than wine.

She had, oh, kisses sweeter than wine.

Well, now we're getting older and ready to go.

I got to thinkin' what happened a long time ago.

We had a lotta kids, a lotta trouble and pain.

But then, oh Lord, I'd do it again.

For those, oh, kisses sweeter than wine.

Yes, those, oh, kisses sweeter than wine.

[audience applauding] [audience applauding] Jerry: Thank you very much.

This next song that we're gonna sing for you arrives to us via four guys from Liverpool, England.

Back in 1964 they came to our shores and basically changed pop music forever.

Well, we took one of our favorite songs by The Beatles, particularly Paul McCartney, because he's such a great writer of love songs.

And this is a beautiful love song, I hope you enjoy it.

Who knows how long I've loved you.

You know I love you still.

Will I wait a lonely lifetime?

If you want me to, I will.

For if I ever saw you.

I didn't catch your name.

But it never really mattered.

I will always feel the same.

Love you forever and forever.

Love you with all my heart.

Love you whenever we're together.

Love you when we're apart.

And when at last I find you.

Your song will fill the air.

Sing it loud so I can hear you.

Make it easy to be near you.

For the things you do.

Endear you to me.

You know I will.

I will.

Love you forever and forever.

Love you with all my heart.

Love you whenever we're together.

Love you when we're apart.

And when at last I find you.

Your song will fill the air.

Sing it loud so I can hear you.

Make it easy to be near you.

For the things you do.

Endear you to me.

You know I will.

I will.

[audience applauding] George: Art Garfunkel, Simon and Garfunkel, was a young architecture student at Columbia University in New York City.

This is back in the early '60s.

And his roommate was a fellow by the name of Sandy Greenberg.

Well, Sandy had very, very poor vision all of his life.

It turned out to be a misdiagnosed glaucoma.

And at the end of his junior year they performed surgery to correct this, but it failed, and he ended up completely blind.

So, dejected, as you can imagine, he went home to Albany and withdrew from school.

Art Garfunkel wasn't about to let that stand, so he flew to Albany, he went to Sandy's home, and he said, "You're coming back to school with me.

I'm gonna change my curriculum to match yours.

I'm gonna walk with you from class to class, I'm gonna study with you, you're gonna graduate, and you're going to become somebody," and that's exactly what happened.

He became a very succesful inventor, and so succesful that he became a philanthropist, and to this day, of course, they still, as you can imagine, remain friends.

But it was back in those beginning days of study that Art Garfunkel would show up and, trying to put himself into the mindset of the darkness that Sandy Greenberg had, he would call himself darkness, and he said, "Darkness is here to read you 'The Iliad.'"

Hello darkness, my old friend.

I've come to talk with you again.

Because a vision softly creeping.

Left its seed while I was sleeping.

And the vision that was planted in my brain.

Still remains.

Within the sound of silence.

In restless dreams I walked alone.

Narrow streets of cobblestone.

'Neath the halo of a streetlamp.

I turned my collar to the cold and damp.

When my eyes were stabbed by the flash of a neon light.

That split the night.

And touched the sound of silence.

And in the naked light I saw.

Ten thousand people, maybe more.

People talking without speaking.

People hearing without listening.

People writing songs that voices never share.

No one dared.

Disturb the sound of silence.

"Fools" said I, "You do not know.

Silence like a cancer grows.

Hear my words that I might teach you.

Take my arms that I might reach you."

But my words like silent raindrops fell.

And echoed in the wells of silence.

And the people bowed and prayed.

To the neon god they made.

And the sign flashed out its warning.

In the words that it was forming.

And the sign said, "The words of the prophets.

Are written on the subway walls.

And tenement halls.

And whispered in the sounds of silence."

[audience applauding] [audience applauding] And here's to you, Mrs.

Robinson.

Jesus loves you more than you will know.

Whoa, whoa, whoa.

God bless you, please, Mrs.

Robinson.

Heaven holds a place for those who pray.

Hey, hey, hey.

Hey, hey, hey.

We'd like to know a little bit about you for our files.

We'd like to help you learn to help yourself.

Look around you, all you see are sympathetic eyes.

Stroll around the grounds until you feel at home.

And here's to you, Mrs.

Robinson.

Jesus loves you more than you will know.

Whoa, whoa, whoa.

God bless you, please, Mrs.

Robinson.

Heaven holds a place for those who pray.

Hey, hey, hey.

Hey, hey, hey.

Hide it in a hiding place that no one ever goes.

Put it in the pantry with your cupcakes.

It's a little secret, just the Robinson's affair.

Most of all, you've got to hide it from the kids.

Coo, coo, ca-choo, Mrs.

Robinson.

Jesus loves you more than you will know.

Whoa, whoa, whoa.

God bless you, please, Mrs.

Robinson.

Heaven holds a place for those who pray.

Hey, hey, hey.

Hey, hey, hey.

Sitting on a sofa on a Sunday afternoon.

Going to the candidates' debate.

Laugh about it, shout about it.

When you've got to choose.

Any way you look at it, you lose.

Where have you gone, Joe DiMaggio.

Our nation turns its lonely eyes to you.

Woo, woo, woo.

What's that you say, Mrs.

Robinson?

Joltin' Joe has left and gone away.

Hey, hey, hey.

Hey, hey, hey.

[audience applauding] Almost Heaven, West Virginia.

Blue Ridge Mountains, Shenandoah River.

Life is old there, older than the trees.

Younger than the mountains, growin' like a breeze.

Country roads, take me home.

To the place I belong.

West Virginia, mountain mama.

Take me home, country roads.

All my memories gather 'round her.

Miner's lady, stranger to blue water.

Dark and dusty, painted on the sky.

Misty taste of moonshine, teardrop in my eye.

Country roads, take me home.

To the place I belong.

West Virginia, mountain mama.

Take me home, country roads.

I hear her voice in the mornin' hour, she calls me.

Radio reminds me of my home far away.

Drivin' down the road, I get a feelin'.

That I should've been home yesterday, yesterday.

Country roads, take me home.

To the place I belong.

West Virginia, mountain mama.

Take me home, country roads.

Take me home, country roads.

Take me home, down country roads.

[audience applauding] George: This song at one point was considered to be in the running for the national anthem of this country.

And it possibly should have been.

It would have been a lot easier to sing.

I don't know how many of you have sung the national anthem for a Major League ball team, but we have.

And with the speakers 500 yards behind you and jets flying over you, you're asked to sing a song that has a range of two and a half octaves.

One and a half octaves, but who's counting?

This guy.

But this is one of my favorite songs.

It's a Woody Guthrie tune, and we hope you all will understand and sing along and help us with this one.

As I was walking that ribbon of highway.

I saw above me that endless skyway.

I saw below me that golden valley.

This land was made for you and me.

Rick Dougherty: Please sing.

This land is your land, this land is my land.

From California to the New York island.

From the redwood forest to the Gulf Stream waters.

This land was made for you and me.

I've roamed and rambled and I followed my footsteps.

From the sparkling sands of her diamond deserts.

While all around me a voice was sounding.

This land was made for you and me.

This land is your land, this land is my land.

From California to the New York island.

From the redwood forest to the Gulf Stream waters.

This land was made for you and me.

When the sun came shining, and I was strolling.

And the wheat fields waving and the dust clouds rolling.

As the fog was lifting a voice was chanting.

This land was made for you and me.

This land is your land, this land is my land.

From California to the New York island.

From the redwood forest to the Gulf Stream waters.

This land was made for you and me.

Nobody living can ever stop me.

As I go walking that freedom highway.

Nobody living can make me turn back.

God bless America for me.

This land is your land, this land is my land.

From California to the New York island.

From the redwood forest to the Gulf Stream waters.

This land was made for you and me.

This land was made for you and me.

This land was made for you and me.

This land was made for you and me.

[audience applauding] [audience applauding] George: The manner in which so many groups found the songs that they were going to sing back in the olden days of folk, back when we were all young, was pretty much wrapped around the concept of stealing a song.

And that's kind of what happened as part of the story of this next song.

First of all, The Kingston Trio went to hear a show by a then-unknown folk group by the name of Peter, Paul, and Mary.

And they were so taken with Peter, Paul, and Mary that they went back to their hotel room with them after the show and immediately sent Peter and Paul out for pizza, whereupon Mary taught The Kingston Trio the song "Where Have All the Flowers Gone?"

A couple of weeks later, The Kingston Trio found themselves by chance in a recording studio in New York City.

They recorded "Where Have All the Flowers Gone?"

and had a million seller on it.

Feeling badly that they had taken this wonderful hit song away from a then-unknown group, they sent the song that we're about to sing for you to Peter, Paul, and Mary, and Peter, Paul, and Mary had a hit on it.

So, everything kind of balanced out.

This is a song that talks about the bittersweet nature of love.

It was written by Will Holt, and it was most famously sung by Peter, Paul, and Mary.

When I was just a lad of ten, my father said to me.

"Come here and take a lesson from the lovely lemon tree."

"Don't put your faith in love, my boy," my father said to me.

"I fear you'll find that love is like The lovely lemon tree."

Jerry: Sing with us.

Lemon tree Very pretty and the lemon flower is sweet.

But the fruit of the poor lemon is impossible to eat.

Lemon tree very pretty and the lemon flower is sweet.

But the fruit of the poor lemon is impossible to eat.

One day beneath the lemon tree, my love and I did lie.

A girl so sweet that when she smiled, The stars rose in the sky.

We passed that summer lost in love beneath the lemon tree.

The beauty of her laughter hid my father's words from me.

Jerry: Once again.

Lemon tree Very pretty and the lemon flower is sweet.

But the fruit of the poor lemon is impossible to eat.

Lemon tree very pretty and the lemon flower is sweet.

But the fruit of the poor lemon is impossible to eat.

And then one day she went away, she took away the sun.

And in the dark she left behind I knew what she had done.

She'd left me for another, tis a common tale but true.

A sadder man but wiser now I sing these words to you.

Jerry: Last time.

Lemon tree Very pretty and the lemon flower is sweet.

But the fruit of the poor lemon is impossible to eat.

Lemon tree very pretty and the lemon flower is sweet.

But the fruit of the poor lemon is impossible to eat.

Lemon tree (Lemon tree).

Lemon tree (Lemon tree).

Lemon tree (Lemon tree).

Lemon tree.

[audience applauding] George: Thank you very, very much.

We've-- this is the third time that Rick and I have appeared here.

Jerry was here once with The Diamonds.

Rick and I were here a couple of times in this beautiful Will Rogers Auditorium.

[audience applauding] George: What a treasure you have here in this incredible school, this exquisite design and this wonderful auditorium in which to present shows.

So, as often as we are invited, we will come back and support this theater that has so lovingly supported us.

So, thank you for that.

[audience applauding] George: This has been a folk music presentation, obviously, and what folk music show would be complete without the greatest song ever written, by Pete Seeger?

Back in the 1950s, Pete was writing-- or was reading a book entitled, "Quiet Flows the Dawn," which was written by Mikhail Sholokhov.

And the words in that novel began to resonate with Pete.

They swirled around in his brain.

He added more and more lyrics until he came up with the most perfect lyrical song cycle ever written.

And we ask you to sing along with us because we know you know it.

It's a song that continues to ask the questions that should continually be asked.

Where have all the flowers gone?

Long time passing.

Where have all the flowers gone?

Long time ago.

Where have all the flowers gone?

Young girls picked them, every one.

When will they ever learn?

When will they ever learn?

Where have all the young girls gone?

Long time passing.

Where have all the young girls gone?

Long time ago.

Where have all the young girls gone?

Gone to young men, every one.

When will they ever learn?

When will they ever learn?

Where have all the young men gone?

Long time passing.

Where have all the young men gone?

Long time ago.

Where have all the young men gone?

Gone to soldiers, every one.

When will they ever learn?

When will they ever learn?

Where have all the soldiers gone?

Long time passing.

Where have all the soldiers gone?

Long time ago.

Where have all the soldiers gone?

Gone to graveyards, every one.

When will they ever learn?

When will they ever learn?

Where have all the graveyards gone?

Long time passing.

Where have all the graveyards gone?

Long time ago.

Where have all the graveyards gone?

Gone to flowers, every one.

When will they ever learn?

When will they ever learn?

[audience applauding] [audience applauding] George: Every song that we have in our repertoire has been chosen because of its importance to the great American folk song book, as we call it.

So, if you said, "What is your favorite song to perform?"

I'd say, "The one we're performing at the time we're performing it."

Rick: I know so many singers that have just been singing fine, and then they get up one morning and their pipes are gone, and it's over.

And so, just the fact that we're still doing it.

Every day, it's a gift to us that we can still do it.

Jerry: It's a marriage made in heaven, I'm telling you.

Working with these guys who are such professionals, just thrilling for me.

Coming from a '50s rock and roll band for 27 years into a folk music group, it's just like coming home to me.

This land was made for you and me.