The Weavers were formed in November 1948 by Ronnie Gilbert, Pete Seeger, Lee Hays and Fred Hellerman.
They sang traditional folk songs from around the world, as well as blues, gospel music, children's songs, labor songs, and American ballads, and sold millions of records at the height of their popularity. Their hard-driving string-band style inspired the commercial "folk boom" that followed them in the 1950s and 1960s, including such performers as The Kingston Trio, Peter, Paul, and Mary, The Rooftop Singers, and Bob Dylan.
In 1940 Lee Hays and Pete Seeger had co-founded, with Woody Guthrie and Millard Lampell, a previous group, Almanac Singers, which had promoted peace and isolationism during the Second World War, working with the American Peace Mobilization. It featured many songs opposing entry into the war by the U.S. In June 1941, the same month Germany invaded the Soviet Union, the APC changed its name to the American People's Committee and altered its focus to supporting U.S. entry into the war. The Almanacs supported the change and produced many pro-war songs urging the U.S. to fight on the side of the Allies. The group disbanded after the U.S. entered the war.
At Hellerman's suggestion, the new group took its name from a play by Gerhart Hauptmann, Die Weber (The Weavers 1892), a powerful work depicting the uprising of the Silesian weavers in 1844 which containing the lines, "I'll stand it no more, come what may". After a period of being unable to find much paid work, they landed a steady and successful engagement at the Village Vanguard jazz club. This led to their discovery by arranger-bandleader Gordon Jenkins and their signing with Decca Records. The group had a big hit in 1950 with Lead Belly's "Goodnight, Irene", backed with the 1941 song "Tzena, Tzena, Tzena", which in turn became a best seller. The recording stayed at number one on the charts for a lengthy 13 weeks. In keeping with the audience expectations of the time, these and other early Weavers' releases had violins and orchestration added behind the group's own string-band instruments. Because of the deepening Red Scare of the early 1950s, their manager, Pete Cameron, advised them not to sing their most explicitly political songs and to avoid performing at "progressive" venues and events. Because of this, some folk song fans criticized them for watering down their beliefs and commercializing their singing style. But the Weavers felt it was worth it to get their songs before the public, and to avoid the explicit type of commitment which had led to the demise of the Almanacs. The new approach proved a success, leading to many bookings and increased demand for the group's recordings.
The successful concerts and hit recordings of the Weavers helped introduce to new audiences such folk revival standards as "On Top of Old Smoky" (with guest vocalist Terry Gilkyson), "Follow the Drinking Gourd", "Kisses Sweeter than Wine", "The Wreck of the John B" (aka "Sloop John B"), "Rock Island Line", "The Midnight Special", "Pay Me My Money Down", "Darling Corey" and "Wimoweh". The Weavers encouraged sing-alongs in their concerts, and sometimes Seeger would shout out the lyrics in advance of each line in lining out style.
In a 1968 interview, in response to claims that record companies found the Weavers difficult to classify, Seeger told the Pop Chronicles music documentary to "leave that up to the anthropologists, the folklorists. ...For you and me, the important thing is a song, a good song, a true song. ...Call it anything you want."
Film footage of the Weavers is relatively scarce. The group appeared as a specialty act in a B-movie musical, Disc Jockey (1951), and filmed five of their record hits that same year for TV producer Lou Snader: "Goodnight, Irene", "Tzena, Tzena, Tzena", "So Long", "Around the World", and "The Roving Kind".
During the Red Scare, however, Pete Seeger and Lee Hays were identified as Communist Party members by FBI informant Harvey Matusow (who later recanted) and ended up being called up to testify to the House Committee on Un-American Activities in 1955. Hays took the Fifth Amendment. Seeger refused to answer, however, claiming First Amendment grounds, the first to do so after the conviction of the Hollywood Ten in 1950. Seeger was found guilty of contempt and placed under restrictions by the court pending appeal, but in 1961 his conviction was overturned on technical grounds. Because Seeger was among those listed in the entertainment industry blacklist publication, Red Channels, all of the Weavers were placed under FBI surveillance and not allowed to perform on television or radio during the McCarthy era. Decca Records terminated their recording contract and deleted their records from its catalog in 1953. Their recordings were denied airplay, which curtailed their income from royalties. Right-wing and anti-Communist groups protested at their performances and harassed promoters. As a result, the group's economic viability diminished rapidly and in 1952 it disbanded. After this, Pete Seeger continued his solo career, although as with all of them, he continued to suffer from the effects of blacklisting.
In December 1955, the group reunited to play a sold-out concert at Carnegie Hall. The concert was a huge success. A recording of the concert was issued by the independent Vanguard Records, and this led to their signing by that record label. By the late 1950s, folk music was surging in popularity and McCarthyism was fading. Yet the media industry of the time was so timid and conventional that it wasn't until the height of the revolutionary '60s that Seeger was able to end his blacklisting by appearing on a nationally distributed U.S. television show, The Smothers Brothers Comedy Hour, in 1968.
After the April 1957 LP release of the Carnegie Hall concert, the Weavers launched a month-long concert tour. That August the group reassembled for a series of recording sessions for Vanguard. As Seeger's college concert bookings grew, the singer felt restricted by his obligations to the group. Vanguard booked the Weavers for a January 15, 1958, session to record a rock-and-roll single. The results were embarrassing and fueled Seeger's frustration. The following month Gilbert, Hays, and Hellerman overruled Seeger about a recording a cigarette ad for a tobacco company. Seeger, opposed to the dangers of tobacco and discouraged by the group's apparent sell-out to commercial interests, decided to resign. Honoring his commitment to record the jingle, he left the group on March 3, 1958.
Seeger recommended Erik Darling of The Tarriers as his replacement. Darling remained with the group until June 1962, leaving to pursue a solo career and eventually to form the folk-jazz trio The Rooftop Singers. Frank Hamilton, who replaced Darling, stayed with the group nine months, giving his notice just before the Weavers celebrated the group's fifteenth anniversary with two nights of concerts at Carnegie Hall in March 1963. Folksinger Bernie Krause, later a pioneer in bringing the Moog synthesizer to popular music, was the last performer to occupy "the Seeger chair." The group disbanded in 1964, but Gilbert, Hellerman, and Hays occasionally reunited with Seeger during the next 16 years. In 1980, Lee Hays, ill and using a wheelchair, wistfully approached the original Weavers for one last get-together. Hays' informal picnic prompted a professional reunion, and a triumphant return to Carnegie Hall on November 28, 1980, which was to be the band's last full performance. They appeared one final time in June 1981 at the Clearwater Festival, in an informal "rehearsal." A documentary film, The Weavers: Wasn't That a Time! (1982), was released after the death of Hays, and chronicled the history of the group, and the events leading up to the reunion.
Following the dissolution of the band, Ronnie Gilbert toured America as a soloist and Fred Hellerman worked as a recording engineer and producer. The group was inducted into the Vocal Group Hall of Fame in 2001.
In February 2006, The Weavers received the Lifetime Achievement Award. Represented by members Ronnie Gilbert and Fred Hellerman, they struck a chord with the crowd as their struggles with political witch hunts during the 1950s were recounted. "If you can exist, and stay the course – not a course of blind obstinacy and faulty conception – but one of decency and good sense, you can outlast your enemies with your honor and integrity intact," Hellerman said. Some commentators see the reference to 'blind obstinacy' as a veiled criticism of those who believed blindly in all the actions of the Communist Party.
Lee Hays died in 1981, aged 67, and his biography, Lonesome Traveler by Doris Willens, was published in 1988. Erik Darling died August 3, 2008, aged 74, in Chapel Hill, North Carolina, from lymphoma. After a long career in music and activism, Pete Seeger died at the age of 94 on January 27, 2014, in New York City. Ronnie Gilbert died at the age of 88 on June 6, 2015. Fred Hellerman died at the age of 89 on September 1, 2016.
Members
Ronnie Gilbert – Alto (1948–1952, 1955–1964, 1980; died 2015)
Lee Hays – Bass (1948–1952, 1955–1964, 1980; died 1981)
Fred Hellerman – Baritone (1948–1952, 1955–1964, 1980; died 2016)
Pete Seeger – Tenor (1948–1952, 1955–1958, 1980; died 2014)
Erik Darling – Tenor (1958–1962; died 2008)
Frank Hamilton – Tenor (1962–1963)
Bernie Krause – Tenor (1963–1964)
So Long
The Weavers Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
So long, it's been good to know ya
So long, it's been good to know ya
What a long time since I've been home
And I've gotta be driftin' along
I've sung this song, but I'll sing it again
Of the people I've met and the places I've been
And a lot of good people that I've left behind, singing
So long, it's been good to know ya
So long, it's been good to know ya
So long, it's been good to know ya
What a long time since I've been home
And I've gotta be driftin' along
The sweethearts, they sat in the dark and they sparked
They hugged and they kissed in that dusty old dark
They sighed and they cried and they hugged and they kissed
But instead of marriage they talked like this, honey
So long, it's been good to know ya
So long, it's been good to know ya
So long, it's been good to know ya
What a long time since I've been home
And I've gotta be driftin' along
I went to your family, I asked them for you
They all said, "take her, oh, take her, please do"
She can't cook or sew and she won't scrub your floor
So I put on my coat, tiptoed out the door, singing
So long, it's been good to know ya
So long, it's been good to know ya
So long, it's been good to know ya
What a long time since I've been home
And I've gotta be driftin' along
I walked down the street to the grocery store
It was crowded with people both rich and both poor
I asked the man how his butter was sold
He says, "one pound of butter for two pounds of gold," I said
So long, it's been good to know ya
So long, it's been good to know ya
So long, it's been good to know ya
What a long time since I've been home
And I've gotta be driftin' along
My telephone rang and it jumped off the wall
That was the preacher makin' a call
He said, "we're waiting to tie the knot
You're getting married, believe it or not"
Well, the church, it was jammed, the church, it was packed
The pews were crowded from the front to the back
A thousand friends waited to kiss my new bride
But I was so anxious I rushed her outside, told 'em
So long, it's been good to know ya
So long, it's been good to know ya
So long, it's been good to know ya
What a long time since I've been home
And I've gotta be driftin' along
The Weavers’ song “So Long (It’s Been Good to Know Ya)” is a folk classic that was written by Woody Guthrie during the Great Depression. The song captures a sense of restlessness and wanderlust that characterized the time period, as people searched for work and a better future. The song is also reflective of Guthrie’s own life, as he traveled extensively throughout the United States, playing music and engaging in political activism.
The lyrics of the song describe the journeys of an unnamed narrator who has been away from home for a long time, and must continue to drift along. The singer reflects on the people he has met, the places he has been, and the good times and bad times that he has experienced along the way. The song also touches on themes of love and marriage, as the singer recalls the sweethearts he left behind and a humorous encounter with a preacher who tries to marry him off.
Line by Line Meaning
So long, it's been good to know ya
I'm saying farewell to all the people I've met and had good experiences with
What a long time since I've been home
It's been a while since I've been back to my hometown
And I've gotta be driftin' along
I need to continue moving forward with my life
I've sung this song, but I'll sing it again
I've performed this tune before, but I'm happy to do it once more
Of the people I've met and the places I've been
I'll sing about the individuals and locations I've come across
Some of the troubles that bothered my mind
I'll mention some of the problems that have weighed on me mentally
And a lot of good people that I've left behind, singing
I've met many wonderful individuals, but had to leave them behind as I continued with my life
The sweethearts, they sat in the dark and they sparked
Couples sat together in the darkness, enjoying each other's company
They hugged and they kissed in that dusty old dark
They shared intimate moments together in a setting that was far from perfect
They sighed and they cried and they hugged and they kissed
They expressed their emotions through various physical gestures
But instead of marriage they talked like this, honey
However, despite their strong connection, they decided against getting married
I went to your family, I asked them for you
I asked your relatives for permission to marry you
They all said, "take her, oh, take her, please do"
They all agreed that I should marry you
She can't cook or sew and she won't scrub your floor
Your family said that you aren't very skilled in household duties
So I put on my coat, tiptoed out the door, singing
I decided against marrying you and left your home quietly
I walked down the street to the grocery store
I took a stroll to the nearest grocery store
It was crowded with people both rich and both poor
The store was filled with individuals from varying economical backgrounds
I asked the man how his butter was sold
I inquired about the selling format of the butter
He says, "one pound of butter for two pounds of gold," I said
The man replied that the price of butter was much higher than usual, which shocked me
My telephone rang and it jumped off the wall
My phone began to ring loudly
That was the preacher makin' a call
It was the pastor calling me
He said, "we're waiting to tie the knot
The pastor informed me that everyone was ready for the wedding ceremony
You're getting married, believe it or not"
He reminded me that I was about to get married
Well, the church, it was jammed, the church, it was packed
The church was overflowing with guests
The pews were crowded from the front to the back
Every seat was taken from the front to the back of the chapel
A thousand friends waited to kiss my new bride
Many people were anticipating the opportunity to congratulate the newlyweds
But I was so anxious I rushed her outside, told 'em
I was so excited that I immediately took my bride outside to enjoy the moment with just the two of us
Lyrics © O/B/O APRA AMCOS
Written by: Woody Guthrie
Lyrics Licensed & Provided by LyricFind
TheBaylor22
The best of the best! Had more influence on the coming folk music explosion than all the groups that followed them combined!!
multicaruana
One of my earliest songs as a child. My mother played this song and the album it was on over and over again!
King of the House Media
The Weavers had great harmonies. Hall of fame quality.
Randy Raeder
I never saw a video of the group before. Why do they make me weep with joy?
Sue Anderson
Wonderful. Thank you for posting this.
Neil Thomlinson
Ahh ... the bass of Lee Hayes! They were all fantastic! And they're going to be remembered and celebrated long after everybody has forgotten those scuzz-buckets of the McCarthy Commission who did their best to ruin these people.
Brian Delaney
They were Stalinists
David Housman
@Brian Delaney both things can be true.
Hector's Mommy
@Brian Delaney No they weren't. They supported many of the things the US Communist party supported like labor unions and civil rights but disavowed Stalin and his version of communism.
Anne Cohen
The classiest group of people who existed on this planet.