Formed in Greenwich Village in 1948 by Pete Seeger, Lee Hays, Ronnie Gilbert, and Fred Hellerman out of the ashes of their explicitly political Almanac Singers, the Weavers made a calculated bet: the same folk repertoire, smoothed with orchestral backing and stripped of overt radicalism, could top the pop charts. It worked — their 1950 arrangement of Lead Belly's 'Goodnight, Irene' spent thirteen weeks at number one, and 'So Long, It's Been Good to Know Yuh' followed soon after. Blacklisted as Communist sympathizers by the mid-1950s, they lost bookings and their label but never fully disappeared, and by proving traditional and topical folk songs could be million-selling pop, they paved the commercial road the Kingston Trio and the 1960s folk revival would travel.
The Weavers' 1950 arrangement of Lead Belly's signature waltz 'Goodnight, Irene,' recorded a year after his death, became the first folk song to top the American pop charts, spending thirteen weeks at number one and setting the commercial template the group would return to throughout their career.
listen forCompare Lead Belly's own 'Goodnight, Irene' with the Weavers' hit version — the melody and waltz time are identical, but where Lead Belly's take is a solitary lament, the Weavers wrap it in orchestration and close four-part harmony built for the pop charts.
Guthrie's 1940 'So Long, It's Been Good to Know Yuh' — Guthrie having briefly been Pete Seeger's bandmate in the Almanac Singers — gave the Weavers a second major hit in 1951 when they set his Dust Bowl lyric to a lusher, orchestrated arrangement, carrying his plainspoken storytelling into the pop mainstream.
listen forSet Guthrie's own recording against the Weavers' 1951 version — both keep his loping, talking-blues melody intact, though the Weavers add strings and close harmony where Guthrie sang it alone with just his guitar.
Pete Seeger and Lee Hays formed the Weavers directly out of the Almanac Singers, the topical group they'd led through the early 1940s performing union songs in work clothes for picket lines and rallies; when the pair wrote 'If I Had a Hammer' in 1949, it carried the Almanac Singers' organizing spirit into the Weavers' more polished, commercially minded sound.
listen forHear the Almanac Singers' 'Talking Union' next to the Weavers' 'If I Had a Hammer' — both build a simple, repeatable phrase into something a whole room can sing along to, though the Weavers dress the same impulse in tighter harmony and a more finished arrangement.