Our tribute album, "For Pete's Sake," is a collection of favorites from Pete's repertoire recorded by various member of the Wepecket family. The entire proceeds from sales of this recording will go to support the Hudson Clearwater Sloop Foundation. We all remember Pete with deep respect and affection for his dedication to social justice, the environment and the music of the people. All of the artists who have contributed to this collaboration had a special connection to Pete and his causes.

In addition to the artists who gave of their time and talent, we are grateful to the following people whose generosity made this project possible: Eileen Barry, Kevin Barry, Malcolm “Y” Brown, Wanda Burch, Dave Carlson, Ross Chartoff, Liz Clements, Jennifer and John Comeau, Holly Lu Conantrees, Charles Curnutt, Patricia Dalton, Helaine Depp, Korey Devins, Dr. John Diorio, Pauline B. Dooley, James Dubinsky, Norine Duncan, Dean Eaton, James Fisher, Joanne Friar, Margaret Furbush, Kopel Goodman, Charlotte Hamel, Alden Harrington, Susan Hart, Bill Henry, Richard James, Barry Kasindorf, William Kuenning, Andrew Lopuchowycz, Cathy Marczyk, Ronald McTague, David Medeiros, Susan Menke, Susan Knaut Moore, , Deanna Nelson, John R. Osborne, Thomas Phillips, Joan Powers, Philip Puchalski, John Reekie, John Reigeluth, Marlene Richards, Karen Robbins, Nancy Saucier, Carol Schutte, William Shanks, Harold Shippey, Barry Smith, Lisa Sprague, Martin Spriggs, Wade Thornill III, Michael Thorp, Lois Wilkins and Margot Wizansk.

Tracks & Times

1. Deep Blue Sea (Garcia)
2. Guantanamera (Jim McGrath)
3. Words, Words, Words (Dan Berggren)
4. Letter To Eve (Rik Palieri)
5. If I Had A Hammer (Dawn Kenney Band)
6. Little Birdie (Hilary Hawke)
7. Waist Deep In The Big Muddy (Alex Smith)
8. Living In The Country (Lauren Sheehan)
9. Down By The Riverside (Jim McGrath)
10. Be Kind To Your Parents (Dale Robin Goodman)
11. Oh, Mary Don't You Weep (Mike Higgins)
12. Cindy (Hilary Hawke)
13. Maple Syrup Time (Dan Berggren)
14. John Henry (Sherman Lee Dillon)
15. Where Have All The Flowers Gone? (Dawn Kenney Band)
16. Clementine (Mike Higgins)
17. Get Up & Go (Dale Robin Goodman)
18. I Come And Stand (Randy Burns)
19. We Shall Overcome (M.S.G. Acoustic Blues Trio)

A few words from each of the artists:

Garcia (Track 1):

"Deep Blue Sea" was often sung by Seeger, and was a favorite of his and of audiences, myself included. Can't really say why but people who have heard it (and usually have sung along) continue to ask for it. I never heard it except from Pete, but that could be idiosyncratic.

Jim McGrath (Tracks 2 & 9):

Since my earliest exposure to Pete Seeger's music in 1961 I looked on him as a mentor in absentia, and somewhat as a spiritual leader. I identified with his progressive leaning, his identification with racial justice, world peace, and environmental causes. His philosophy dovetailed with my political awakening. It was like, Yeah! I feel that way too, that's right, stand up for the oppressed, what's this war all about? I suppose detractors might refer to this as indoctrination.

After attending a concert of Pete's at Woolsey Hall in New Haven in '62 and having to dance through the John Birch Society members protesting outside the hall, I remember being angered by the scene, sensing they were attacking a messenger of peace and good will.

From listening to recordings by Pete and the Weavers, the musical group Pete was associated with for many years, I was struck by what I felt was honest musicality and enthusiasm of Pete and the group itself. In the documentary about the group, "Wasn't That A Time," one of the group's members, Lee Hays says about Pete, 'When he gets on a project, better line up with him or get out of the way,' speaking of Pete's enthusiasm.

I became aware early on after the 'John Birch' incident, of all the political controversy stemming from the McCarthy era witch-hunts, and realized that Pete's path had not always been an easy one.

Pete's influence on my performing was profound, especially his gift for working to involve the audience, and that became a fixture in my performances. Most of the time I was performing in bars, and that trick helped out through smoke and whiskey. I was fortunate enough to have the opportunity to perform with Pete at the Mystic Seaport, a fundraiser for the Seaport; what else? As most people who shared a stage with him know, he was a joy to work with and treated you without condescension.

Dan Berggren (Tracks 3 & 13):

My earliest Pete Seeger memory is hearing him and the other Weavers sing about the constellation Big Dipper, the real and symbolic path to the north and freedom for African Americans escaping slavery. Like those distant stars, Pete has always been there, a constant in my life. He was someone I could depend on for speaking truth through music, teaching me to get behind a song, not in front of it, and helping me feel the power and potential of an audience singing along in harmony. Over the years I got to meet and interview Pete, carry on sporadic correspondence, and eventually sing with this larger-than-life hero. Full of wisdom, he was always encouraging. He gave feedback on my songs, sometimes put my music in the hands of others, and was always sowing seeds – like the idea of an Adirondack folk festival.

Pete came to Schroon Lake, New York in the early 1950s, to search for songs and singers of the region. Out of this came his album Champlain Valley Songs, released a decade later; but the other thing it produced was the Adirondack Folk Song and Dance Festival which ran for several summers on the shore of Schroon Lake. My aunt Flora Wilson Whitty told me that Pete came into the diner where she was waiting tables, and having heard she knew some old songs, asked her to sing at the festival. She was pleased and excited until her boss said, no, he couldn't have her take off like that during the busy tourist season.

In the mid 1980s, I reminded Pete of my aunt's story and he suggested that maybe it was time for the Adirondacks to have its own festival again. I discussed it with a member of the arts council in Schroon Lake, and she agreed it was a good idea. In 1989, the Adirondack Folk Music Festival took place with my Aunt Flora in attendance, singing along on every chorus. This August the festival celebrates its 25th anniversary.

We all need elders who are willing to shed some light, to guide and lead by example so that when we do fall we'll have the courage to get up, get back on the path,and move forward. Pete may be gone but his spirit still leads us.

Rik Palieri (Track 4):

My connection with Pete Seeger dates back to the mid 1970s, after a chance meeting at a Clearwater festival. Over the years we worked on many projects together from performing as part of The Hudson River Sloop Singers, organizing festivals, writing a chapter in a book Called Music And Conflict Transformation, and having him as a guest a guest several times on my TV show The Song Writer's Notebook.

Some of my best memories with Pete are of the many visits with him at his mountaintop home in Beacon, New York. It was there that we would spend hours together chopping and stacking firewood, tapping maple trees, sitting around the table swapping tales and songs. It was on one those visits that I asked Pete about his song, a favorite of mine called. 'All My Children Of The Son,' Pete smiled and pulled his long neck banjo off the cabin wall and taught me how to play it. He tuned his banjo to the mountain minor tuning and told me that this song came to him in a dream and that it was more of story than a song, played over a banjo lick.

Dawn Kenney (Tracks 5 & 15);

As a kid, my favorite place to be was on the floor in front of my folks' big console record player. Smack dab in the middle, between the speakers, I was surrounded by the voices of Johnny Cash, Kingston Trio, Barbara Streisand, Herb Alpert, Bill Haley, Judy Garland and others. In 1964, the year I turned 5, Peter, Paul & Mary's In Concert album was released and I was never the same. Listening to that record made me feel like I was in the audience at a live show. The songs & vocal harmony had me riveted. The Peter, Paul & Mary live version of Pete Seeger's "If I Had A Hammer" and The Kingston Trio's "Where Have All The Flowers Gone" were my favorites. These songs were the beginning of my love for Pete's music. Even at a young age I could understand that this was music with purpose and a conscience. These songs and records were my first teachers and led me to a life that has been filled with music. And for that, I will be forever grateful. Thank you, Pete.

The Dawn Kenney Band comprises Dawn Kenney, Vocals & Guitar; Don Barry, Vocals & Upright Bass; JD Williams, Mandolin; and Matthew Scutchfield, Fiddle.

Hilary Hawke (Tracks 6 & 12):

When I listen to Pete Seeger, his banjo playing is the sound of devotion, and the sound of true love. It is the soul speaking a truth, and his whole way of life resonated in the same way. He undeniably made the banjo sound like no other. I listen to Pete play, and feel hope. It’s the sound of a man that knew real beauty, and how to put that into his voice and his song.

One should listen to Pete Seeger in as many different ways, and in as many different settings as possible. Whether it be through watching and listening to his own performances or listening to the people that pass down his songs. Pete was the first person I ever heard play the banjo on the radio, and still is one of my major influences. Thanks Pete!

Alex Smith (Track 7):

I never met Pete Seeger. I saw him live once, when I was eleven or so and my folks dragged me to the Adirondack Museum near my hometown in Northern New York, but I don't remember much of it. I have no visual memories or stories to tell, and yet I feel as though I knew the man to some extent. You see, when I think of Pete Seeger I think of my father. They're similar looking in ways, big tall gangly fellas with creased faces and white hair, and they play the same banjo (that long necked e-tuned thing) with the same stance, head leaned slightly back hollering out and grinning with real, real happiness when someone else hollers in response. Singing songs that matter in the world, songs with real direction and drive. Seeger hollered to my father, he hollered to me, and now I am honored and overjoyed to be hollering back.

Lauren Sheehan (Track 8):

Living in the Country is a fine guitar piece that suggests just how much Pete loved living in the country. This tune has a joie de vivre that is irresistible and represents, for me, the spirit of Pete in pure musical form. I've played it for years and especially like how easy it is to play around with the feel of this song, but I played it pretty straight ahead for this recording. "Straight ahead." Now, that sounds like Pete!

Dale Robin Goodman (Tracks 10 & 17):

When I was a teenager, I volunteered at a Settlement House on the lower east side of New York. In summer, the children with whom I worked would be invited up to the Settlement House summer camp in Beacon for a day. Huge excitement! On the bus, as we traveled north of the city, the children kept asking me "Will our friend Pete be there?" They thought I knew their friend Pete because we both played guitar and knew a lot of the same songs. I had no idea who their friend Pete was, but I was curious to meet this fellow musical person! When we arrived at the camp, I asked the person who greeted us, as I had promised I would.

"Oh, Pete and Toshi Seeger send their regrets to the kids." She explained that they were "traveling for Pete's music and couldn't be here with the camp kids this summer, but they hoped to be here next summer." I was shocked. Turned out "our friend Pete" was Pete Seeger, who came each summer to sing with the children. It had been the highlight of their past visits for many of them. Well, this sure made an impact on me. I have spent the 45 years since singing for children every chance I get!

Mike Higgins (Tracks 11 & 16):

The first time I heard Pete was in 1966.I was a just a boy. It felt like he lifted me up and brought me right into this magic world. A family member was a "folkie" and would play his music often. When I began to play in the late '60s, I was perplexed by the mystery of the right hand. To me Pete was the wizard who melded great playing, with cool songs that resonated with everyone. My journey led me through the British invasion, Chicago blues, Chet Atkins, John Hurt, and David Bromberg. Through all that Pete remained a constant source of musical nutrition, and a mirror of music with a purpose. Pete made me see the importance of engaging your audience, and how a call and response song can move legions, with the right message. Thank you, Pete , for taking that young boy into your world in 1966.You changed and directed my life towards music. God bless you.

Sherman Lee Dillon (Track 14):

My music friends, especially my Wepecket Island music friends, have been lucky to have known Pete or about him almost all their lives. Not so for me. I would like to say I've always been a fan of Pete Seeger, that I had his records and knew all his songs. But I grew up in Mississippi during the '50s and '60s. Pete's music did not get played in the world I grew up in. Not on TV, not on the radio, not in record stores. Not 'til I was already a professional musician did I come across Pete. And that happened when I borrowed a Vega banjo and his instructional book How to Play a Five-String Banjo. Honestly, I had only heard his name in reference to Bob Dylan's musical influences as being Woody Guthrie's friend. What I've come to learn and appreciate is that Pete, with his music and his deeply held sense of social justice helped change my home state of Mississippi for the better – a place where today young musicians know about the evil of prejudice and the power of a song. Thank you Pete, I'm glad I finally found you!

Randy Burns (Track 18):

The first time I really listened to Pete's music was in military school in the deep South - before the civil rights act. Pete was playing in town and I was going on leave for the night to hear him sing. I was told by the academy that going to see him was a "shipping offense." This meant that if I got caught at the concert I would be put on a train going north and my parents would lose all of my tuition for the year. I didn't go. However, I kept thinking about how they didn't want me to go, so I went out and bought a few albums of his to play back at the academy. Playing his music was not a shipping offense, but going to see him was. I don't remember which album it was on, but when I heard "I Come And Stand At Every Door," I had to learn it. Myself and my folk music buddies would listen to him every day. After I was done with military school I started singing out in public and decided to do "I Come And Stand" a capella, and have done it this way since my performing days began. Pete always found a way to "get In." His sincerity and conviction always captured me. It was with that sincerity and conviction that I first came to New York and the urban folk revival in 1966. I too had learned to believe what I sang from listening to Pete's records. Like Dave Van Ronk often said, and it was the same for Pete..."I can tell a lie but I can't sing one." Everything Pete stood for was right and correct.

M.S.G. Acoustic Blues Trio (Track 19):

We Shall Overcome was originally derived from an earlier gospel song, "If My Jesus Wills" composed by Louise Shropshire, an African-American Baptist choir director and composer of hymns. Forever battling injustice, Pete Seeger adapted this song, which became one of the most widely recognized songs of the turbulent 1960s.

This inspirational protest anthem resonates with us as African Americans who can still connect to the civil rights movement and realize the struggle for human rights and equality is far from over. We do believe, Love will see us through and we're gonna sing a new song someday.

"Participation - that's what's gonna save the human race." – Pete Seeger

(M.S.G. comprises Jackie Merritt, Miles Spicer and Resa Gibbs).

Credits

Mixed and pre-mastered at Sounds Interesting Studios, Middleborough, Mass., by Corey Sherman, Overclock, Inc
Mastering at Penikese Productions, New Bedford and Franklin MA, by Don Barry, DB Audio Engineering
Cover illustration by Murray Dellow
Booklet design and graphics by Eric Higgins
Photos courtesy of Rik Palieri
Produced by Dale Robin Goodman
Executive Producer, Jack Radcliffe
Associate Producer, Don Barry