Almost complete oblivion, but not quite. Harry Belafonte, who became the dominant male vocalist in the country in terms of record sales for a couple of years mid-decade, had his roots in American folk music - to which he returned after the calypso craze he started died out. The period between the Weavers and the Kingston Trio also saw the beginning of the career of Bob Gibson, the Gateway Singers (including Travis Edmonson), and two groups who had calypso-flavored "folk" hits - Terry Gilkyson (who wrote "Fast Freight") and the Easy Riders with "Marianne" and the Tarriers with "Day-O" and "Everybody Loves Saturday Night."
The Tarriers may be the hardest luck group in U.S. entertainment history. In addition to this song, they were the first group to record what were arguably the two biggest hit songs that whetted the American public's appetite for folk music - "Day-O," which they had learned from Bob Gibson, and "Tom Dooley," which they had picked up in Greenwich Village from Roger Sprung, the banjo star who added the little hitch in the chorus ("Hang down your head Tom...Dooley") that is not in the original song and that the KT employed. The Tarriers had a respectable career, but nothing on the order of Belafonte's or the Kingston Trio's success.
The original group included Alan Arkin (who went on to great fame as a character actor in NY and Hollywood), Erik Darling (master banjoist and folksinger who later joined the Weavers and started the Rooftop Singers), and Bob Carey (who became a successful record producer). Carey was African-American, and the Tarriers became the first racially integrated vocal group in America.
The "Saturday Night" song originated in Nigeria, and a number of stories have grown up around it - that it was a Weavers song (it wasn't, though Pete Seeger included it in one of his solo songbooks) and that it was composed as a protest against military government-imposed curfews (lifted on Saturday night only) in Lagos in either the 1950s or 1970s, depending on the source of your rumor. While I'm sure that folks everywhere have sung the song with gusto on all sorts of occasions, it existed well before the 1950s and 70s curfews that urban/internet legends suggest created the song. The original Nigerian song apparently was only a fragment of a forgotten older piece. It was Trinidadian calypso singer Aldwyn Roberts "Lord Kitchener" who popularized it in Britain in the late 1940s by repeating the song's one line over and over in different languages - hence the association of this African song with Caribbean rhythms and styles.
So first, we have the Tarriers with the original U.S. recording from 1957 on their self-titled album:
It's interesting to me how muted Darling's parts are here - he emerged from the group as the most accomplished musician, with a distinctive high tenor voice (barely discernible here) and as one of the best and most versatile folk banjoists of the whole revival - here he's just strumming.
Another version of the song appeared in a fascinating and odd 1958 film called Windjammer: The Voyage of the Christian Radich, a documentary made in Norway about a group of teenaged recruits to the Norwegian navy and their training cruise aboard the vessel. When they stop in the Caribbean, they have to of course sing a calypso or two, so...
I'm not sure who is performing it, though IMDB gives credit for this and most of the (familiar) songs in the movie to the aforementioned Terry Gilkyson - doesn't sound like him, though - he had a rich, round, musical-comedy style baritone.
Bud and Travis also did an outstanding version of "Saturday Night," with that frenetic high-speed Spanish guitar strumming for which they were famous, but there is no video available of it at the moment. Travis (who died in May a year ago) was described by both Bob Shane and John Stewart of the Kingston Trio as a hero to them - he was an established local star in San Francisco when Shane and the original group started, and Stewart was effusive to the end of his life in the gratitude he expressed for Travis's many kindnesses shown him when Stewart was starting out in his pre-Trio days. Travis was a regular guest performer at Stewart's Trio Fantasy Camp in Arizona every year, and in 2004 he was joined for a rendition of the song by his old friend Bob Shane (recently retired due to a heart condition) and the KT of George Grove, Bill Zorn, and Bob Haworth:
The numerically impressive New Christy Minstrels and Serendipity Singers both took a stab at the song, with the Christys having some radio airplay success with it. I always enjoyed their version, but this studio recording is a bit more cluttered than their live performances of it:
I originally misidentified this cut as the Serendipities, which is why their album cover appears in the video. Both groups in any event branched out from the simple acoustic folk sound that they had started with, and this cut demonstrates the distinctively "pop" direction record companies wanted folk to take - one of the reasons why the whole popular folk era is so disregarded critically and lampooned a la A Mighty Wind.
So it's not a great leap from the Serendipitys to a full-on, mainstream pop version by Percy Faith and his orchestra:
The song has also been a staple of jazz groups as well, especially as popularized by Denmark's Papa Bue and his Viking Jazz band in Dixieland style. No Papa on YouTube*, but the Carlings are doing something close to his arrangement:
And that, my friends, is as far off the reservation as I'm going in this series. I love pop, I love love Dixieland - but I love folk music most of all. I feel the need next week for a real Anglo or Irish ballad to write about (hint)....
Whilst trolling around YouTube, looking (successfully) for an alternate version of the Percy Faith version that had been removed, I found that Papa Bue's Viking Jazz Band performance has been uploaded in the 1967 studio version:
...and in an extended recent live performance: