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Folk rock

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This article is about folk rock in general, especially American folk rock. For British folk rock in particular, seeBritish folk rock.

Folk rock
Stylistic origins
Cultural originsEarly to mid-1960s, United States
Derivative forms
Subgenres
Other topics

Folk rockis a fusion genre ofrock musicwith heavy influences frompop,EnglishandAmerican folk music.[1]It typically combines elements of folk and rock music together, it arose in the United States, Canada, and the United Kingdom in the mid-1960s.[2][3]In the U.S., folk rock emerged from thefolk music revival.Performers such asBob Dylanandthe Byrds—several of whose members had earlier played in folk ensembles—attempted to blend the sounds of rock with their pre-existing folk repertoire, adopting the use of electric instrumentation and drums in a way previously discouraged in the U.S. folk community. The term "folk rock" was initially used in the U.S.music pressin June 1965 to describe the Byrds' music.

The commercial success of the Byrds'cover versionof Dylan's "Mr. Tambourine Man"and their debutalbumof the same name,along with Dylan's own recordings with rock instrumentation—on the albumsBringing It All Back Home(1965),Highway 61 Revisited(1965), andBlonde on Blonde(1966)—encouraged other folk acts, such asSimon & Garfunkel,to use electric backing on their records and new groups, such asBuffalo Springfield,to form. Dylan's controversial appearance at theNewport Folk Festivalon 25 July 1965, where he was backed by an electric band, was also a pivotal moment in the development of the genre.

During the late 1960s in Britain and Europe, a distinct, eclecticBritish folk rockstyle was created byPentangle,Fairport ConventionandAlan Stivell.Inspired by Britishpsychedelic folkand the North American style of folk rock, British folk rock bands began to incorporate elements of traditional British folk music into their repertoire, leading to other variants, including the overtly English folk rock ofthe Albion BandandCeltic rock.

Definition and etymology

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"Folk rock" refers to the blending of elements of folk and rock music, which arose in the U.S. and UK in the mid-1960s.[2]The genre was pioneered by the Byrds, who began playingtraditionalfolk music and songs by Bob Dylan with rock instrumentation, in a style heavily influenced bythe Beatlesand otherBritish Invasionbands.[4][5]The termfolk rockwas coined in the June12, 1965, issue of the American music magazineBillboardby the journalist Eliot Siegel. Siegel used the term principally to describe the music of the Byrds,[6]who had issued their debut album in the U.S. that month.[7][8]In the same article, he wrote thatBilly J. Kramer,Jackie DeShannonandSonny & Cherhad all started incorporating "folk-oriented material on singles", and he listedRising Sons,Joe and Eddieandthe Lovin' Spoonfulas new folk-rock acts.[6][9]Dylan also contributed to the creation of the genre, with his recordings utilizing rock instrumentation on the albumsBringing It All Back Home,Highway 61 Revisited,andBlonde on Blonde.[10]

In a broader sense, folk rock encompasses similarly inspired musical genres and movements in different regions of the world. Folk rock may lean more towards either folk or rock in instrumentation, playing and vocal style, and choice of material. While the original genre draws on music of Europe and North America, there is no clear delineation of which other culture's music might be included as influences.

Antecedents

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Folk revival

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Main article:American folk music revival
Pete Seeger entertainingEleanor Roosevelt(center), at a racially integrated Valentine's Day party.[11]

The American folk-music revival began during the 1940s; building on the interest in protest folk singers such asWoody GuthrieandPete Seeger,it reached a peak in popularity in the mid-1960s with artists such as Bob Dylan andJoan Baez.[12][13]In 1948, Seeger formedthe Weavers,whose mainstream popularity set the stage for the folk revival of the 1950s and early 1960s and also served to bridge the gap between folk, popular music, andtopical song.[14]The Weavers' sound and repertoire of traditional folk material and topical songs directly inspiredthe Kingston Trio,a three-piece folk group who came to prominence in 1958 with their hit recording of "Tom Dooley".[14][15]The Kingston Trio provided the template for a flood of "collegiate folk" groups between 1958 and 1962.[16][17]

Tom Dooley
An excerpt from the Kingston Trio's hit recording of the traditional folk song "Tom Dooley".The song reached #1 on theBillboardHot 100 chart in 1958 and provided a template for the nascent "collegiate folk" movement, which itself was one of the foundation stones of the mid-1960s folk rock boom.
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At roughly the same time as these "collegiate folk" vocal groups came to national prominence, a second group of urban folk revivalists, influenced by the music andguitar pickingstyles of folk and blues artist such asWoody Guthrie,Lead Belly,Brownie McGhee,andJosh White,also came to the fore.[18]Many of these urban revivalists were influenced by recordings of traditional American music from the 1920s and 1930s, which had been reissued byFolkways Records;Harry Smith'sAnthology of American Folk Musicwas particularly influential.[18][19]While this urban folk revival flourished in many cities, New York City, with its burgeoningGreenwich Villagecoffeehousescene and population of topical folk singers, was widely regarded as the centre of the movement.[18][20]Out of this fertile environment came such folk-protest luminaries as Bob Dylan,[21]Tom Paxton,Phil Ochs,andPeter, Paul and Mary,[22]many of whom would transition into folk rock performers as the 1960s progressed.[18]

Bob Dylanwas the most influential of all the urban folk-protest songwriters.

The vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture[23]and led many folk singers to begin composing their own "protest" material.[24][25]The influence of this folk-protest movement would later manifest itself in the sociopolitical lyrics and mildlyanti-establishmentsentiments of many folk rock songs, includinghit singlessuch as "Eve of Destruction","Like a Rolling Stone","For What It's Worth",and"Let's Live for Today".

During the 1950s and early 1960s in the UK, a parallel folk revival referred to as thesecond British folk revival,was led by folk singersEwan MacCollandBert Lloyd.[26]Both viewed British folk music as a vehicle forleftistpolitical concepts and an antidote to the American-dominated popular music of the time.[26][27]However, it was not until 1956 and the advent of theskifflecraze that the British folk revival crossed over into the mainstream and connected with British youth culture.[26][28]Skiffle renewed popularity of folk music forms in Britain and led directly to theprogressive folkmovement and the attendantBritish folk club scene.[26]Among the leading lights of the progressive folk movement wereBert JanschandJohn Renbourn,who would later form the folk rock bandPentanglein the late 1960s.[29]Other notable folk rock artists with roots in the progressive folk scene wereDonovan,Al Stewart,John MartynandPaul Simon.[30][31][self-published source?]

The Beatles and the British Invasion

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See also:British Invasion

They were doing things nobody was doing. Their chords were outrageous, just outrageous, and their harmonies made it all valid. You could only do that with other musicians. Even if you're playing your own chords you had to have other people playing with you. That was obvious. And it started me thinking about other people.

—Bob Dylan reflecting on how the Beatles influenced his decision to record with an electric backing band[32]

Beginning in 1964 and lasting until roughly 1966, a wave of Britishbeatgroups, includingthe Beatles,the Rolling Stones,the Dave Clark Five,Gerry & the Pacemakers,the Kinks,andHerman's Hermitsamongst others, dominated the U.S. music charts.[33][34]These groups were all heavily influenced by Americanrock 'n' roll,blues,andR&B—musical genres they had been introduced to via homegrown British rock 'n' roll singers, imported Americanrecords,and the music of theskifflecraze.[33][35]These UK groups, known collectively as theBritish Invasion,reintroduced American youth culture to the broad potential of rock andpop musicas a creative medium and to the wealth of musical culture to be found within the United States.

I'm a Loser
The subtle folk influences evident in such Beatles' songs as "I'm a Loser"were important in demonstrating how folk-basedchord progressionsandmelodiescould be to assimilated into pop music.
You've Got to Hide Your Love Away
The use of folk influences in the Beatles' music became even more explicit during 1965, with the release of "You've Got to Hide Your Love Away".
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Of particular importance to the development of folk rock by the British Invasion were the subtle folk influences evident in such Beatles' compositions as "I'll Be Back","Things We Said Today",and"I'm a Loser",[36]with the latter song being directly inspired by folk singer-songwriter Bob Dylan.[37]In the opinion ofRoger McGuinnof the Byrds, writers who attempt to define the origins of folk rock "don't realise that the Beatles were responsible as far back as 1963". He cites "She Loves You"as one of the first examples where the Beatles introduced folk chord changes into rock music and so initiated the new genre.[38]These songs were all influential in providing a template for successfully assimilating folk-basedchord progressionsandmelodiesinto pop music. This melding of folk and rock 'n' roll in the Beatles' music became even more explicit during 1965, with the release of "You've Got to Hide Your Love Away",a folk-derived song with introspective lyrics, again influenced by Dylan.[39][40]Although the Beatles themselves utilized folk as just one of many styles evident in their music, the underlying folk influences in a number of their songs would prove to be important to folk rock musicians attempting to blend their own folk influences withbeat music.

The effect that the music of these British bands, and the Beatles in particular, had on young Americans was immediate; almost overnight, folk—along with many other forms of homegrown music—became passé for a large proportion of America's youth, who instead turned their attention to the influx of British acts.[35][41]The influence of these acts also impacted on the collegiate folk and urban folk communities, with many young musicians quickly losing interest in folk music and instead embracing the rock 'n' roll derived repertoire of the British Invasion.[41]Future members of many folk rock acts, including the Byrds,Jefferson Airplane,the Lovin' Spoonful,the Mamas & the Papas,and Buffalo Springfield, all turned their backs on traditional folk music during 1964 and 1965 as a direct result of the influence of the Beatles and the other British Invasion bands. Author and music historianRichie Unterbergerhas noted that the Beatles' impact on American popular culture effectively sounded the death knell for theAmerican folk music revival.[41]

In addition to The Beatles, the two British groups that were arguably the most influential on the development of folk rock werethe Animalsandthe Searchers.The Animals released a rock interpretation of the traditional folk song "The House of the Rising Sun"in the U.S. in August 1964. The song reached number 1 on theBillboardHot 100 singles chart and stayed there for three weeks, selling over a million copies in just five weeks in the U.S.[42]The band'sarrangementof "The House of the Rising Sun", which transmuted the song from anacousticfolk lament to a full-boreelectricrock song, would go on to influence many folk rock acts but none more so than Dylan himself, who cited it as a key factor in his decision to record and perform with an electric rock band in 1965.[43]

Electric Twelve-String Guitar in Folk Music

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The Searchers were influential in popularizing the jangly sound of theelectrictwelve-string guitar.[44][45]Many musicians in the collegiate and urban folk movements were already familiar with acoustic twelve-string guitars via the music of folk and blues singer Lead Belly. However, the Searchers' use of amplified twelve-strings provided another example of how conventional folk elements could be incorporated into rock music to produce new and exciting sounds. The Beatles'lead guitarist,George Harrison,also influenced this trend towards jangly guitars in folk rock with his use of aRickenbackertwelve-string guitar on the Beatles' mid-1960s recordings. This relatively clean, jangly sound—withoutdistortionor otherguitar effects—became a cornerstone of folk rock instrumentation and was used in many American folk rockrecordsmade during 1965 and 1966.[citation needed]

Other precursors

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See also:Jangle pop

We were a group, but not professional musicians. I had to de-complicate my music and get it simpler and simpler, so that we could play it and make it sound like a popular thing. Whenever you have a format like that, it sounds folky, because it's not glitzed over with anything. We only had acoustic and electric guitars, so every chance we got, we'd try to add some variety. The only way you could get variety was to go to a harmonica during this song, or get an acoustic in this space; get different moods that way.

—Ron Elliott of The Beau Brummels on the origins of the band's folk-flavored sound

Although folk rock mainly grew out of a mix of American folk revival and British Invasion influences,[12]there were also a few examples of proto-folk rock that were important in the development of the genre. Of these secondary influences, Unterberger has cited the self-penned, folk-influenced material of San Francisco'sthe Beau Brummelsas arguably the most important. Despite theirBeatlesqueimage, the band's use ofminor chords,haunting harmonies, and folky acoustic guitar playing—as heard on their debut single "Laugh, Laugh"—was stylistically very similar to the later folk rock of the Byrds.[46][nb 1]Released in December 1964, "Laugh, Laugh" peaked at number 15 on theBillboardHot 100 in early 1965, while its similarly folk-flavored follow-up, "Just a Little",did even better, reaching number 8 on the U.S. singles chart.[46][47][48]The high-profile success of the Beau Brummels' music was important in demonstrating that a hybrid of folk and rock could potentially be translated into mainstream commercial success.[46]

Pre-dating the Beau Brummels' commercial breakthrough by almost two years, singer-songwriterJackie DeShannon's April 1963 single "Needles and Pins"marked, according to Unterberger, the earliest appearance of the ringing guitar sound that would become a mainstay of early folk rock.[36]This use of cyclical, chimingguitar riffswas repeated on DeShannon's late 1963 recording of her own composition "When You Walk in the Room".[36]The following year, both songs would become hits for theLiverpudlianband the Searchers, who chose to place even greater emphasis on the jangly guitar playing in the songs.[36]In addition, a number of DeShannon's songs from the period, including "When You Walk in the Room", displayed a greater degree of lyrical maturity and sensuality than was usual for pop songs of the time.[36]This heightened degree of emotional introspection was inspired by her love of Bob Dylan's folk songwriting and represents one of the first attempts by an American artist to absorb folk sensibilities into rock music.[36]

In the UK, the folk groupthe Springfields(featuringDusty Springfield) had been releasing folk-oriented material featuring full band arrangements since the early 1960s, including renditions of "Lonesome Traveler","Allentown Jail",and"Silver Threads and Golden Needles".[49]Although these records owed more toorchestral popthan rock, they were nonetheless influential on up-and-coming folk rock musicians on both sides of the Atlantic.[49]In mid-1965, folk singer-songwriterDonovanwas also experimenting with adding electrified instrumentation to some of his folk and blues-styled material, as evidenced by songs such as "You're Gonna Need Somebody on Your Bond"and" Sunny Goodge Street ".[50]In spite of his folky persona and repertoire, Donovan himself had always considered himself a pop star, rather than a folk singer.[51]As a result, he had been thinking of a way in which to introduce folk styled acoustic guitars and socially conscious lyrics into pop music for several years prior to his 1965 breakthrough as a recording artist.[51]By January 1966, he had recorded the self-penned hit "Sunshine Superman"with a full electric backing band.[52][53]

Other bands and solo artists who were blurring the boundaries between folk and rock in the early 1960s includeJudy Henske,[54]Richard andMimi Fariña,[55]andthe Mugwumps,the latter of which were a New York band featuring future members of the Lovin' Spoonful and the Mamas & the Papas.[56]Also of note are the Australian bandthe Seekers,who had relocated to England in 1964 and reached number 1 on theUK Singles Chartwith "I'll Never Find Another You"in February 1965.[57][58]Unterberger has noted that, although it was not strictly a folk song, "I'll Never Find Another You" was heavily influenced byPeter, Paul and Maryand featured a cyclical, twelve-string guitar part that sounded similar to the guitar style thatJim McGuinnof the Byrds would popularize later that same year.[51][59]

There are also a few antecedents to folk rock present in pre-British Invasion American rock 'n' roll, includingElvis Presley's 1954 cover of theBill Monroebluegrassstandard"Blue Moon of Kentucky";[60]Buddy Holly's self-penned material, which strongly influenced both Dylan and the Byrds;[60][61]Ritchie Valens' recording of the Mexican folk song "La Bamba";[60]Lloyd Price's rock 'n' roll adaptation of the African-American folk song "Stagger Lee"(originally recorded byMississippi John Hurtin 1928);[60][62]Jimmie Rodgers' rock 'n' roll flavored renditions of traditional folk songs;[63]and the folk andcountry-influenced recordings featured on theEverly Brothers' 1959 albumSongs Our Daddy Taught Us.[60]

1960s

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The Byrds

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Main article:The Byrds

The moment when all of the separate influences that served to make up folk rock finally coalesced into an identifiable whole was with the release of the Byrds' recording of Bob Dylan's "Mr. Tambourine Man".[10][64][65][66]The term "folk rock" was coined by the U.S.music pressto describe the band's sound in June 1965, at roughly the same time as "Mr. Tambourine Man" peaked at number 1 on theBillboardchart.[7][8][67]Within three months it had become the first folk rock smash hit,[68]reaching number 1 on both theBillboardHot 100and theUK Singles Chart.[69][70]The single's success initiated the folk rock boom of 1965 and 1966, during which a profusion of Byrds-influenced acts flooded the American and British charts.[10][64][nb 2]In particular, the Byrds' influence can be discerned in mid-1960s recordings by acts such as the Lovin' Spoonful,Barry McGuire,the Mamas & the Papas,[67]Simon & Garfunkel,[79]Jefferson Airplane,the Turtles,We Five,Love,andSonny & Cher.[10][64][80][81][82][text–source integrity?]

It was during the rehearsals at World Pacific that the band began to develop the blend offolk musicand Beatles-stylepopthat would characterize their sound.[83]However, this hybrid was not deliberately created; it evolved organically out of some of the band members' own folk music roots and their desire to emulate the Beatles.[76]The band's folk influences, lack of experience with rock music forms, and Beatleseque instrumentation all combined to color both their self-penned material and their folk derived repertoire.[10][76][84]The band themselves soon realized that there was something unique about their music and, with Dickson's encouragement, they began to actively attempt to bridge the gap between folk and rock.[76][85]

Mr. Tambourine Man's blend of abstract lyrics, folk-influenced melody, complexharmonies,jangly12-stringRickenbackerguitar playing, and Beatles-influenced beat, resulted in a synthesis that effectively created the subgenre of folk rock.[72][86]The song's lyrics alone took rock and pop songwriting to new heights; never before had such intellectual and literary lyrics been combined with rock instrumentation by a popular music group.[87]

Dylan's material would provide much of the original grist for the folk rock mill, not only in the U.S. but in the UK as well, with many pop and rock acts covering his material in a style reminiscent of the Byrds.[64]Their reworking of "Mr. Tambourine Man", along withthe Animals' rock interpretation of "The House of the Rising Sun"(itself based on Dylan's earlier cover), helped to give Dylan the impetus to start recording with an electric backing band.[88]

As the 1970s dawned, folk rock evolved away from the jangly template pioneered by the Byrds, but their influence could still be heard in the music of bands likeFairport ConventionandPentangle.[4][10][89]The Byrds themselves continued to enjoy commercial success with their brand of folk rock throughout 1965, most notably with their number 1 single "Turn! Turn! Turn!".[67]By the start of 1966, however, the group had begun to move away from folk rock and into the new musical frontier ofpsychedelic rock.The folk rock sound of the Byrds has continued to influence many bands over the years, includingBig Star,Tom Petty and the Heartbreakers,R.E.M.,the Long Ryders,the Smiths,the Bangles,the Stone Roses,andTeenage Fanclub,among others.[90]

Bob Dylan

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Main article:Bob Dylan
Bob Dylan in 1963.

Five days before the Byrds entered Columbia Studios in Hollywood to record his song "Mr. Tambourine Man", Bob Dylan completed the recording sessions for his fifth album,Bringing It All Back Home.[91]Of the eleven tracks on the album, seven featured Dylan backed by a full electric rock band, in stark contrast to his earlier acoustic folk albums.[91]Dylan's decision to record with an electric backing band had been influenced by a number of factors, including the Beatles' coupling of folk derived chord progressions and beat music, the Byrds' rock adaptation of "Mr. Tambourine Man" (which Dylan had heard at a Byrds' rehearsal in late 1964), and the Animals hit cover of "The House of the Rising Sun".[43][92][93]

Bringing It All Back Homewas released on 22 March 1965,[94]peaking at number 6 on theBillboardTop LPschart and #1 on theUK Album Chart.[95][96]The album's blend ofrhythm and blues-derived rock and abstract, poetic lyrics was immediately influential in demonstrating that intelligent lyrical content could be wedded with rock 'n' roll.[97]The songs on the album saw Dylan leaving folk music far behind.[98]Even with this folkier, acoustic material, Dylan's biting, apocalyptical, and often humorous lyrics went far beyond those of contemporary folk music,[98]particularly the folk-protest music with which he had been previously associated.

On 20 July 1965, Dylan released the groundbreaking "Like a Rolling Stone",a six-minute-long scathing put-down, directed at a down-and-out society girl, which again featured Dylan backed by an electric rock band.[99][100]Released just as the Byrds' cover of "Mr. Tambourine Man" topped the charts in the United States, the song was instrumental in defining the burgeoning folk rock scene and in establishing Dylan as a bona fide rock star, rather than a folksinger.[99]"Like a Rolling Stone" managed to reach the Top 5 on both sides of the Atlantic.[96][101]Five days after the release of "Like a Rolling Stone", on 25 July 1965, Dylan madea controversial appearanceat theNewport Folk Festival,performing three songs with a full band.[99]He was met with derisive booing and jeering from the festival's purist folk music crowd,[102]but in the years since the incident, Dylan's 1965 Newport Folk Festival appearance has become widely regarded as a pivotal moment in the synthesis of folk and rock.[99][103][104]

Dylan followed "Like a Rolling Stone" with the wholly electric albumHighway 61 Revisitedand the non-album single "Positively 4th Street",which itself has been widely interpreted as a rebuke to the folk purists who had rejected his new electric music. Throughout 1965 and 1966, hit singles like" Subterranean Homesick Blues "," Like a Rolling Stone "," Positively 4th Street ", and"I Want You"among others, along with theBringing It All Back Home,Highway 61 RevisitedandBlonde on Blondealbums, proved to be hugely influential on the development and popularity of folk rock.[105]Although Dylan's move away from acoustic folk music served to outrage and alienate much of his original fanbase, his new folk rock sound gained him legions of new fans during the mid-1960s. The popularity and commercial success of the Byrds and Bob Dylan's blend of folk and rock music influenced a wave of imitators and emulators that retroactively became known as the folk rock boom.[10]

Tom Wilson

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Main article:Tom Wilson (record producer)

Although he started out as a jazz musician, the young, African-American Columbia Records producer Tom Wilson became known as the "mid-wife of folk-rock" for his seminal work behind the scenes. As Bob Dylan's producer during the key transitional albumsThe Times They Are A-Changin,Another Side of Bob Dylan,andBringing It All Back Home,he was a key architect of Dylan's electric sound. He is perhaps even better known, however, for first discoveringSimon & Garfunkelat the tail end of the folk movement and then transforming them into folk-rock superstars with the unauthorized rock remix that made a number one hit out of their previously underappreciated song, "The Sound of Silence".[106][107]

Other musicians

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Folk rock musicians Simon & Garfunkel performing in Dublin

Music critic Richie Unterberger has noted that the commercial success of the Byrds'cover versionof Dylan's "Mr. Tambourine Man",along with Dylan's own contributions to the genre on the albumsBringing It All Back Home,Highway 61 Revisited,andBlonde on Blonde,initiated an explosion of emulators and imitators.[10][64]Their success led record producerTom Wilsonto add electric guitar, bass, and drums overdubs to "The Sounds of Silence",a song which had been recorded by the folk duoSimon & Garfunkelin 1964 and first released on their albumWednesday Morning, 3 A.M..The reissued single rose to number 1 on theBillboardpop chart in late 1965, became a hit around the world, and set the duo on one of the most successful careers in pop and rock music.[79]Simon and Garfunkel have been described as "folk-rock's greatest duo, and one whose fame and influence would persist well beyond folk-rock's heyday."[108]

One of the first bands to craft a distinctly American sound in response to the British Invasion wasthe Beach Boys;while not a folk rock band themselves, they directly influenced the genre and at the height of the folk rock boom in 1966 had a hit with a cover of the 1920sWest Indianfolk song "Sloop John B",which they had learned fromthe Kingston Trio,who had learned it fromthe Weavers.[109]

Much of the early folk-rock music emerged during a time of general global upheaval, theVietnam War,and new concerns for the world by young people. In the United States, the heyday of folk rock was arguably between the mid-sixties and the mid-seventies, when it aligned itself with thehippiemovement and became an important medium for expressing radical ideas. Cities such as San Francisco,Denver,New York CityandPhoenixbecame centers for the folk rock culture, playing on their central locations among the original folk circuits. The "unplugged" and simplified sound of the music reflected the genre's connection to a critical view of a technological and consumerist society. Unlike pop music's escapist lyrics, arguably a fantasy distraction from the problems in life, folk artists attempted to communicate concerns for peace, global awareness, and other touchstones of the era. Bands whose music was significantly folk rock in sound during the mid-to-late 1960s includedDonovan,[110]the Lovin' Spoonful, the Mamas & the Papas,[67]the Youngbloods,Love,and, in their early years,Jefferson Airplane.

In the mid-1960s, singer-songwriterGordon Lightfootbegan moving his folk songs into a folk-rock direction with recordings such as the percussion-driven "Black Day in July" about the1967 Detroit riot.He would rise to top the charts in the 1970s with a number of his folk-rock recordings such as "Sundown"and"Carefree Highway"and eventually become known as a folk-rock legend.[111]Some artists who originally produced with a harder edged rock sound found the ability to communicate more easily and felt more genuine in this method of delivery. In this category wasCat Stevens,who began in London much like the Byrds did in the United States but toned down the sound more frequently with acoustic instruments. He performed songs that contained concern for the environment, war, and the future of the world in general. The Canadian singer-songwriterJoni Mitchellwon manyGrammy Awardswith her folk rock/pop songs.

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British folk rock

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Main article:British folk rock
Simon NicolandRic SandersofFairport Conventionperforming atFairport's Cropredy Convention2005

British folk rock developed in Britain during the mid to late 1960s by the bandsFairport Convention,andPentangle.[112][113]It uses traditional British music and self-penned compositions in a traditional style, and is played on a combination of traditional and rock instruments.[114]This incorporation of traditional British folk music influences gives British folk rock its distinctly British character and flavour.[112]It evolved out of thepsychedelia-influenced folk rock of British acts such as Donovan,the Incredible String Band,andTyrannosaurus Rex,but was also heavily influenced by such American folk rock bands as the Byrds,Love,and Buffalo Springfield.[113]British folk rock was at its most significant and popular during the late 1960s and 1970s, when, in addition to Fairport and Pentangle, it was taken up by groups such asSteeleye Spanandthe Albion Band.[29][115]

Steeleye Span, founded by Fairport Conventionbass playerAshley Hutchings,was made up of traditionalist folk musicians who wished to incorporate electrical amplification, and later overt rock elements, into their music.[116]This, in turn, spawned the conspicuously English folk rock music of the Albion Band, a group that also included Hutchings.[117]In Brittany folk rock was developed byAlan Stivell(who began to mix his Breton, Irish, and Scottish roots with rock music) and later by French bands likeMalicorne.[118][119]During this same period, folk rock was adopted and developed in the surrounding Celtic cultures of Ireland, Scotland, Wales, Brittany, and Cornwall, to produceCeltic rockand its derivatives.[120][119]

Country folk

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Main article:Country folk
Merle Haggard and others influenced the sound of artists such as Bob Dylan,Ian and Sylvia,and the Byrds who adopted the sound of country music in the late 1960s.

A subgenre originally arising from the early 1960s folk and country-influenced music of singer-songwriter artists such as Bob Dylan andBobby Bare,as well as from folk revivalist vocal groups like the Kingston Trio.[121][122][123]During the late 1960s, many folk rock artists including Dylan,Ian and Sylvia,and the Byrds began to incorporate a strongcountryinfluence into their music, drawing heavily onHank Williams,Merle Haggard,andBuck Owensamongst others, resulting in the concurrent offshoot ofcountry rock.[124][125]This successful blending of country, folk and rock styles led to pioneering country folk records by folk-influenced singer-songwriters such asJohn DenverandNeil Youngduring the 1970s.[126]Country folk music usually displays a softer, more "laid-back" feel than the majority of country music and is often complemented by introspective lyrics, thus preserving its folk singer-songwriter roots.[121]Since the 1970s, the country folk subgenre has been perpetuated by artists includingJohn Prine,Nanci Griffith,Kathy Mattea,Mary Chapin Carpenter,andIris DeMent.[127][128]

Celtic rock

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Main article:Celtic rock

A subgenre of folk rock that combines traditional Celtic instrumentation with rock rhythms, often influenced by a wide variety ofpopand rock music styles.[129]It emerged from the electric folk music of the late 1960s and was pioneered by bands such asHorslips,who blendedGaelic mythology,traditional Irish musicand rock.[120]The British singer-songwriter Donovan was also influential in developing Celtic rock during the late 1960s, with his albumsThe Hurdy Gurdy Man,Barabajagal,andOpen Road,the latter of which actually featured a song entitled "Celtic Rock".[130][131]

The subgenre was further popularised in 1973 byThin Lizzy,who had ahitwith "Whiskey in the Jar",a traditional Irish song performed entirely in the rock idiom.[120][132]Throughout the 1970s, Celtic rock held close to its folk roots, drawing heavily on traditionalCelticfiddle,pipe,andharptunes, as well as traditional vocal styles, but making use of rock band levels of amplification and percussion.[120][133]In the 1980s and beyond, Celtic rock was perpetuated by bands such asthe Pogues,the Waterboys,Runrig,Black 47,andthe Prodigals.A more recent folk rock band based in England isthe BibleCode Sundays.[129][134]Celtic rock is also popular in Spain where bands such asCeltas Cortoshave had a large following since the early 1990s.

Medieval folk rock

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Main article:Medieval folk rock
John Renbournin 2005

Medieval folk rock developed as a subgenre of electric folk from about 1970 as performers, particularly in England, Germany and Brittany, adoptedmedievalandrenaissance musicas a basis for their music, in contrast to the early modern and nineteenth centuryballadsthat dominated the output of Fairport Convention. This followed the trend explored by Steeleye Span, and exemplified by their 1972 albumBelow the Salt.Acts in this area includedGryphon,Gentle GiantandThird Ear Band.[135]In GermanyOugenweide,originally formed in 1970 as an acoustic folk group, opted to draw exclusively onHigh Germanmedieval music when they electrified, setting the agenda for future German electric folk.[136]In Brittany, as part of theCeltic rockmovement, medieval music was focused on by bands like Ripaille from 1977 and Saga de Ragnar Lodbrock from 1979.[137]However, by the end of the 1970s almost all of these performers had either disbanded or moved, like Gentle Giant and Gryphon, into the developing area ofprogressive rock.[138][self-published source?]In the 1990s, as part of the wider resurgence of folk music in general, new medieval folk rock acts began to appear, including theRitchie BlackmoreprojectBlackmore's Night,German bands such asIn Extremo,Subway to SallyorSchandmauland English bands likeCirculus.[139]

Progressive folk rock

[edit]
See also:Progressive folk

In Britain the tendency to electrify brought several progressive folk acts into rock.[140]This includes the acoustic duo Tyrannosaurus Rex, who became the electric comboT. Rex.[141]Others, probably influenced by the electric folk pioneered by Fairport Convention from 1969, moved towards more traditional material, a category includingDando Shaft,Amazing Blondel,andJack the Lad,an offshoot of northern progressive folk groupLindisfarne,who were one of the most successful UK bands of the early 1970s.[142]Examples of bands that remained firmly on the border between progressive folk and progressive rock were the short lived (but later reunited)Comusand, more successfully,Renaissance,who combined folk and rock with elements of classical music.[143]

Folk metal

[edit]
Main article:Folk metal

Folk metal is a fusion genre ofheavy metal musicand traditionalfolk musicthat developed in Europe during the 1990s. It is characterised by the widespread use offolk instrumentsand, to a lesser extent, traditional singing styles (for example, DutchHeidevolk,Danish Sylvatica and Spanish Stone of Erech). It also sometimes features soft instrumentation influenced by folk rock.

The earliest folk metal bands wereSkycladfrom England,Cruachanfrom Ireland andMago de Ozfrom Spain. Skyclad's debut albumThe Wayward Sons of Mother Earthwas released in 1991 and would be considered a thrash metal album with some folk influences, unlike Cruachan's early work which embraced the folk element as a defining part of their sound. It was not until 1994 and 1995 that other early contributors in the genre began to emerge from different regions of Europe and beyond. Among these early groups, the German bandSubway to Sallyspearheaded a different regional variation that over time became known asmedieval metal.Despite their contributions, folk metal remained little known with few representatives during the 1990s. It was not until the early 2000s when the genre exploded into prominence, particularly in Finland with the efforts of such groups asFinntroll,Ensiferum,Korpiklaani,Turisas,andMoonsorrow.

The music of folk metal is characterised by its diversity with bands known to perform different styles of both heavy metal music and folk music. A large variety of folk instruments are used in the genre with many bands consequently featuring six or more members in their regular line-ups. A few bands are also known to rely onkeyboardsto simulate the sound offolk instruments.Lyrics in the genre commonly deal withfantasy,mythology,paganism,historyandnature.

See also

[edit]

Notes

[edit]
  1. ^Neither the band nor theirguitaristand chief songwriterRon Elliottwere overtly influenced by folk music.[46]Elliot's own musical leanings were more towardscountry and westernandmusical theatre,with any folk influence in the band's music appearing to have been entirely unintentional.[46]
  2. ^The nucleus of the Byrds formed in early 1964, whenJim McGuinn,Gene Clark,andDavid Crosby—united by a shared love of the Beatles' music—came together under the moniker of the Jet Set atThe Troubadourfolk club in Los Angeles.[71]The trio all had a background in folk music, with each member having worked as a folk singer on the acoustic coffeehouse circuit during the early 1960s.[72]They had also spent time, independently of each other, in various folk groups, includingthe New Christy Minstrels,the Limeliters,theChad Mitchell Trio,andLes Baxter's Balladeers.[73][74][75]Soon after forming the Jet Set, Crosby introduced McGuinn and Clark to his associate Jim Dickson, who became the group'smanager.[76]Dickson had access toWorld Pacific Studiosin Los Angeles, which he began to utilize as a rehearsal space for the band.[77]During the course of 1964, the trio expanded their ranks to includedrummerMichael ClarkeandbassistChris Hillman,with the band eventually changing its name to the Byrds in November.[78]

References

[edit]
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Sources

Further reading

[edit]
  • Cohen, Ronald D., (2006)Folk Music: The Basics.Routledge
  • Friedlander, Paul, (2006)Rock And Roll: A Social History.Westview Press
  • Frith, Simon,The Rock Era,Routledge, 2004
  • Laing, Dave, et al. (1975)The Electric Muse: the story of folk into rock.London: Eyre Methuen
  • Pohle, Horst (1987)The Folk Record Source Book: England / Ireland / Scotland / Wales;2nd ed. Berlin: Horst Pohle (1st ed.: 1984) (discography of ca. 10,000 LP & EP records by ca. 2500 groups / musicians 1950s to 1987; a few audiotapes where no vinyl discs available)
  • Shelton, Robert (2003)No Direction Home: the life and music of Bob Dylan.Da Capo Press
  • Woodstra, Chris, et al. (2002)All Music Guide to Rock (Byrds).Backbeat Books
  • Zak, Albin (2001)The Poetics of Rock.University of California Press
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