Difference between revisions of "Folk rock" - New World Encyclopedia

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{{Infobox Music genre|color=#cfbd54
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|name=Folk Rock
 
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|stylistic_origins=[[Folk music|Folk]], [[Rock music|Rock]], [[Popular music|Pop]]
 
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|cultural_origins=[[1960s]], [[United States]]
 
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|instruments=[[Electric Guitar|Electric]] and [[Acoustic Guitar]], [[Drums]], [[Piano]]
 
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|popularity=[[Western Culture]]
 
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|derivatives=
 
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|subgenrelist=List of folk music genres
 
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|subgenres=[[Folk Metal]], [[Psych Folk]]
 
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|fusiongenres=
 
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|regional_scenes=[[United States]]
 
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|other_topics=
 
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}}
 
  
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'''Folk rock''' is a musical genre, combining elements of [[folk music]] and [[Rock and roll|rock music]].  
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'''Folk Rock''' is a musical genre, combining elements of [[folk music]] and [[Rock and roll|rock music]]. Originally the term referred to a genre that arose in the [[United States]] and [[Canada]] in the mid-1960s. The sound was epitomized by tight vocal harmonies and a relatively "clean" (effects-free) approach to electric instruments, while the repertoire was drawn partly from traditional folk sources, but even more from folk-influenced singer-songwriters. The term is not usually applied to rock music rooted in [[blues]]-based or other [[African American music]] or to music with non-European folk roots, which is more typically classified as [[world music]].
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{{toc}}
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Folk rock had antecedents in the labor movement of the 1930s, notably in the folk music of [[Pete Seeger]] (1919-2014) and [[Woody Guthrie]] (1912-1967), and became the genre of social protest. Artists during folk-rock's heyday during the [[Vietnam War]] era of the late 1960s and early 1970s fostered anti-war and anti-establishment attitudes. The idiom also celebrates freedom, a life free of attachments (epitomized by that American anti-hero, drifter), and respect for the environment. Folk rock was also embraced by Christian youth, who sung versions of folk-rock songs at their retreats and workshops to inspire faith and commitment in a contemporary key.  
  
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In the original and narrowest sense, the term referred to a genre that arose in the [[United States]] and [[Canada]] around the mid-1960s. The sound was epitomized by tight vocal harmonies and a relatively "clean" (effects- and distortion-free) approach to electric instruments epitomized by the jangly sound of the [[Byrds]]' [[guitar]]ist [[Roger McGuinn]]. The repertoire was drawn in part from folk sources, but even more from folk-influenced [[singer-songwriter]]s such as [[Bob Dylan]].
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[[Image:Poems, Prayers & Promises 2.jpg|thumb|200px|John Denver's Platinum collection of folk rock ballads ''Poems, Prayers & Promises'']]
  
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This original folk rock directly led to the distinct, eclectic style of '''British folk rock''' (a.k.a. '''electric folk''') pioneered in the late 1960s by [[Pentangle (band)|Pentangle]] and [[Fairport Convention]]. Starting from a North-American style folk rock, Pentangle, Fairport and other related bands deliberately incorporated elements of traditional [[British Isles|British]] folk music. At the same time, in Brittany, [[Alan Stivell]] began to mix his Breton roots with Irish and Scottish roots and with rock music. Very shortly afterwards, Fairport bassist [[Ashley Hutchings]] formed [[Steeleye Span]] in collaboration with traditionalist British folk musicians who wished to incorporate electrical amplification, and later overt rock elements, into their music.
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==The Roots of Folk Rock==
  
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This, in turn, spawned several other variants: the self-consciously [[England|English]] folk rock of the [[Albion Band]] and some of [[Ronnie Lane]]'s solo work, and the more prolific current of '''Celtic rock''', incorporating traditional music of [[Ireland]], [[Scotland]], [[Cornwall]], and [[Brittany]]. Through at least the first half of the [[1970s]], Celtic rock held close to folk roots, with its repertoire drawing heavily on traditional Celtic [[fiddle]] and [[harp]] tunes and even traditional vocal styles, but making use of rock band levels of amplification and percussion.
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Folk rock arose mainly from the confluence of three elements:
  
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[[Image:Music blonde on blonde.jpg|right|thumb|200px|[[Bob Dylan]]'s folk rock album, [[Blonde on Blonde]]]]
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*urban/collegiate folk groups
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*singer-songwriters
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*the revival of North American rock and roll after the "[[Great Britain|British]] Invasion" of the early 1960s.
  
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In a broader sense, folk rock includes later similarly-inspired musical genres and movements in the [[English language|English]]-speaking world (and its [[Celt]]ic fringes) and, to a lesser extent, elsewhere in [[Europe]]. As with any genre, the borders are difficult to define. Folk rock may lean more toward folk or toward rock in its instrumentation, its playing and vocal style, or its choice of material; while the original genre draws on the music of North American English-speaking whites, there is no clear delineation of which folk cultures music might be included as influences. Still, the term is not usually applied to rock music rooted in the [[blues]]-based or other [[African American]] music (except as mediated through [[folk revival]]ists), nor to rock music with [[Cajun]] roots, nor to music (especially after about 1980) with non-European folk roots, which is more typically classified as [[world music]].
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Folk groups and sing-songwriters often were inspired by earlier "folk" pioneers such Woody Guthrie, Pete Seeger and other songsters of the labor movement of the 1930s and 1940s. The first of the urban folk vocal groups was the Almanac Singers, whose shifting membership included Guthrie, Seeger and Lee Hayes. In 1947 Seeger and Hayes joined Ronnie Gilbert and Fred Hellerman to form the Weavers, who popularized the genre and had a major hit with a cover of [[Leadbelly]]'s "Irene," but fell afoul of the U.S. [[Red Scare]] of the early 1950s. Their sound, and their broad repertoire of traditional folk material and topical songs inspired other groups such as the Kingston Trio (founded 1957), the Chad Mitchell Trio, New Christy Minstrels, the Brothers Four, the Four Freshmen, and the Highwaymen. All featured tight vocal harmonies and a repertoire at least initially rooted in folk music and (often) topical songs. Individual performers such as Ramblin' Jack Elliott, Dave Van Ronk, [[Judy Collins]], Odetta, and [[Joan Baez]] also helped lay the foundations of the folk music revival. Singer-songwriters such as [[Bob Dylan]] and Phil Ochs gained popularity in the mid 1960s.
  
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==The roots of folk rock==
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Yet, as writer Richie Unterberger observes:<blockquote>
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[[Image:Poems, Prayers & Promises 2.jpg|thumb|200px|left|[[John Denver]]'s [[Platinum]] collection of folk rock ballads  ''[[John Denver discography#Poems, Prayers & Promises|Poems, Prayers & Promises]]'']]
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In the early 1960s, any suggestion that the folk and rock'n'roll worlds would intertwine to create a hybrid called folk-rock would have met with utter disbelief from both camps. The folk community prided itself on its purity, which meant acoustic instruments and songs of substance; it regarded rock'n'roll as vulgar and commercial. Rock'n'rollers, for the most part, were utterly ignorant of folk traditions, and unconcerned with broadening their lyrical content beyond tried-and-true themes of romance and youthful partying.[http://www.richieunterberger.com/turnover.html]</blockquote>
  
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Folk rock arose mainly from the confluence of three elements: urban/collegiate folk vocal groups, singer-songwriters, and the revival of North American rock and roll after the [[British Invasion]]. Of these, the first two owed direct debts to [[Woody Guthrie]], [[Pete Seeger]] and the [[Popular Front]] culture of the [[1930s]].
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==Folk Rock Hits the Charts==
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Folk music occasionally reached the pop charts in the late 1950s and early 1960s. The Kingston Trio had scored a major hit with "Tom Dooley" in 1958 and the Tokens reached number one in 1961 with "The Lion Sleeps Tonight." Peter, Paul, and Mary did much to popularize Bob Dylan as a songwriter when they covered his song, "Blowing in the Wind" in 1963. However, the folk genre might never have intersected with rock music if it had not been for the impulse of the British Invasion. Songs such as "House of the Rising Sun" by Eric Burdon and the Animals (1964), "I'm A Loser" by the [[Beatles]] (1965), and "Get Together" by the We Five (1965) have been cited as important precursors to the folk-rock trend. The 1964 hit "I Know I'll Never Find Another You" by the Australian group the Seekers could also be mentioned. However, The Byrds' cover of Dylan's "Mr. Tambourine Man," was the true trend-setter when it reached the top of the charts in April, 1965.
  
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The first of the urban folk vocal groups was the [[Almanac Singers]], whose shifting membership during the late 1930s and early 1940s included Guthrie and Seeger and [[Lee Hayes]]. In [[1947]] Seeger and Hayes joined [[Ronnie Gilbert]], and [[Fred Hellerman]] to form [[the Weavers]], who popularized the genre and had a major hit with a cleaned-up cover of [[Leadbelly]]'s "Irene", but fell afoul of the U.S. [[Red Scare]] of the early [[1950s]]. Their sound, and their broad repertoire of traditional folk material and [[topical song]]s inspired other groups such as [[the Kingston Trio]] (founded [[1957]]), the [[Chad Mitchell Trio]], [[New Christy Minstrels]], and the (usually less political) "collegiate folk" groups such as [[The Brothers Four]], [[The Four Freshmen]], [[The Four Preps]], and [[The Highwaymen]]. All featured tight vocal harmonies and a repertoire at least initially rooted in folk music and (in some cases) topical songs.
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[[Image:Music blonde on blonde.jpg|right|thumb|200px|[[Bob Dylan]]'s folk rock album, ''Blonde on Blonde'']]
  
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When the term ''singer-songwriter'' was coined in the mid-[[1960s]], it was applied retroactively to [[Bob Dylan]] and other (mainly [[New York City|New York]]-based) folk-rooted songwriters. [[Scotland|Scottish]] songster [[Donovan]] also fit this mold. 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.
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Dylan himself went electric, much to the horror of folk purists, in 1965 with his ''Bringing It All Back Home'' and ''Highway 61 Revisited'' albums. Dylan's "Like A Rolling Stone" became the unofficial anthem of the searching generation of the mid-late 1960s. Unlike other folk rock performers, much of Dylan's music during this period was also heavily [[blues]] influenced.
  
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None of this would likely ever have intersected with rock music, though, if it had not been for the impulse of the British Invasion. [[The Beatles]], [[the Rolling Stones]], and numerous other British bands reintroduced to America the broad potential of rock and roll as a creative medium. One of the first bands to craft a distinctly American sound in response was [[the 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 [[1920s]] [[West Indies|West Indian]] folk song "Sloop John B", which they had learned from The Kingston Trio, who, in turn, had learned it from the Weavers.
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Groups such as The Lovin' Spoonful, Simon and Garfunkel, and the Mamas and Papas were soon hitting the charts with songs like "Do You Believe In Magic," "The Sounds of Silence," and "California Dreaming," respectively. Auto-harps, [[harmonica]]s, acoustic [[guitar]]s, and [[flute]]s joined Fender telecasters, Hammond organs, and huge banks of Marshall amplifiers on the stages of rock concerts. Ex-folk acts such as Phil Ochs, Ian and Silvia, and Gordon Lightfoot adapted their styles to take advantage of the trend. The Beatles' ''Rubber Soul'' and later albums included several folk-oriented tunes and even the Rolling Stones got in on the act with their version of Maryanne Faithful's "As Tears Go By." Scottish songster [[Donovan P. Leitch]] had several original hits in folk-rock vein, such as "Catch the Wind" and "Colours." By 1966 the folk-rock craze was in full bloom as even the [[Beach Boys]], the archetypal surf music band, scored a hit by covering the Kingston Trio's version of the folk song ''Sloop John B''&mdash;which the trio in turn had learned from The Weavers. [[Acid Rock]] groups such as the Jefferson Airplane and Country Joe and the Fish incorporated folk rock motifs in their repertoires. Buffalo Springfield hit the charts with "For What It's Worth" in early 1967, and later morphed into the folk-rock super band Crosby, Stills, Nash, and Young by combining with [[David Crosby]] from The Byrds and [[Graham Nash]] from The Hollies.  
  
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However, there are a few antecedents to folk rock in pre-British Invasion American rock; one could cite
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In the late 1960s artists such as Jackson Browne, Linda Ronstandt, and Emmylou Harris fused folk, rock, and country themes to create numerous hit recordings. [[John Denver]] added a number of big records with "Take Me Home, Country Roads," "Rocky Mountain High" featuring a softer sound that leaned more toward folk than rock. British star Cat Stevens contributed a number of memorable recordings&mdash;such as "Peace Train" and "Morning Has Broken"&mdash;to the rapidly growing corpus of folk rock hits. Singer-songwriters such as Neil Diamond, Joni Mitchell, and others not only wrote hit songs for other artists but also climbed to the top of the charts themselves. Crossover country artists such as Dolly Parton and Glenn Campbell brought a southern flavor into the folk-rock mix. By the mid 1970s, the lines between rock, folk rock, and country had become blurred to the point that many recordings and artists become difficult to classify.
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some of the later recordings of [[Buddy Holly]], which highly influenced artists like Dylan and the Byrds, and to some extent some recordings by [[country music|country]]-influenced performers like [[The Everly Brothers]]. This was not a recognized trend at the time, and probably would have not been noticed if not for subsequent events.
 
  
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thatri rox
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In the [[United States]], the heyday of folk rock was from the mid-1960s to the mid-1970s, aligning itself approximately with the [[hippie]] movement. Cities such as [[San Francisco]], [[New York City]], [[Philadelphia]] and [[Los Angeles]] became centers for the folk rock culture, building on their central locations among the original folk circuits.
  
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==The original folk rock impulse==
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While the genre enjoyed tremendous popularity and commercial success, it was not without its critics. Folk purists resented its commercialism and use of electric instruments and drums to such a degree that Bob Dylan, for example, was sometimes booed during his appearances in 1965 and 1966 when he came on stage for an electrified second set after his opening set as solo singer with only his acoustic guitar. Hard rockers and [[Rythym and Blues]] fans, on the other hand, often considered much of the folk rock genre to be without soul&mash;n insipid white man's music of the mind that simply did not engage the body like old time rock and roll. The heavy metal movement and white blues bands were in part a reaction to sterile qualities that hard rockers perceived in the folk rock trend.
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In the [[United States]] the heyday of folk rock is likely between the mid-sixties to the mid-seventies, aligning itself approximately with the [[hippie]] movement. Cities such as [[San Francisco]], [[Denver]], [[New York]] and [[Phoenix]] became centers for the folk rock culture, playing on their central locations among the original folk circuits.
 
  
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===Country folk===
+
Folk rock faded as a distinct genre in the late 1970s, but it had left a lasting legacy. Henceforth musicians of rock, folk, country, blues, and even [[jazz]] backgrounds would often experiment in mixed-genre recordings. Even hard rockers would occasionally "unplug," and rock itself came to be seen as the true American "folk" music of the late twentieth century.
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Arising originally from the folk-influenced music of Bob Dylan and earlier musicians, the folk revivalist vocal combo, and the rock music of the [[British Invasion]], it folk rock later incorporated elements of [[country music]], drawing on [[Hank Williams]] and others. Such success in the country folk blend led to pioneering records for '60s folk singers like John Denver and Judy Collins.
 
  
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==British and Celtic folk rock==
+
==British and Continental Folk Rock==
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The [[British Isles|British]] style of folk rock (in its early years, often called ''electric folk'') was established by the band [[Fairport Convention]], who formed in North London in the late 1960s, and by [[Pentangle]] who were also influenced by classical and jazz traditions and avoided electric instruments for several albums. [[Steeleye Span]], also prominent in this vein, was formed by folk musicians who wished to add electric instruments and experiment with song structures. [[Nick Drake]]'s music has had a large impact on modern folk rock. Several temporary groups, such as the duo, ''[[Bert Jansch|Bert]] and [[John Renbourn|John]]'', also contributed to the development of the genre. ''Bert and John'', in particular, developed a style of intricate acoustic guitar duet sometimes referred to as 'folk=baroque'.
 
  
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Across the [[English Channel]] in [[Brittany]] or [[France]], a similar fusion of folk and rock elements can be found in the [[Breton people|Breton]] folk rock music of [[Alan Stivell]] (1970s and later) and the French [[Malicorne (band)|Malicorne]], founded by one of Alan Stivell's musicians.  
+
A distinct, eclectic style of British folk rock (a.k.a. ''electric folk'') was pioneered in the late 1960s by Pentangle and Fairport Convention. Starting from a North American style folk rock, these and other related bands deliberately incorporated elements of traditional British folk music. At the same time, in [[Brittany]], Alan Stivell began to mix his Breton roots with Irish and Scottish roots and with rock music. Very shortly afterward, Fairport Convention bassist Ashley Hutchings formed Steeleye Span in collaboration with traditionalist British folk musicians who wished to incorporate electrical amplification and overt rock elements into their music.
  
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British folk rock was also influenced by some experimental work, found for example in [[The Incredible String Band]], who found considerable popularity in the university town of Cambridge, Massachusetts, for several years, and this line of development eventually contributed to [[progressive rock|prog rock]].
+
This, in turn, spawned several other variants: the self-consciously English folk rock of the Albion Band and some of Ronnie Lane's solo work, and the more prolific current of ''Celtic rock,'' incorporating traditional music of [[Ireland]], [[Scotland]], Cornwall, and Brittany. Through at least the first half of the 1970s, Celtic rock held close to folk roots, with its repertoire drawing heavily on traditional Celtic fiddle and harp tunes and even traditional vocal styles, but making use of rock band levels of amplification and percussion. In the 1988, [[Van Morrison]] released an album of semi-traditional [[Celtic]] music, ''Irish Heartbeat,'' backed by The Chieftains. In the following decade, various types of electrified as well as traditional Celtic have found a growing international market, exemplified especially by the remarkable success of Enya.
  
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==Elsewhere in Europe and the Mediterranean==
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In [[Romania]], Transylvania Phoenix, founded in 1962, introduced significant folk elements into their rock music around 1972 in an unsuccessful attempt to compromise with government repression of rock music. The attempt failed, and they ended up in exile during much of the Ceauşescu era, but much of their music still retains a folk rock sound. The present-day bands Spitalul de Urgenţă (Romanian) and Zdob şi Zdub (Moldova) also both merge folk and rock.  
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In [[Romania]] [[Transsylvania Phoenix]] (known in Romania simply as ''Phoenix''), founded in 1962, introduced significant folk elements into their rock music around 1972 in an unsuccessful attempt to compromise with government repression of rock music. The attempt failed, and they ended up in exile during much of the [[Nicolae Ceauşescu|Ceauşescu]] era, but much of their music still retains a folk rock sound. The present-day bands [[Spitalul de Urgenţă]] (Romanian) and [[Zdob şi Zdub]] ([[Moldova]]) also both merge folk and rock.  
 
  
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Other fusions of folk and rock include [[New Flamenco]] ([[Spain]]), the pop-oriented forms of North African [[raï]] music, and in the music of [[The Pogues]] and the [[Dropkick Murphys]], both of whom draw on [[Music of Ireland#Traditional music|traditional Irish music]] and [[punk rock]].
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Other fusions of folk and rock include New Flamenco from [[Spain]], the pop-oriented forms of North African ''raï'' music, and in the music of The Pogues and the Dropkick Murphys, both of whom draw on traditional [[Ireland|Irish]] music and [[punk rock]].  
  
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Turkey, during the [[1970s]] and [[1980s]], also sustained a vibrant folk rock scene, drawing inspirations from diverse ethnic elements of [[Anatolia]], the [[Balkans]], Eurasia and the [[Black Sea]] region and thrived in a culture of intense political strife, with musicians in [[nationalist]] and [[Marxist]] camps. ''See [[Music of Turkey]]''.
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[[Turkey]], during the 1970s and 1980s, also sustained a vibrant folk rock scene, drawing inspirations from diverse ethnic elements of [[Anatolia]], the [[Balkans]], [[Eurasia]] and the [[Black Sea]] region and thrived in a culture of intense political strife, with musicians in both nationalist and [[Marxism|Marxist]] camps.
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Another folk rock band is [[Gåte]] from [[Norway]] who combines Norwegian folk songs ([[Stev]]) and rock.
 
  
 
==Folk rock artists==
 
==Folk rock artists==
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{{main|List of folk rock artists}}
 
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<!-- Work in progress: trying to classify these better —>
 
 
All of the performers listed here had or have both significant folk elements and significant rock elements in their music.
 
All of the performers listed here had or have both significant folk elements and significant rock elements in their music.
  
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===Singer-songwriters===
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===Singers and Singer-songwriters===
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A number of singer-songwriters are associated strongly with folk rock. Among those who started out strongly identified with folk music but later incorporated rock influences in their music, or vice versa, are:
 
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*[[Eric Andersen]]
 
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*[[Joan Baez]]
 
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*[[Gene Clark]]
 
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*[[Leonard Cohen]]
 
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*[[Judy Collins]]
 
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*[[Donovan]]
 
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*[[John Denver]]
 
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*[[Bob Dylan]]
 
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*[[Tim Hardin]]
 
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*[[Gordon Lightfoot]]
 
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*[[Joni Mitchell]]
 
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*[[Van Morrison]]
 
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*[[Fred Neil]]
 
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*[[Phil Ochs]] (arguably a different phenomenon, since his rock music was relatively separate from his folk-influenced music)
 
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*[[John Phillips (musician)|John Phillips]]
 
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*[[Shawn Phillips]]
 
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*[[Tom Rush]]
 
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*[[Paul Siebel]]
 
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*[[Paul Simon]]
 
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*[[John Stewart (musician)|John Stewart]]
 
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*[[Alan Stivell]]
 
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*[[James Taylor]]
 
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*[[Richard Thompson]]
 
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In addition, others (usually of at least a slightly younger generation) seem to have mixed both elements from the outset of their careers:
 
  
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*[[America (band)|America]]
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*Eric Andersen
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*[[Jonatha Brooke]]
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*Joan Baez
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*[[Jim Croce]]
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*Gene Clark
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*[[Jonathan Edwards (musician)|Jonathan Edwards]]
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*Leonard Cohen
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*[[Arlo Guthrie]]
+
*Judy Collins
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*[[Mark Knopfler]]
+
*Donovan
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*[[Indigo Girls]]
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*John Denver
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*[[Don McLean]]
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*Bob Dylan
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*[[Willis Alan Ramsey]]
+
*Tim Hardin
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*[[Gillian Welch]]
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*Gordon Lightfoot
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*[[Joel Sprayberry]]
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*Joni Mitchell
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*[[Bruce Springsteen]]
+
*Van Morrison
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*[[Matt Costa]]
+
*Phil Ochs
−
*[[M. Ward]]
+
*John Phillips
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*[[Neil Young]]
+
*Tom Rush
 +
*Paul Siebel
 +
*Paul Simon
 +
*John Stewart
 +
*Alan Stivell
 +
*James Taylor
 +
*Richard Thompson
  
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Singer-songwriter [[Paul Simon]], as one half of [[Simon & Garfunkel]], was a transitional figure between a Dylanesque singer-songwriter and the folk rock vocal sound.
+
The following (mostly of at least a slightly younger generation) have mixed both folk and rock elements from the outset of their careers:
  
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Canadian singer-songwriter [[Nathan Bishop]] performs both folk and rock instrumentation and leans on both the lyrical and narrative traditions in his songs.
+
*Jonatha Brooke
 +
*Jim Croce
 +
*Jonathan Edwards
 +
*Arlo Guthrie
 +
*Mark Knopfler
 +
*Indigo Girls
 +
*Don McLean
 +
*Willis Alan Ramsey
 +
*Gillian Welch
 +
*Joel Sprayberry
 +
*Bruce Springsteen
 +
*Matt Costa
 +
*Neil Young
  
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===1960s North American folk rock vocal groups===
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===1960s North American groups===
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These bands were associated with original North American "folk rock" sound, drawing to some extent on traditional folk music, but to a greater extent on the work of folk-influenced contemporary songwriters, such as Bob Dylan or the [[Scotland|Scottish]] singer-songwriter [[Donovan]].
 
  
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*[[The Band]]
+
*The Band
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*[[The Beach Boys]]
+
*Buffalo Springfield
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*[[Brewer & Shipley]]
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*The Byrds
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*[[Buffalo Springfield]]
+
*Crosby, Stills & Nash (and Young)
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*[[The Byrds]]
+
*Ian and Sylvia
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*[[Crosby, Stills & Nash (and Young)|Crosby, Stills & Nash]]
+
*The Lovin' Spoonful
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*[[Ian and Sylvia]]
+
*The Mamas & the Papas
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*[[The Lovin' Spoonful]]
+
*Simon & Garfunkel
−
*[[The Mamas & the Papas]]
+
*Peter, Paul & Mary, transitional between urban folk vocal groups and folk rock
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*[[Simon & Garfunkel]]
+
*The Turtles, whose first hits were in this genre, but who headed off in other musical directions
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*[[Peter, Paul & Mary]], transitional between urban folk vocal groups and folk rock
 
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*[[The Turtles]], whose first hits were in this genre, but who headed off in other musical directions
 
  
 
===Other U.S. bands of this era===
 
===Other U.S. bands of this era===
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There were also significant folk influences in the music of several other North American bands of this period who were not generally identified with the folk rock label.
+
The following groups manifested significant folk influences.
 +
*The Beach Boys
 +
*The Grateful Dead
 +
*Jefferson Airplane
 +
*Love
 +
*Moby Grape
 +
*Sonny and Cher
  
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*[[The Grateful Dead]]
+
Numerous other artists and bands normally considered in the rock or pop category also had hits in the folk-rock genre, including Bobby Darin "(If I Were a Carpenter)," The Rolling Stones "(As Tears Go By)" and others.
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*[[Jefferson Airplane]]
 
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*[[Love (band)|Love]]
 
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*[[Moby Grape]]
 
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*[[Sonny and Cher]]
 
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*[[Dion DiMucci]] (mid and late 1960s recordings)  
 
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*[[Gene Vincent]] (mid and late 1960s recordings)
 
  
 
===British and Irish folk rock===
 
===British and Irish folk rock===
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The British and Irish folk rock (or "electric folk") sound started out as an offshoot of the North American. [[Fairport Convention]] and [[Pentangle]], were almost certainly the seminal bands of this movement. Fairport first releases had a sound very close to that of North American folk rock, but began deliberately incorporating elements from the folk music of the [[British Isles]] in short order. Pentangle was more electic, and remained acoustic longer. Several bands in [[Brittany]] were also closely associated with this musical movement following the work of [[Alan Stivell]].
+
*Chad and Jeremy
−
 
+
*Peter and Gordon
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Unrelated to this movement are a few British acts of the mid-1960s whose music was based on or paralleled US folk rock of the time, such as [[Chad and Jeremy]], [[Peter and Gordon]], [[The Searchers (band)|The Searchers]] or [[Marianne Faithfull]].
+
*The Searchers
 +
*Marianne Faithful
 +
*The Dream Academy
 +
*Sandy Denny
 +
*Eclection
 +
*Fairport Convention
 +
*Fotheringay
 +
*Fleetwood Mac
 +
*Alan Stivell (Breton)
 +
*Five Hand Reel
 +
*Gryphon
 +
*Hedgehog Pie
 +
*Horslips
 +
*Jack The Lad
 +
*Jethro Tull
 +
*Lindisfarne
 +
*Magna Carta
 +
*John Martyn
 +
*Ralph McTell
 +
*Oysterband
 +
*Pentangle
 +
*Renaissance
 +
*Steeleye Span
 +
*Richard Thompson
 +
*The Levellers
 +
*The Incredible String Band
 +
*The Corrs
 +
*The Waterboys
  
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*[[Capercaillie (band)|Capercaillie]]
+
==References==
−
*[[The Dream Academy]]
+
*Matteo, Stephen. ''Dylan: The Life and Music of America's Folk-Rock Icon.'' MetroBooks, 1998. ISBN 1567996345
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*[[Sandy Denny]]
+
*Sweers, Britta. ''Electric Folk: The Changing Face of English Traditional Music.'' Oxford University Press, 2005. ISBN 019517478X
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*[[Eclection]]
+
*Unterberger, Richie. ''Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock.'' San Francisco: Backbeat Books, 2003. ISBN 0879307439
−
*[[Fairport Convention]]
 
−
*[[Fotheringay]]
 
−
*[[Fleetwood Mac]]
 
−
*[[Alan Stivell]] (Breton)
 
−
*[[Five Hand Reel]]
 
−
*[[Gryphon (band)|Gryphon]]
 
−
*[[Hedgehog Pie]]
 
−
*[[Horslips]]
 
−
*[[Jack The Lad]]
 
−
*[[Jethro Tull (band)|Jethro Tull]]; not all of their music has folk elements, but ''[[Songs from the Wood]]'', ''[[Heavy Horses]]'' and ''[[Stormwatch (album)|Stormwatch]]'' are clearly of this genre.
 
−
*[[Lindisfarne (band)|Lindisfarne]]
 
−
*[[Malicorne (band)|Malicorne]] (French)
 
−
*[[Magna Carta (band)|Magna Carta]]
 
−
*[[John Martyn]]
 
−
*[[Ralph McTell]]
 
−
*[[Oysterband]]
 
−
*[[Pentangle (band)|Pentangle]]
 
−
*[[Planxty]]
 
−
*[[Renaissance (band)|Renaissance]]
 
−
*[[Steeleye Span]]
 
−
*[[Richard Thompson]]
 
−
*[[The Levellers (band)|The Levellers]]
 
−
*[[The Strawbs]]
 
−
*[[Tricks Upon Travellers]]
 
−
 
 
−
[[Van Morrison]], although from rock and roll, released some folk-rock style tracks, always in an idiosyncratic mode. His recent music (since the late 1990s) is more akin to folk-rock, especially in his collaborations with [[The Chieftains]].
 
−
 
 
−
[[The Incredible String Band]] began doing straight folk before heading off into experimental folk, then folk rock and finally in other musical directions. Band member [[Robin Williamson]] has often returned to this style of music.
 
−
 
 
−
All of the above were active in the late 1960s or early 1970s. A clearly related sound can be found in Irish music of a slightly later period.
 
−
 
 
−
*[[The Corrs]]
 
−
*[[The Waterboys]]
 
−
 
 
−
The Canadian bands [[Spirit of the West]] and [[Great Big Sea]] are also more associated with this sound that with the earlier North American folk rock.
 
−
 
 
−
The Canadian band [[Celtae]] are fusing two folk traditions, that of Cape Breton and Newfoundland with a broad definition of rock that includes elements of hard rock, funk, and jazz while retaining the original flavour of the traditional music.
 
−
 
 
−
A similar impulse (but a very different sound) can be found in bands who mix traditional Irish music with punk rock. The prototype of this approach might be [[Thin Lizzy]]'s [[Heavy metal music|heavy-metal]]-inspired 1973 version of "[[Whiskey in the Jar]]"
 
−
 
 
−
*[[Dropkick Murphys]]
 
−
*[[The Pogues]]
 
−
*[[Flogging Molly]]
 
−
*[[$wingin' Utter$]]
 
−
*[[Neck (Band)|Neck]]
 
−
 
 
−
A recent book, "Electric Folk" by Britta Sweers (2005) concentrates on Fairport Convention and Steeleye Span. Another recent book "Irish Folk, Trad and Blues: A Secret History" by Colin Harper (2005) covers Horslips, The Pogues, Planxty and others.
 
−
 
 
−
Present folk rock includes bands such as [[Aaron Sprinkle]], [[The Tossers]], The River Bends, One Star Hotel, [[Tegan & Sara]], [[Bill Mallonee]], [[The Lost Dogs]], [[Wilco]], [[Son Volt]], [[Original Harmony Ridge Creekdippers]], [[The Jayhawks]], [[David Wolfenberger]], [[Over the Rhine]], [[The Greencards]], Denison Witmer and many more.
 
−
 
 
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===Other===
 
−
<!— ...or needing classification —>
 
−
*[[Andrew Osenga]]
 
−
*[[Andy Gullahorn]]
 
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*[[Andy White (singer-songwriter)|Andy White]]
 
−
*[[Arthur Alligood]]
 
−
*[[Celtas Cortos]] (Spain)
 
−
*[[Chris Mason]]
 
−
*[[Derek Webb]]
 
−
*[[Energy Orchard]]
 
−
*[[Fiddler's Green (band)|Fiddler's Green]] (Germany)
 
−
*[[Folque]] (Norway)
 
−
*[[Garmarna]] (Sweden)
 
−
*[[Gåte]] (Norway)
 
−
*[[Gordon Giltrap]]
 
−
*[[Gordon Lightfoot]] (Canada)
 
−
*[[Grapes of Wrath (band)|The Grapes of Wrath]] (Canada)
 
−
*[[Great Big Sea]] (Canada)
 
−
*[[Gundula Krause]]
 
−
*[[Harry Chapin]]
 
−
*[[I Ratti Della Sabina]] (Italy)
 
−
*[[Jeremy Casella]]
 
−
*[[Jill phillips]]
 
−
*[[Kazuki Tomokawa]] (Japan)
 
−
*[[Los Jaivas]] (Chile)
 
−
*[[Matthew Perryman Jones]]
 
−
*[[Modena City Ramblers]] (Italy)
 
−
*[[Randall Goodgame]]
 
−
*[[Roaring Jack]] (Australia)
 
−
*[[Ruby Blue]]
 
−
*[[Runrig]]
 
−
*[[Spiral Dance (band)]] (Australia)
 
−
*[[Spirit of the West]] (Canada)
 
−
*[[Sandra McCracken]]
 
−
*[[STS]] (Austria)
 
−
*[[Sufjan Stevens]]
 
−
*[[The Bedridden]] (Australia)
 
−
*[[The Coral]] (UK)
 
−
*[[The Duhks]] (Canada)
 
−
*[[The Levellers (band)|The Levellers]] (Popular during the 1990's, English)
 
−
*[[Toad the Wet Sprocket]]
 
−
*[[Weddings Parties Anything]] (Australia)
 
−
*[[World Party]]
 
  
 
==External links==
 
==External links==
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<!--please no links here to web sites of single bands—>
+
All links retrieved April 17, 2017.
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* [http://www.paddyrock.com Paddy Rock Radio], Celtic rock.
+
*[http://www.richieunterberger.com/turnlinks.html 1960s Folk Rock Links by artist]  
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{{Folk music}}
 
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{{rock}}
 
  
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[[Category:Crossover (music)]]
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[[Category:Music]]
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[[Category:Folk music]]
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[[Category:Art, music, literature, sports and leisure]]
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[[Category:Rock music genres]]
 
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[[Category:Folk rock groups]]
 
  
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[[bg:Фолк рок]]
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{{Credit|88828726}}
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[[da:Folkrock]]
 
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[[de:Folk Rock]]
 
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[[he:פולק רוק]]
 
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[[nl:Folkrock]]
 
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[[ja:フォークロック]]
 
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[[no:Folkrock]]
 
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[[pl:Folk rock]]
 
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[[pt:Folk rock]]
 
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[[ru:Фолк-рок]]
 
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[[scn:Folk rock]]
 
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[[sv:Folk-rock]]
 

Revision as of 23:23, 17 April 2017


Folk Rock is a musical genre, combining elements of folk music and rock music. Originally the term referred to a genre that arose in the United States and Canada in the mid-1960s. The sound was epitomized by tight vocal harmonies and a relatively "clean" (effects-free) approach to electric instruments, while the repertoire was drawn partly from traditional folk sources, but even more from folk-influenced singer-songwriters. The term is not usually applied to rock music rooted in blues-based or other African American music or to music with non-European folk roots, which is more typically classified as world music.

Folk rock had antecedents in the labor movement of the 1930s, notably in the folk music of Pete Seeger (1919-2014) and Woody Guthrie (1912-1967), and became the genre of social protest. Artists during folk-rock's heyday during the Vietnam War era of the late 1960s and early 1970s fostered anti-war and anti-establishment attitudes. The idiom also celebrates freedom, a life free of attachments (epitomized by that American anti-hero, drifter), and respect for the environment. Folk rock was also embraced by Christian youth, who sung versions of folk-rock songs at their retreats and workshops to inspire faith and commitment in a contemporary key.

John Denver's Platinum collection of folk rock ballads Poems, Prayers & Promises

The Roots of Folk Rock

Folk rock arose mainly from the confluence of three elements:

  • urban/collegiate folk groups
  • singer-songwriters
  • the revival of North American rock and roll after the "British Invasion" of the early 1960s.

Folk groups and sing-songwriters often were inspired by earlier "folk" pioneers such Woody Guthrie, Pete Seeger and other songsters of the labor movement of the 1930s and 1940s. The first of the urban folk vocal groups was the Almanac Singers, whose shifting membership included Guthrie, Seeger and Lee Hayes. In 1947 Seeger and Hayes joined Ronnie Gilbert and Fred Hellerman to form the Weavers, who popularized the genre and had a major hit with a cover of Leadbelly's "Irene," but fell afoul of the U.S. Red Scare of the early 1950s. Their sound, and their broad repertoire of traditional folk material and topical songs inspired other groups such as the Kingston Trio (founded 1957), the Chad Mitchell Trio, New Christy Minstrels, the Brothers Four, the Four Freshmen, and the Highwaymen. All featured tight vocal harmonies and a repertoire at least initially rooted in folk music and (often) topical songs. Individual performers such as Ramblin' Jack Elliott, Dave Van Ronk, Judy Collins, Odetta, and Joan Baez also helped lay the foundations of the folk music revival. Singer-songwriters such as Bob Dylan and Phil Ochs gained popularity in the mid 1960s.

Yet, as writer Richie Unterberger observes:

In the early 1960s, any suggestion that the folk and rock'n'roll worlds would intertwine to create a hybrid called folk-rock would have met with utter disbelief from both camps. The folk community prided itself on its purity, which meant acoustic instruments and songs of substance; it regarded rock'n'roll as vulgar and commercial. Rock'n'rollers, for the most part, were utterly ignorant of folk traditions, and unconcerned with broadening their lyrical content beyond tried-and-true themes of romance and youthful partying.[1]

Folk Rock Hits the Charts

Folk music occasionally reached the pop charts in the late 1950s and early 1960s. The Kingston Trio had scored a major hit with "Tom Dooley" in 1958 and the Tokens reached number one in 1961 with "The Lion Sleeps Tonight." Peter, Paul, and Mary did much to popularize Bob Dylan as a songwriter when they covered his song, "Blowing in the Wind" in 1963. However, the folk genre might never have intersected with rock music if it had not been for the impulse of the British Invasion. Songs such as "House of the Rising Sun" by Eric Burdon and the Animals (1964), "I'm A Loser" by the Beatles (1965), and "Get Together" by the We Five (1965) have been cited as important precursors to the folk-rock trend. The 1964 hit "I Know I'll Never Find Another You" by the Australian group the Seekers could also be mentioned. However, The Byrds' cover of Dylan's "Mr. Tambourine Man," was the true trend-setter when it reached the top of the charts in April, 1965.

Bob Dylan's folk rock album, Blonde on Blonde

Dylan himself went electric, much to the horror of folk purists, in 1965 with his Bringing It All Back Home and Highway 61 Revisited albums. Dylan's "Like A Rolling Stone" became the unofficial anthem of the searching generation of the mid-late 1960s. Unlike other folk rock performers, much of Dylan's music during this period was also heavily blues influenced.

Groups such as The Lovin' Spoonful, Simon and Garfunkel, and the Mamas and Papas were soon hitting the charts with songs like "Do You Believe In Magic," "The Sounds of Silence," and "California Dreaming," respectively. Auto-harps, harmonicas, acoustic guitars, and flutes joined Fender telecasters, Hammond organs, and huge banks of Marshall amplifiers on the stages of rock concerts. Ex-folk acts such as Phil Ochs, Ian and Silvia, and Gordon Lightfoot adapted their styles to take advantage of the trend. The Beatles' Rubber Soul and later albums included several folk-oriented tunes and even the Rolling Stones got in on the act with their version of Maryanne Faithful's "As Tears Go By." Scottish songster Donovan P. Leitch had several original hits in folk-rock vein, such as "Catch the Wind" and "Colours." By 1966 the folk-rock craze was in full bloom as even the Beach Boys, the archetypal surf music band, scored a hit by covering the Kingston Trio's version of the folk song Sloop John B—which the trio in turn had learned from The Weavers. Acid Rock groups such as the Jefferson Airplane and Country Joe and the Fish incorporated folk rock motifs in their repertoires. Buffalo Springfield hit the charts with "For What It's Worth" in early 1967, and later morphed into the folk-rock super band Crosby, Stills, Nash, and Young by combining with David Crosby from The Byrds and Graham Nash from The Hollies.

In the late 1960s artists such as Jackson Browne, Linda Ronstandt, and Emmylou Harris fused folk, rock, and country themes to create numerous hit recordings. John Denver added a number of big records with "Take Me Home, Country Roads," "Rocky Mountain High" featuring a softer sound that leaned more toward folk than rock. British star Cat Stevens contributed a number of memorable recordings—such as "Peace Train" and "Morning Has Broken"—to the rapidly growing corpus of folk rock hits. Singer-songwriters such as Neil Diamond, Joni Mitchell, and others not only wrote hit songs for other artists but also climbed to the top of the charts themselves. Crossover country artists such as Dolly Parton and Glenn Campbell brought a southern flavor into the folk-rock mix. By the mid 1970s, the lines between rock, folk rock, and country had become blurred to the point that many recordings and artists become difficult to classify.

In the United States, the heyday of folk rock was from the mid-1960s to the mid-1970s, aligning itself approximately with the hippie movement. Cities such as San Francisco, New York City, Philadelphia and Los Angeles became centers for the folk rock culture, building on their central locations among the original folk circuits.

While the genre enjoyed tremendous popularity and commercial success, it was not without its critics. Folk purists resented its commercialism and use of electric instruments and drums to such a degree that Bob Dylan, for example, was sometimes booed during his appearances in 1965 and 1966 when he came on stage for an electrified second set after his opening set as solo singer with only his acoustic guitar. Hard rockers and Rythym and Blues fans, on the other hand, often considered much of the folk rock genre to be without soul&mash;n insipid white man's music of the mind that simply did not engage the body like old time rock and roll. The heavy metal movement and white blues bands were in part a reaction to sterile qualities that hard rockers perceived in the folk rock trend.

Folk rock faded as a distinct genre in the late 1970s, but it had left a lasting legacy. Henceforth musicians of rock, folk, country, blues, and even jazz backgrounds would often experiment in mixed-genre recordings. Even hard rockers would occasionally "unplug," and rock itself came to be seen as the true American "folk" music of the late twentieth century.

British and Continental Folk Rock

A distinct, eclectic style of British folk rock (a.k.a. electric folk) was pioneered in the late 1960s by Pentangle and Fairport Convention. Starting from a North American style folk rock, these and other related bands deliberately incorporated elements of traditional British folk music. At the same time, in Brittany, Alan Stivell began to mix his Breton roots with Irish and Scottish roots and with rock music. Very shortly afterward, Fairport Convention bassist Ashley Hutchings formed Steeleye Span in collaboration with traditionalist British folk musicians who wished to incorporate electrical amplification and overt rock elements into their music.

This, in turn, spawned several other variants: the self-consciously English folk rock of the Albion Band and some of Ronnie Lane's solo work, and the more prolific current of Celtic rock, incorporating traditional music of Ireland, Scotland, Cornwall, and Brittany. Through at least the first half of the 1970s, Celtic rock held close to folk roots, with its repertoire drawing heavily on traditional Celtic fiddle and harp tunes and even traditional vocal styles, but making use of rock band levels of amplification and percussion. In the 1988, Van Morrison released an album of semi-traditional Celtic music, Irish Heartbeat, backed by The Chieftains. In the following decade, various types of electrified as well as traditional Celtic have found a growing international market, exemplified especially by the remarkable success of Enya.

In Romania, Transylvania Phoenix, founded in 1962, introduced significant folk elements into their rock music around 1972 in an unsuccessful attempt to compromise with government repression of rock music. The attempt failed, and they ended up in exile during much of the Ceauşescu era, but much of their music still retains a folk rock sound. The present-day bands Spitalul de Urgenţă (Romanian) and Zdob şi Zdub (Moldova) also both merge folk and rock.

Other fusions of folk and rock include New Flamenco from Spain, the pop-oriented forms of North African raï music, and in the music of The Pogues and the Dropkick Murphys, both of whom draw on traditional Irish music and punk rock.

Turkey, during the 1970s and 1980s, also sustained a vibrant folk rock scene, drawing inspirations from diverse ethnic elements of Anatolia, the Balkans, Eurasia and the Black Sea region and thrived in a culture of intense political strife, with musicians in both nationalist and Marxist camps.

Folk rock artists

All of the performers listed here had or have both significant folk elements and significant rock elements in their music.

Singers and Singer-songwriters

  • Eric Andersen
  • Joan Baez
  • Gene Clark
  • Leonard Cohen
  • Judy Collins
  • Donovan
  • John Denver
  • Bob Dylan
  • Tim Hardin
  • Gordon Lightfoot
  • Joni Mitchell
  • Van Morrison
  • Phil Ochs
  • John Phillips
  • Tom Rush
  • Paul Siebel
  • Paul Simon
  • John Stewart
  • Alan Stivell
  • James Taylor
  • Richard Thompson

The following (mostly of at least a slightly younger generation) have mixed both folk and rock elements from the outset of their careers:

  • Jonatha Brooke
  • Jim Croce
  • Jonathan Edwards
  • Arlo Guthrie
  • Mark Knopfler
  • Indigo Girls
  • Don McLean
  • Willis Alan Ramsey
  • Gillian Welch
  • Joel Sprayberry
  • Bruce Springsteen
  • Matt Costa
  • Neil Young

1960s North American groups

  • The Band
  • Buffalo Springfield
  • The Byrds
  • Crosby, Stills & Nash (and Young)
  • Ian and Sylvia
  • The Lovin' Spoonful
  • The Mamas & the Papas
  • Simon & Garfunkel
  • Peter, Paul & Mary, transitional between urban folk vocal groups and folk rock
  • The Turtles, whose first hits were in this genre, but who headed off in other musical directions

Other U.S. bands of this era

The following groups manifested significant folk influences.

  • The Beach Boys
  • The Grateful Dead
  • Jefferson Airplane
  • Love
  • Moby Grape
  • Sonny and Cher

Numerous other artists and bands normally considered in the rock or pop category also had hits in the folk-rock genre, including Bobby Darin "(If I Were a Carpenter)," The Rolling Stones "(As Tears Go By)" and others.

British and Irish folk rock

  • Chad and Jeremy
  • Peter and Gordon
  • The Searchers
  • Marianne Faithful
  • The Dream Academy
  • Sandy Denny
  • Eclection
  • Fairport Convention
  • Fotheringay
  • Fleetwood Mac
  • Alan Stivell (Breton)
  • Five Hand Reel
  • Gryphon
  • Hedgehog Pie
  • Horslips
  • Jack The Lad
  • Jethro Tull
  • Lindisfarne
  • Magna Carta
  • John Martyn
  • Ralph McTell
  • Oysterband
  • Pentangle
  • Renaissance
  • Steeleye Span
  • Richard Thompson
  • The Levellers
  • The Incredible String Band
  • The Corrs
  • The Waterboys

References
ISBN links support NWE through referral fees

  • Matteo, Stephen. Dylan: The Life and Music of America's Folk-Rock Icon. MetroBooks, 1998. ISBN 1567996345
  • Sweers, Britta. Electric Folk: The Changing Face of English Traditional Music. Oxford University Press, 2005. ISBN 019517478X
  • Unterberger, Richie. Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock. San Francisco: Backbeat Books, 2003. ISBN 0879307439

External links

All links retrieved April 17, 2017.

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