Folk rock
Folk rock | |
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Stylistic origins | |
Cultural origins | Early to mid-1960s, United States |
Derivative forms | |
Subgenres | |
Other topics | |
Folk rock is a genre of
The commercial success of the Byrds' cover version of Dylan's "Mr. Tambourine Man" and their debut album of the same name, along with Dylan's own recordings with rock instrumentation—on the albums Bringing It All Back Home (1965), Highway 61 Revisited (1965), and Blonde on Blonde (1966)—encouraged other folk acts, such as Simon & Garfunkel, to use electric backing on their records and new groups, such as Buffalo Springfield, to form. Dylan's controversial appearance at the Newport Folk Festival on 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, eclectic British folk rock style was created by Pentangle, Fairport Convention and Alan Stivell. Inspired by British psychedelic folk and 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 of the Albion Band and Celtic rock.
Definition and etymology
The term "folk rock" refers to the blending of elements of
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
Folk revival
The American folk-music revival began during the 1940s; building on the interest in protest folk singers such as
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 and guitar picking styles of folk and blues artist such as Woody Guthrie, Lead Belly, Brownie McGhee, and Josh White, also came to the fore.[16] Many of these urban revivalists were influenced by recordings of traditional American music from the 1920s and 1930s, which had been reissued by Folkways Records; Harry Smith's Anthology of American Folk Music was particularly influential.[16][17] While this urban folk revival flourished in many cities, New York City, with its burgeoning Greenwich Village coffeehouse scene and population of topical folk singers, was widely regarded as the centre of the movement.[16][18] Out of this fertile environment came such folk-protest luminaries as Bob Dylan,[19] Tom Paxton, Phil Ochs, and Peter, Paul and Mary,[20] many of whom would transition into folk rock performers as the 1960s progressed.[16]
The vast majority of the urban folk revivalists shared a disdain for the values of mainstream American mass culture
During the 1950s and early 1960s in the UK, a parallel folk revival referred to as the second British folk revival, was led by folk singers Ewan MacColl and Bert Lloyd.[24] Both viewed British folk music as a vehicle for leftist political concepts and an antidote to the American-dominated popular music of the time.[24][25] However, it was not until 1956 and the advent of the skiffle craze that the British folk revival crossed over into the mainstream and connected with British youth culture.[24][26] Skiffle renewed popularity of folk music forms in Britain and led directly to the progressive folk movement and the attendant British folk club scene.[24] Among the leading lights of the progressive folk movement were Bert Jansch and John Renbourn, who would later form the folk rock band Pentangle in the late 1960s.[27] Other notable folk rock artists with roots in the progressive folk scene were Donovan, Al Stewart, John Martyn and Paul Simon.[28][29][self-published source?]
The Beatles and the 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[30]
Beginning in 1964 and lasting until roughly 1966, a wave of British
Of particular importance to the development of folk rock by the British Invasion were the subtle folk influences evident in such Beatles' compositions as "
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.[33][39] 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.[39] 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 historian Richie Unterberger has noted that the Beatles' impact on American popular culture effectively sounded the death knell for the American folk music revival.[39]
In addition to The Beatles, the two British groups that were arguably the most influential on the development of folk rock were
Electric Twelve-String Guitar in Folk Music
The Searchers were influential in popularizing the jangly sound of the
Other precursors
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,[10] 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's the Beau Brummels as arguably the most important. Despite their Beatlesque image, the band's use of minor 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.[44][nb 1] Released in December 1964, "Laugh, Laugh" peaked at number 15 on the Billboard Hot 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.[44][45][46] 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.[44]
Pre-dating the Beau Brummels' commercial breakthrough by almost two years, singer-songwriter
In the UK, the folk group
Other bands and solo artists who were blurring the boundaries between folk and rock in the early 1960s include
There are also a few antecedents to folk rock present in pre-British Invasion American rock 'n' roll, including
1960s
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
It was during the rehearsals at World Pacific that the band began to develop the blend of folk music and Beatles-style pop that would characterize their sound.[81] 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.[74] 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.[8][74][82] 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.[74][83]
Mr. Tambourine Man's blend of abstract lyrics, folk-influenced melody, complex harmonies, jangly 12-string Rickenbacker guitar playing, and Beatles-influenced beat, resulted in a synthesis that effectively created the subgenre of folk rock.[70][84] 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.[85]
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.[62] Their reworking of "Mr. Tambourine Man", along with the 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.[86]
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 like Fairport Convention and Pentangle.[4][8][87] 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!".[65] By the start of 1966, however, the group had begun to move away from folk rock and into the new musical frontier of psychedelic rock. The folk rock sound of the Byrds has continued to influence many bands over the years, including Big Star, Tom Petty and the Heartbreakers, R.E.M., the Long Ryders, the Smiths, the Bangles, the Stone Roses, and Teenage Fanclub, among others.[88]
Bob Dylan
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.[89] 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.[89] 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".[41][90][91]
Bringing It All Back Home was released on 22 March 1965,
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.[97][98] 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.[97] "Like a Rolling Stone" managed to reach the Top 5 on both sides of the Atlantic.[94][99] Five days after the release of "Like a Rolling Stone", on 25 July 1965, Dylan made a controversial appearance at the Newport Folk Festival, performing three songs with a full band.[97] He was met with derisive booing and jeering from the festival's purist folk music crowd,[100] 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.[97][101][102]
Dylan followed "Like a Rolling Stone" with the wholly electric album Highway 61 Revisited and 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 the Bringing It All Back Home, Highway 61 Revisited and Blonde on Blonde albums, proved to be hugely influential on the development and popularity of folk rock.[103] 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.[8]
Tom Wilson
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 albums The Times They Are A-Changin, Another Side of Bob Dylan, and Bringing It All Back Home, he was a key architect of Dylan's electric sound. He is perhaps even better known, however, for first discovering Simon & Garfunkel at 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".[104][105]
Other musicians
Music critic Richie Unterberger has noted that the commercial success of the Byrds'
One of the first bands to craft a distinctly American sound in response to the British Invasion 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 Indian folk song "Sloop John B", which they had learned from the Kingston Trio, who had learned it from the Weavers.[107]
Much of the early folk-rock music emerged during a time of general global upheaval, the Vietnam 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 the hippie movement and became an important medium for expressing radical ideas. Cities such as San Francisco, Denver, New York City and Phoenix became 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 included Donovan,[108] the Lovin' Spoonful, the Mamas & the Papas,[65] the Youngbloods, Love, and, in their early years, Jefferson Airplane.
In the mid-1960s, singer-songwriter
Related movements
British folk rock
British folk rock developed in Britain during the mid to late 1960s by the bands
Steeleye Span, founded by Fairport Convention bass player Ashley Hutchings, was made up of traditionalist folk musicians who wished to incorporate electrical amplification, and later overt rock elements, into their music.[114] This, in turn, spawned the conspicuously English folk rock music of the Albion Band, a group that also included Hutchings.[115] In Brittany folk rock was developed by Alan Stivell (who began to mix his Breton, Irish, and Scottish roots with rock music) and later by French bands like Malicorne.[116][117] During this same period, folk rock was adopted and developed in the surrounding Celtic cultures of Ireland, Scotland, Wales, Brittany, and Cornwall, to produce Celtic rock and its derivatives.[118][117]
Country folk
A subgenre originally arising from the early 1960s folk and country-influenced music of singer-songwriter artists such as Bob Dylan and
Celtic rock
A subgenre of folk rock that combines traditional Celtic instrumentation with rock rhythms, often influenced by a wide variety of
The subgenre was further popularised in 1973 by
Medieval folk rock
Medieval folk rock developed as a subgenre of electric folk from about 1970 as performers, particularly in England, Germany and Brittany, adopted
Progressive folk rock
In Britain the tendency to electrify brought several progressive folk acts into rock.[138] This includes the acoustic duo Tyrannosaurus Rex, who became the electric combo T. Rex.[139] Others, probably influenced by the electric folk pioneered by Fairport Convention from 1969, moved towards more traditional material, a category including Dando Shaft, Amazing Blondel, and Jack the Lad, an offshoot of northern progressive folk group Lindisfarne, who were one of the most successful UK bands of the early 1970s.[140] Examples of bands that remained firmly on the border between progressive folk and progressive rock were the short lived (but later reunited) Comus and, more successfully, Renaissance, who combined folk and rock with elements of classical music.[141]
Folk metal
Folk metal is a fusion genre of heavy metal music and traditional folk music that developed in Europe during the 1990s. It is characterised by the widespread use of folk instruments and, to a lesser extent, traditional singing styles (for example, Dutch Heidevolk, Danish Sylvatica and Spanish Stone of Erech). It also sometimes features soft instrumentation influenced by folk rock.
The earliest folk metal bands were
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 on
.See also
Notes
- ^ Neither the band nor their guitarist and chief songwriter Ron Elliott were overtly influenced by folk music.[44] Elliot's own musical leanings were more towards country and western and musical theatre, with any folk influence in the band's music appearing to have been entirely unintentional.[44]
- Chad Mitchell Trio, and Les Baxter's Balladeers.[71][72][73] Soon after forming the Jet Set, Crosby introduced McGuinn and Clark to his associate Jim Dickson, who became the group's manager.[74] Dickson had access to World Pacific Studios in Los Angeles, which he began to utilize as a rehearsal space for the band.[75] During the course of 1964, the trio expanded their ranks to include drummer Michael Clarke and bassist Chris Hillman, with the band eventually changing its name to the Byrds in November.[76]
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Sources
- Brocken, Michael, (2003) The British Folk Revival, 1944–2002. Ashgate
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- Unterberger, Richie (2002) Turn! Turn! Turn!: the '60s Folk-Rock revolution. Backbeat Books
- Walker, Michael (2006) Laurel Canyon. Macmillan
Further reading
- 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