Editing Rock music (section)

===Folk rock===
{{Main|Folk rock}}
[[File:Joan Baez Bob Dylan.jpg|thumb|right|alt=A black and white photograph of Joan Baez and Bob Dylan singing while Dylan plays guitar|[[Joan Baez]] and [[Bob Dylan]] in August 1963]]
By the 1960s, the scene that had developed out of the [[American folk music revival]] had grown to a major movement, using traditional music and new compositions in a traditional style, usually on acoustic instruments.<ref name=Mitchell2007p95>{{cite book|last=Mitchell |first=Gillian |title=The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945–1980 |publisher=Ashgate Publishing |location=Aldershot, England |year=2007 |isbn=978-0-7546-5756-9 |page=95}}</ref> In America the genre was pioneered by figures such as [[Woody Guthrie]] and [[Pete Seeger]] and often identified with [[Progressive folk|progressive]] or [[Labour movement|labor politics]].<ref name=Mitchell2007p95/> In the early sixties figures such as [[Joan Baez]] and [[Bob Dylan]] had come to the fore in this movement as singer-songwriters.<ref>{{harvnb|Mitchell|2007|p=72}}</ref> Dylan had begun to reach a mainstream audience with hits including "[[Blowin' in the Wind]]" (1963) and "[[Masters of War]]" (1963), which brought "[[protest song]]s" to a wider public,<ref>J.E. Perone, ''Music of the Counterculture Era American History Through Music'' (Westwood, CT: Greenwood, 2004), {{ISBN|0-313-32689-4}}, p. 37.</ref> but, although beginning to influence each other, rock and folk music had remained largely separate genres, often with mutually exclusive audiences.<ref name=Bogdanov2002FolkRock>R. Unterberger, "Folk Rock", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], pp.&nbsp;1308–09.</ref>

Early attempts to combine elements of folk and rock included the Animals' "[[House of the Rising Sun]]" (1964), which was the first commercially successful folk song to be recorded with rock and roll instrumentation<ref>{{cite book|last=Perone |first=James E. |title=Mods, Rockers, and the Music of the British Invasion |year=2009 |publisher=Praeger Publishers |location=Westport, CT |isbn=978-0-275-99860-8 |page=128}}</ref> and the Beatles "[[I'm a Loser]]" (1964), arguably the first Beatles song to be influenced directly by Dylan.<ref>{{Citation|last=R. Unterberger |title=The Beatles: I'm a Loser |work=AllMusic |url={{AllMusic|class=song|id=t462339|pure_url=yes}} |archive-url=https://www.webcitation.org/5wRzkNyBp?url=http://www.allmusic.com/song/t462339 |archive-date=12 February 2011 |url-status=dead}}.</ref> The folk rock movement is usually thought to have taken off with [[the Byrds]]' recording of Dylan's "[[Mr. Tambourine Man]]" which topped the charts in 1965.<ref name=Bogdanov2002FolkRock/> With members who had been part of the café-based folk scene in Los Angeles, the Byrds adopted rock instrumentation, including drums and 12-string [[Rickenbacker]] guitars, which became a major element in the sound of the genre.<ref name=Bogdanov2002FolkRock/> Later that year Dylan adopted electric instruments, much to the [[Electric Dylan controversy|outrage]] of many folk purists, with his "[[Like a Rolling Stone]]" becoming a US hit single.<ref name=Bogdanov2002FolkRock/> According to [[Ritchie Unterberger]], Dylan (even before his adoption of electric instruments) influenced rock musicians like the Beatles, demonstrating "to the rock generation in general that an album could be a major standalone statement without hit singles", such as on ''[[The Freewheelin' Bob Dylan]]'' (1963).<ref name="RU">{{cite web|last=Unterberger|first=Richie|date=31 December 2018|url=http://www.richieunterberger.com/wordpress/2018/|title=2018|website=Folkrocks|access-date=3 June 2021|archive-date=20 September 2023|archive-url=https://web.archive.org/web/20230920175303/http://www.richieunterberger.com/wordpress/2018/|url-status=live}}</ref>

Folk rock particularly took off in California, where it led acts like [[the Mamas & the Papas]] and [[Crosby, Stills, and Nash]] to move to electric instrumentation, and in New York, where it spawned performers including [[the Lovin' Spoonful]] and [[Simon and Garfunkel]], with the latter's acoustic "[[The Sounds of Silence]]" (1965) being remixed with rock instruments to be the first of many hits.<ref name=Bogdanov2002FolkRock/> These acts directly influenced British performers like Donovan and [[Fairport Convention]].<ref name=Bogdanov2002FolkRock/> In 1969 Fairport Convention abandoned their mixture of American covers and Dylan-influenced songs to play traditional English folk music on electric instruments.<ref>M. Brocken, ''The British Folk Revival 1944–2002'' (Ashgate, Aldershot, 2003), {{ISBN|0-7546-3282-2}}, p. 97.</ref> This British folk-rock was taken up by bands including [[Pentangle (band)|Pentangle]], [[Steeleye Span]] and [[the Albion Band]], which in turn prompted Irish groups like [[Horslips]] and Scottish acts like the [[JSD Band]], Spencer's Feat and later [[Five Hand Reel]], to use their traditional music to create a brand of [[Celtic rock]] in the early 1970s.<ref>C. Larkin, ''The Guinness Encyclopedia of Popular Music'' (London: Guinness, 1992), {{ISBN|1-882267-04-4}}, p. 869.</ref>

Folk-rock reached its peak of commercial popularity in the period 1967–68, before many acts moved off in a variety of directions, including Dylan and the Byrds, who began to develop [[country rock]].<ref>G.W. Haslam, A.H. Russell and R. Chon, ''Workin' Man Blues: Country Music in California'' (Berkeley CA: Heyday Books, 2005), {{ISBN|0-520-21800-0}}, p. 201.</ref> However, the hybridization of folk and rock has been seen as having a major influence on the development of rock music, bringing in elements of psychedelia, and helping to develop the ideas of the singer-songwriter, the protest song, and concepts of "authenticity".<ref name=Bogdanov2002FolkRock/><ref>K. Keightley, "Reconsidering rock" in, S. Frith, W. Straw, and J. Street, eds, ''The Cambridge Companion to Pop and Rock'' (Cambridge: Cambridge University Press, 2001), {{ISBN|0-521-55660-0}}, p. 121.</ref>
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