Editing Folk rock (section)

==Antecedents==
===Folk revival===
{{Main|American folk music revival}}
[[File:PeteSeeger2.jpg|thumb|left|Pete Seeger entertaining [[Eleanor Roosevelt]] (center), at a racially integrated Valentine's Day party, 1944<ref>Photograph by Joseph Horne for the Office of War Information, 1944. From the ''Washington Post'', 12 February 1944: "The Labor Canteen, sponsored by the United Federal Workers of America, CIO, will be opened at 8 p.m. tomorrow at 1212 18th st. nw. Mrs. Roosevelt is expected to attend at 8:30 p.m."</ref>]]

The American folk-music revival began during the 1940s; building on the interest in protest folk singers such as [[Woody Guthrie]] and [[Pete Seeger]], it reached a peak in popularity in the mid-1960s with artists such as Bob Dylan and [[Joan Baez]].<ref name="oswego">{{cite web|title=1962–66: American Folk-Rock vs. The British Invasion|publisher=[[State University of New York at Oswego]]|url=http://www.oswego.edu/academics/colleges_and_departments/departments/music/classes/MUS_117/amer_folk-rock.pdf|access-date=19 March 2010|archive-url=https://web.archive.org/web/20110611111009/http://www.oswego.edu/academics/colleges_and_departments/departments/music/classes/MUS_117/amer_folk-rock.pdf|archive-date=11 June 2011|url-status=dead}}</ref><ref>{{Cite journal|author=Graeme Smith|title='Wasn't That a Time!' Firsthand Accounts of the Folk Music Revival. Edited by Ronald D. Cohen. Metuchen, N.J. and London: The Scarecrow Press, 1995. 232 pp.Ethnomimesis. Folklife and the Representation of Culture. By Robert Cantwell. Chapel Hill and London: The University of North Carolina Press, 1993. 323 pp.Thirty Years of the Cambridge Folk Festival. Compiled and Edited by Dave Laing and Richard Newman. Ely: Music Maker Books, 1994. 162 pp.|journal=Popular Music|volume=16|issue=1|page=127|publisher=[[Cambridge University Press]]|date=January 1997|doi=10.1017/s0261143000000787 |s2cid=190761441 }}</ref> In 1948, Seeger formed [[the 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, and [[topical song]].<ref name="allmusic4">{{cite web|url={{AllMusic|class=artist|id=p2165|pure_url=yes}}|title=The Weavers Biography|website=[[AllMusic]]|access-date=20 March 2010}}</ref> The Weavers' sound and repertoire of traditional folk material and topical songs directly inspired [[the Kingston Trio]], a three-piece folk group who came to prominence in 1958 with their hit recording of "[[Tom Dooley (song)|Tom Dooley]]".<ref name="allmusic4"/><ref>{{AllMusic |title=The Kingston Trio Billboard Singles |class=artist|id=p2038 |access-date=21 March 2010}}</ref> The Kingston Trio provided the template for a flood of "collegiate folk" groups between 1958 and 1962.<ref name="weissman">{{cite book|author=Weissman, Dick.|pages=74–78|year=2006|title=Which Side Are You On?: An Inside History of the Folk Music Revival in America|publisher=Continuum International Publishing Group|isbn=0-8264-1914-3}}</ref><ref>{{cite book|author=Mitchell, Gillian.|pages=70–71|year=2007|title=The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945–1980|publisher=Ashgate Publishing|isbn=978-0-7546-5756-9}}</ref>{{Listen |filename=KingstonTrioTomDooley.ogg|title=Tom Dooley|description=An excerpt from the Kingston Trio's hit recording of the traditional folk song "[[Tom Dooley (song)|Tom Dooley]]". The song reached #1 on the ''Billboard'' Hot 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.}}

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.<ref name="unterberger2">{{cite book|author=Unterberger, Richie.|pages=[https://archive.org/details/musicusaroughgui0000unte/page/22 22–23]|year=1999|title=The Rough Guide to Music USA|publisher=[[Rough Guides]]|isbn=1-85828-421-X|url=https://archive.org/details/musicusaroughgui0000unte/page/22}}</ref> 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 Everett Smith|Harry Smith]]'s ''[[Anthology of American Folk Music]]'' was particularly influential.<ref name="unterberger2"/><ref name="weissman2">{{cite book|author=Weissman, Dick.|pages=86–88|year=2006|title=Which Side Are You On?: An Inside History of the Folk Music Revival in America|publisher=Continuum International Publishing Group|isbn=0-8264-1914-3}}</ref> 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.<ref name="unterberger2"/><ref>{{cite book|author=Weissman, Dick.|pages=91–95|year=2006|title=Which Side Are You On?: An Inside History of the Folk Music Revival in America|publisher=Continuum International Publishing Group|isbn=0-8264-1914-3}}</ref> Out of this fertile environment came such folk-protest luminaries as Bob Dylan,{{sfn|Gilliland|1969|loc=show 31}} [[Tom Paxton]], [[Phil Ochs]], and [[Peter, Paul and Mary]],{{sfn |Gilliland| 1969|loc=show 19}} many of whom would transition into folk rock performers as the 1960s progressed.<ref name="unterberger2"/>

[[File:Joan Baez Bob Dylan crop.jpg|thumb|upright=0.8|[[Bob Dylan]] was 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<ref>{{cite book|author=Weissman, Dick.|page=97|year=2006|title=Which Side Are You On?: An Inside History of the Folk Music Revival in America|publisher=Continuum International Publishing Group|isbn=0-8264-1914-3}}</ref> and led many folk singers to begin composing their own "protest" material.<ref>{{cite book|author=Unterberger, Richie.|pages=[https://archive.org/details/turnturnturn00rich/page/32 32–33]|year=2002|title=Turn! Turn! Turn!: The '60s Folk-Rock Revolution|publisher=Backbeat Books|isbn=0-87930-703-X|url=https://archive.org/details/turnturnturn00rich/page/32}}</ref><ref name="weissman3">{{cite book|author=Weissman, Dick.|page=159|year=2006|title=Which Side Are You On?: An Inside History of the Folk Music Revival in America|publisher=Continuum International Publishing Group|isbn=0-8264-1914-3}}</ref> The influence of this folk-protest movement would later manifest itself in the sociopolitical lyrics and mildly [[anti-establishment]] sentiments of many folk rock songs, including [[hit single]]s such as "[[Eve of Destruction (song)|Eve of Destruction]]", "[[Like a Rolling Stone]]", "[[For What It's Worth]]", and "[[Let's Live for Today (song)|Let's Live for Today]]".

During the 1950s and early 1960s in the UK, a parallel folk revival referred to as the [[British folk revival|second British folk revival]], was led by folk singers [[Ewan MacColl]] and [[A. L. Lloyd|Bert Lloyd]].<ref name="sweers">{{cite book|author=Sweers, Britta.|pages=31–39|year=2005|title=Electric Folk: The Changing Face of English Traditional Music|publisher=Oxford University Press|isbn=0-19-515878-4}}</ref> Both viewed British folk music as a vehicle for [[Left-wing politics|leftist]] political concepts and an antidote to the American-dominated popular music of the time.<ref name="sweers"/><ref>{{cite book|author=Brocken, Michael.|pages=25–39|year=2003|title=The British Folk Revival 1944–2002|publisher=Ashgate Publishing Limited |isbn=0-7546-3282-2}}</ref> 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.<ref name="sweers"/><ref name="brocken2">{{cite book|author=Brocken, Michael.|pages=67–77|year=2003|title=The British Folk Revival 1944–2002|publisher=Ashgate Publishing Limited |isbn=0-7546-3282-2}}</ref> Skiffle renewed popularity of folk music forms in Britain and led directly to the [[progressive folk]] movement and the attendant [[Folk club|British folk club scene]].<ref name="sweers"/> Among the leading lights of the progressive folk movement were [[Bert Jansch]] and [[John Renbourn]], who would later form the folk rock band [[Pentangle (band)|Pentangle]] in the late 1960s.<ref name="sweers2">{{cite book|author=Sweers, Britta.|pages=81–85|year=2005|title=Electric Folk: The Changing Face of English Traditional Music|publisher=Oxford University Press|isbn=0-19-515878-4}}</ref> Other notable folk rock artists with roots in the progressive folk scene were [[Donovan]], [[Al Stewart]], [[John Martyn]] and [[Paul Simon]].<ref>{{cite book|author=Brocken, Michael.|page=84|year=2003|title=The British Folk Revival 1944–2002|publisher=Ashgate Publishing Limited |isbn=0-7546-3282-2}}</ref><ref>{{cite book|author=Barry, Lee.|pages=18–22|year=2006|title=John Martyn: Grace & Danger|publisher=Lulu.com|isbn=1-84728-988-6}}{{self-published source|date=February 2020}}</ref>{{self-published inline|date=February 2020}}

===The Beatles and the British Invasion===
{{See also|British Invasion}}

{{quote box|width=23em|align=left|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<ref>{{cite book|author=Scaduto, Anthony.|author-link=Anthony Scaduto|page=175|year=1971|title=Bob Dylan: An Intimate Biography|publisher=Grosset & Dunlap}}</ref>}}
Beginning in 1964 and lasting until roughly 1966, a wave of British [[Beat music|beat]] groups, including [[the Beatles]], [[the Rolling Stones]], [[the Dave Clark Five]], [[Gerry & the Pacemakers]], [[the Kinks]], and [[Herman's Hermits]] amongst others, dominated the U.S. music charts.<ref name="allmusic8">{{cite web|title=British Invasion Overview|website=[[AllMusic]]|url={{AllMusic|class=explore|id=style/d11929|pure_url=yes}}|access-date=9 April 2010}}</ref><ref name="inglis">{{cite book|author=Inglis, Ian.|page=[https://archive.org/details/beatlespopularmu0000unse/page/53 53]|year=2000|title=The Beatles, Popular Music and Society: A Thousand Voices|publisher=Palgrave Macmillan|isbn=0-312-22236-X|url=https://archive.org/details/beatlespopularmu0000unse/page/53}}</ref> These groups were all heavily influenced by American [[Rock and roll|rock 'n' roll]], [[blues]], and [[Rhythm and blues|R&B]]—musical genres they had been introduced to via homegrown British rock 'n' roll singers, imported American [[Gramophone record|records]], and the music of the [[skiffle]] craze.<ref name="allmusic8"/><ref name="allmusic9">{{cite web|title=British Invasion Essay|website=[[AllMusic]]|url=https://www.allmusic.com/explore/essay/|access-date=10 April 2010|archive-date=13 November 2010|archive-url=https://web.archive.org/web/20101113053923/http://allmusic.com/explore/essay|url-status=dead}}</ref> These UK groups, known collectively as the [[British Invasion]], reintroduced American youth culture to the broad potential of rock and [[pop music]] as a creative medium and to the wealth of musical culture to be found within the United States.

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 (song)|I'll Be Back]]", "[[Things We Said Today]]", and "[[I'm a Loser]]",<ref name="turn4">{{cite book|author=Unterberger, Richie.|pages=[https://archive.org/details/turnturnturn00rich/page/88 88–90]|year=2002|title=Turn! Turn! Turn!: The '60s Folk-Rock Revolution|publisher=Backbeat Books|isbn=0-87930-703-X|url=https://archive.org/details/turnturnturn00rich/page/88}}</ref> with the latter song being directly inspired by folk singer-songwriter Bob Dylan.<ref>{{cite book|author=MacDonald, Ian.|pages=97–98|year=1995|title=Revolution in the Head|publisher=Pimlico|isbn=0-7126-6208-1}}</ref> In the opinion of [[Roger McGuinn]] of 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.<ref>{{cite magazine|last=Alexander|first=Phil|title=The 101 Greatest Beatles Songs|magazine=[[Mojo (magazine)|Mojo]]|date=July 2006|pages=92–93|display-authors=etal}}</ref> These songs were all influential in providing a template for successfully assimilating folk-based [[chord progression]]s and [[Melody (music)|melodies]] into 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.<ref>{{cite book|last1=Frith|first1=Simon|first2=Will|last2=Straw|first3=John|last3=Street|page=[https://archive.org/details/cambridgecompani00frit/page/119 119]|year=2001|title=The Cambridge Companion to Pop and Rock|url=https://archive.org/details/cambridgecompani00frit|url-access=registration|series=[[Cambridge Companions to Music]]|publisher=Cambridge University Press|isbn=0-521-55660-0}}</ref><ref>{{cite book|author=MacDonald, Ian.|page=118|year=1995|title=Revolution in the Head|publisher=Pimlico|isbn=0-7126-6208-1}}</ref> 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 with [[beat music]].

{{Listen |filename=Beatles loser.ogg|title=I'm a Loser|description=The subtle folk influences evident in such Beatles' songs as "[[I'm a Loser]]" were important in demonstrating how folk-based [[chord progression]]s and [[Melody (music)|melodies]] could be to assimilated into pop music.|filename2=Beatles hide your love away.ogg|title2=You've Got to Hide Your Love Away|description2=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]]".}}

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.<ref name="allmusic9" /><ref name="turn2">{{cite book|title=Turn! Turn! Turn!: The '60s Folk-Rock Revolution|author=Unterberger, Richie.|publisher=Backbeat Books|year=2002|isbn=0-87930-703-X|pages=[https://archive.org/details/turnturnturn00rich/page/63 63–66]|url=https://archive.org/details/turnturnturn00rich/page/63}}</ref> 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.<ref name="turn2" /> 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]].<ref name="turn2" />

In addition to The Beatles, the two British groups that were arguably the most influential on the development of folk rock were [[the Animals]] and [[The Searchers (band)|the 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 the ''Billboard'' Hot 100 singles chart and stayed there for three weeks, selling over a million copies in just five weeks in the U.S.<ref>{{cite web|title=House of the Rising Sun – The History and the Song|date=28 July 2006 |publisher=[[BBC]]|url=https://www.bbc.co.uk/dna/h2g2/A12460772|access-date=2 May 2010}}</ref> The band's [[arrangement]] of "The House of the Rising Sun", which transmuted the song from an [[Acoustic guitar|acoustic]] folk lament to a full-bore [[Electric instrument|electric]] rock 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.<ref name="turn3">{{cite book|author=Unterberger, Richie.|pages=[https://archive.org/details/turnturnturn00rich/page/93 93–96]|year=2002|title=Turn! Turn! Turn!: The '60s Folk-Rock Revolution|publisher=Backbeat Books|isbn=0-87930-703-X|url=https://archive.org/details/turnturnturn00rich/page/93}}</ref>

====Electric Twelve-String Guitar in Folk Music====
The Searchers were influential in popularizing the jangly sound of the [[Electric guitar|electric]] [[twelve-string guitar]].<ref name="Brinn (Searchers)">{{cite web|last1=Brinn|first1=David|title=The Searchers Still on 'Needles and Pins'|url=http://www.jpost.com/Israel-News/Culture/The-Searchers-still-on-needles-and-pins-462767|website=The Jerusalem Post|access-date=26 February 2018|date=30 July 2016}}</ref><ref>{{cite book|url=https://books.google.com/books?id=chj91X0dWzUC&pg=PA160|page=160|author=Scott Schinder|title=Icons of Rock|publisher=ABC-CLIO|date= 30 December 2007|isbn=9780313338458}}</ref> 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 guitar]]ist, [[George Harrison]], also influenced this trend towards jangly guitars in folk rock with his use of a [[Rickenbacker]] twelve-string guitar on the Beatles' mid-1960s recordings. This relatively clean, jangly sound—without [[Distortion (music)|distortion]] or other [[Effects unit|guitar effects]]—became a cornerstone of folk rock instrumentation and was used in many American folk rock [[Gramophone record|records]] made during 1965 and 1966.{{citation needed|date=February 2017}}

===Other precursors===
{{See also|Jangle pop}}
{{quote box|align=25|width=25em|quote=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.|source=—Ron Elliott of The Beau Brummels on the origins of the band's folk-flavored sound|<ref name="turn5"/>}}

Although folk rock mainly grew out of a mix of American folk revival and British Invasion influences,<ref name="oswego"/> 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 chord]]s, 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.<ref name="turn5">{{cite book|author=Unterberger, Richie.|pages=[https://archive.org/details/turnturnturn00rich/page/125 125–126]|year=2002|title=Turn! Turn! Turn!: The '60s Folk-Rock Revolution|publisher=Backbeat Books|isbn=0-87930-703-X|url=https://archive.org/details/turnturnturn00rich/page/125}}</ref>{{refn|group=nb|Neither the band nor their [[guitarist]] and chief songwriter [[Ron Elliott (musician)|Ron Elliott]] were overtly influenced by folk music.<ref name="turn5"/> Elliot's own musical leanings were more towards [[Country music|country and western]] and [[musical theatre]], with any folk influence in the band's music appearing to have been entirely unintentional.<ref name="turn5"/>}} 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 (The Beau Brummels song)|Just a Little]]", did even better, reaching number 8 on the U.S. singles chart.<ref name="turn5"/><ref>{{cite web|title=Laugh, Laugh song review|website=[[AllMusic]]|url={{AllMusic|class=song|id=t1110216|pure_url=yes}}|access-date=10 May 2010}}</ref><ref>{{cite book|author=Whitburn, Joel.|page=69|year=2008|title=Top Pop Singles 1955–2006|publisher=Record Research Inc|isbn=978-0-89820-172-7}}</ref> 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.<ref name="turn5"/>

Pre-dating the Beau Brummels' commercial breakthrough by almost two years, singer-songwriter [[Jackie DeShannon]]'s April 1963 single "[[Needles and Pins (song)|Needles and Pins]]" marked, according to Unterberger, the earliest appearance of the ringing guitar sound that would become a mainstay of early folk rock.<ref name="turn4"/> This use of cyclical, chiming [[guitar riff]]s was repeated on DeShannon's late 1963 recording of her own composition "[[When You Walk in the Room]]".<ref name="turn4"/> The following year, both songs would become hits for the [[Liverpudlian]] band the Searchers, who chose to place even greater emphasis on the jangly guitar playing in the songs.<ref name="turn4"/> 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.<ref name="turn4"/> 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.<ref name="turn4"/>

In the UK, the folk group [[the Springfields]] (featuring [[Dusty Springfield]]) had been releasing folk-oriented material featuring full band arrangements since the early 1960s, including renditions of "[[Lonesome Traveler (song)|Lonesome Traveler]]", "[[Allentown Jail]]", and "[[Silver Threads and Golden Needles]]".<ref name="turn6">{{cite book|author=Unterberger, Richie.|page=[https://archive.org/details/turnturnturn00rich/page/59 59]|year=2002|title=Turn! Turn! Turn!: The '60s Folk-Rock Revolution|publisher=Backbeat Books|isbn=0-87930-703-X|url=https://archive.org/details/turnturnturn00rich/page/59}}</ref> Although these records owed more to [[orchestral pop]] than rock, they were nonetheless influential on up-and-coming folk rock musicians on both sides of the Atlantic.<ref name="turn6"/> In mid-1965, folk singer-songwriter [[Donovan]] was also experimenting with adding electrified instrumentation to some of his folk and blues-styled material, as evidenced by songs such as "[[You'll Need Somebody on Your Bond|You're Gonna Need Somebody on Your Bond]]" and "Sunny Goodge Street".<ref>{{cite book|author=Unterberger, Richie.|page=[https://archive.org/details/turnturnturn00rich/page/232 232]|year=2002|title=Turn! Turn! Turn!: The '60s Folk-Rock Revolution|publisher=Backbeat Books|isbn=0-87930-703-X|url=https://archive.org/details/turnturnturn00rich/page/232}}</ref> In spite of his folky persona and repertoire, Donovan himself had always considered himself a pop star, rather than a folk singer.<ref name="turn7">{{cite book|author=Unterberger, Richie.|page=[https://archive.org/details/turnturnturn00rich/page/130 130]|year=2002|title=Turn! Turn! Turn!: The '60s Folk-Rock Revolution|publisher=Backbeat Books|isbn=0-87930-703-X|url=https://archive.org/details/turnturnturn00rich/page/130}}</ref> 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.<ref name="turn7"/> By January 1966, he had recorded the self-penned hit "[[Sunshine Superman (song)|Sunshine Superman]]" with a full electric backing band.<ref>{{cite web|title=Donovan Sessionography |publisher=Open Road: The Donovan Home Page|url=http://www.sabotage.demon.co.uk/donovan/session.htm|access-date=11 May 2010}}</ref><ref>{{cite book|author=Leitch, Donovan.|page=139|year=2005|title=The Autobiography of Donovan: The Hurdy Gurdy Man|publisher=Century Books|isbn=1-84413-882-8}}</ref>

Other bands and solo artists who were blurring the boundaries between folk and rock in the early 1960s include [[Judy Henske]],<ref>{{cite web|title=Judy Henske Biography|website=[[AllMusic]]|url={{AllMusic|class=artist|id=p2003|pure_url=yes}}|access-date=11 May 2010}}</ref> [[Richard Fariña|Richard and]] [[Mimi Fariña]],<ref>{{cite book|author=Unterberger, Richie.|pages=[https://archive.org/details/turnturnturn00rich/page/117 117–118]|year=2002|title=Turn! Turn! Turn!: The '60s Folk-Rock Revolution|publisher=Backbeat Books|isbn=0-87930-703-X|url=https://archive.org/details/turnturnturn00rich/page/117}}</ref> and [[The Mugwumps (band)|the Mugwumps]], the latter of which were a New York band featuring future members of the Lovin' Spoonful and the Mamas & the Papas.<ref>{{cite web|title=The Mugwumps Biography|website=[[AllMusic]]|url={{AllMusic|class=artist|id=p19474|pure_url=yes}}|access-date=11 May 2010}}</ref> Also of note are the Australian band [[the Seekers]], who had relocated to England in 1964 and reached number 1 on the [[UK Singles Chart]] with "[[I'll Never Find Another You]]" in February 1965.<ref>{{cite book|author=Creswell, Toby.|author-link=Toby Creswell|author2=Trenoweth, Samantha|page=79|year=2006|title=1001 Australians You Should Know|publisher=Pluto Press Australia|isbn=978-1-86403-361-8}}</ref><ref>{{cite book|author=Brown, Tony.|page=1003|year=2000|title=The Complete Book of the British Charts|publisher=Omnibus Press|isbn=0-7119-7670-8}}</ref> Unterberger has noted that, although it was not strictly a folk song, "I'll Never Find Another You" was heavily influenced by [[Peter, Paul and Mary]] and featured a cyclical, twelve-string guitar part that sounded similar to the guitar style that [[Roger McGuinn|Jim McGuinn]] of the Byrds would popularize later that same year.<ref name="turn7"/><ref>{{cite web|title=The Seekers Biography|website=[[AllMusic]]|url={{AllMusic|class=artist|id=p5389|pure_url=yes}}|access-date=11 May 2010}}</ref>

There are also a few antecedents to folk rock present in pre-British Invasion American rock 'n' roll, including [[Elvis Presley]]'s 1954 cover of the [[Bill Monroe]] [[Bluegrass music|bluegrass]] [[Standard (music)|standard]] "[[Blue Moon of Kentucky]]";<ref name="turn">{{cite book|author=Unterberger, Richie.|pages=[https://archive.org/details/turnturnturn00rich/page/51 51–53]|year=2002|title=Turn! Turn! Turn!: The '60s Folk-Rock Revolution|publisher=Backbeat Books|isbn=0-87930-703-X|url=https://archive.org/details/turnturnturn00rich/page/51}}</ref> [[Buddy Holly]]'s self-penned material, which strongly influenced both Dylan and the Byrds;<ref name="turn"/><ref>{{cite book|author=Norman, Philip.|page=5|year=2009|title=Buddy: The Definitive Biography of Buddy Holly|publisher=[[Pan Books]]|isbn=978-0-330-50888-9}}</ref> [[Ritchie Valens]]' recording of the Mexican folk song "[[La Bamba (song)|La Bamba]]";<ref name="turn"/> [[Lloyd Price]]'s rock 'n' roll adaptation of the African-American folk song "[[Stagger Lee (song)|Stagger Lee]]" (originally recorded by [[Mississippi John Hurt]] in 1928);<ref name="turn"/><ref>{{cite book|author=Oakley, Giles.|pages=39–40|year=1983|title=The Devil's Music: A History of the Blues|publisher=[[BBC|British Broadcasting Corp]]|isbn=0-563-21014-1}}</ref> [[Jimmie Rodgers (pop singer)|Jimmie Rodgers]]' rock 'n' roll flavored renditions of traditional folk songs;<ref>{{cite web|title=Jimmie F. Rodgers Biography|website=[[AllMusic]]|url=http://www.allmusic.com/artist/jimmie-f-rodgers-p41262/biography|access-date=14 April 2011}}</ref> and the folk and [[country music|country]]-influenced recordings featured on the [[Everly Brothers]]' 1959 album ''[[Songs Our Daddy Taught Us]]''.<ref name="turn"/>