Editing Folk rock (section)

===The Byrds===
{{Main Article|The Byrds}}
The moment when all of the separate influences that served to make up folk rock finally coalesced into an identifiable whole was with the release of the Byrds' recording of Bob Dylan's "[[Mr. Tambourine Man]]".<ref name="unterberger"/><ref name="allmusic2"/><ref>{{cite book|author=Walker, Michael.|page=[https://archive.org/details/laurelcanyoninsi0000walk/page/6 6]|year=2007|title=Laurel Canyon: The Inside Story of Rock-And-Roll's Legendary Neighborhood|publisher=Faber & Faber|isbn=978-0-86547-966-1|url=https://archive.org/details/laurelcanyoninsi0000walk/page/6}}</ref><ref>{{cite book|author=Logan, Nick.|author2=Woffinden, Bob|page=47|year=1977|title=The Illustrated New Musical Express Encyclopedia of Rock|publisher=Salamander Books|isbn=0-86101-009-4}}</ref> The term "folk rock" was coined by the U.S. [[Music journalism|music press]] to describe the band's sound in June 1965, at roughly the same time as "Mr. Tambourine Man" peaked at number 1 on the ''Billboard'' chart.<ref name="turn8"/><ref name="timeless"/>{{sfn |Gilliland |1969 |loc=show 33}} Within three months it had become the first folk rock smash hit,<ref>{{cite book|author=Dean, Maury.|page=200|year=2003|title=Rock 'n' Roll Gold Rush: A Singles Un-Cyclopedia|publisher=Algora Publishing|isbn=0-87586-207-1}}</ref> reaching number 1 on both the [[Billboard Hot 100|''Billboard'' Hot 100]] and the [[UK Singles Chart]].<ref>{{cite book|author=Whitburn, Joel.|page=130|year=2008|title=Top Pop Singles 1955–2006|publisher=Record Research Inc|isbn=978-0-89820-172-7}}</ref><ref>{{cite book|author=Brown, Tony.|page=130|year=2000|title=The Complete Book of the British Charts|publisher=Omnibus Press|isbn=0-7119-7670-8}}</ref> The single's success initiated the folk rock boom of 1965 and 1966, during which a profusion of Byrds-influenced acts flooded the American and British charts.<ref name="unterberger" /><ref name="allmusic2" />{{refn|group=nb|The nucleus of the Byrds formed in early 1964, when [[Roger McGuinn|Jim McGuinn]], [[Gene Clark]], and [[David Crosby]]—united by a shared love of the Beatles' music—came together under the moniker of the Jet Set at [[The Troubadour (Los Angeles)|The Troubadour]] folk club in Los Angeles.<ref>{{cite book|author=Hjort, Christopher.|page=17|year=2008|title=So You Want To Be A Rock 'n' Roll Star: The Byrds Day-By-Day (1965–1973)|publisher=Jawbone Press|isbn=978-1-906002-15-2}}</ref> The trio all had a background in folk music, with each member having worked as a folk singer on the acoustic coffeehouse circuit during the early 1960s.<ref name="allbyrds">{{cite web|title=The Byrds Biography|website=[[AllMusic]]|url={{AllMusic|class=artist|id=p3810|pure_url=yes}}|access-date=15 March 2010}}</ref> They had also spent time, independently of each other, in various folk groups, including [[the New Christy Minstrels]], [[the Limeliters]], the [[Chad Mitchell Trio]], and [[Les Baxter|Les Baxter's Balladeers]].<ref>{{cite web|title=Roger McGuinn: Founder of the Byrds|publisher=Roger McGuinn Home Page|url=http://www.ibiblio.org/jimmy/mcguinn/McGuinn.html|access-date=15 May 2010}}</ref><ref>{{cite web|title=Musicians Associated with the Byrds: The New Christy Minstrels |publisher=ByrdWatcher: A Field Guide to the Byrds of Los Angeles |url=http://ebni.com/byrds/relassociates12.html#new |access-date=15 May 2010 |url-status=dead |archive-url=https://web.archive.org/web/20101028024421/http://ebni.com/byrds/relassociates12.html |archive-date=28 October 2010}}</ref><ref>{{cite web|title=About&nbsp;... David Crosby|publisher=Crosby CPR Home Page|url=http://www.crosbycpr.com/content/features/publicity/crosby.html|access-date=15 May 2010|archive-url=https://web.archive.org/web/20100604040908/http://www.crosbycpr.com/content/features/publicity/crosby.html|archive-date=4 June 2010|url-status=dead}}</ref> Soon after forming the Jet Set, Crosby introduced McGuinn and Clark to his associate Jim Dickson, who became the group's [[Talent manager|manager]].<ref name="timeless2">{{cite book|author=Rogan, Johnny.|pages=35–36|year=1998|title=The Byrds: Timeless Flight Revisited|edition=2nd|publisher=Rogan House|isbn=0-9529540-1-X}}</ref> Dickson had access to [[Pacific Jazz Records|World Pacific Studios]] in Los Angeles, which he began to utilize as a rehearsal space for the band.<ref>{{cite AV media notes|title=The Preflyte Sessions|title-link=The Preflyte Sessions|others=[[The Byrds]]|year=2001|first=Fricke|last=David|author-link=David Fricke|type=booklet|publisher=[[Sundazed Music]]}}</ref> During the course of 1964, the trio expanded their ranks to include [[drummer]] [[Michael Clarke (musician)|Michael Clarke]] and [[bassist]] [[Chris Hillman]], with the band eventually changing its name to the Byrds in November.<ref>{{cite book|author=Hjort, Christopher.|pages=19–21|year=2008|title=So You Want To Be a Rock 'n' Roll Star: The Byrds Day-By-Day (1965–1973)|publisher=Jawbone Press|isbn=978-1-906002-15-2}}</ref>}} In particular, the Byrds' influence can be discerned in mid-1960s recordings by acts such as the Lovin' Spoonful, [[Barry McGuire]], the Mamas & the Papas,{{sfn |Gilliland |1969 |loc=show 33}} [[Simon & Garfunkel]],{{sfn |Gilliland |1969 |loc=show 36}} [[Jefferson Airplane]], [[the Turtles]], [[We Five]], [[Love (band)|Love]], and [[Sonny & Cher]].<ref name="unterberger" /><ref name="allmusic2" /><ref>{{cite book|author=Fornatale, Pete.|pages=41–45|year=2007|title=Simon And Garfunkel's Bookends|publisher=Rodale Inc|isbn=978-1-59486-427-8}}</ref><ref>{{cite web|title=Love Biography|website=[[AllMusic]]|url={{AllMusic|class=artist|id=p4792|pure_url=yes}}|access-date=12 May 2010}}</ref><ref>{{cite book|author=Einarson, John.|page=62|year=2005|title=Mr. Tambourine Man: The Life and Legacy of the Byrds' Gene Clark|publisher=Backbeat Books|isbn=0-87930-793-5}}</ref>{{text-source inline|date=September 2018}}

It was during the rehearsals at World Pacific that the band began to develop the blend of [[folk music]] and Beatles-style [[Pop music|pop]] that would characterize their sound.<ref>{{cite web|title=In The Beginning|publisher=ByrdWatcher: A Field Guide to the Byrds of Los Angeles|url=http://ebni.com/byrds/lpitb.html|access-date=15 May 2010|url-status=dead|archive-url=https://web.archive.org/web/20090524044624/http://ebni.com/byrds/lpitb.html|archive-date=24 May 2009}}</ref> 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.<ref name="timeless2"/> 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.<ref name="unterberger"/><ref name="timeless2"/><ref>{{cite book|author=Rogan, Johnny.|page=49|year=1998|title=The Byrds: Timeless Flight Revisited|edition=2nd|publisher=Rogan House|isbn=0-9529540-1-X}}</ref> 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.<ref name="timeless2"/><ref>{{cite AV media notes|title=The Byrds|title-link=The Byrds (box set)|others=[[The Byrds]]|year=1990|first=David|last=Fricke|author-link=David Fricke|type=booklet|publisher=[[Columbia Records]]}}</ref>

Mr. Tambourine Man's blend of abstract lyrics, folk-influenced melody, complex [[Vocal harmony|harmonies]], jangly [[Twelve-string guitar|12-string]] [[Rickenbacker]] guitar playing, and Beatles-influenced beat, resulted in a synthesis that effectively created the subgenre of folk rock.<ref name="allbyrds"/><ref name="creswell">{{cite book|title=1001 Songs: The Great Songs of All Time and the Artists, Stories and Secrets Behind Them|author=Creswell, Toby|publisher=Da Capo Press|year=2006|isbn=978-1-56025-915-2|page=59|author-link=Toby Creswell}}</ref> 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.<ref>{{cite book|author=Unterberger, Richie.|page=[https://archive.org/details/turnturnturn00rich/page/107 107]|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/107}}</ref>

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.<ref name="allmusic2"/> 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.<ref>{{cite book|author=Rosenberg, Neil V.|page=195|year=2005|title=Bluegrass: A History – 20th Anniversary Edition|publisher=University of Illinois Press|isbn=0-252-07245-6}}</ref>

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 (band)|Pentangle]].<ref name="allmusic"/><ref name="unterberger"/><ref>{{cite magazine|title=Fairport Convention - Liege & Lief (Deluxe Edition) review|magazine=[[Record Collector]]|url=http://www.recordcollectormag.com/reviews/review-detail/1018|access-date=16 May 2010}}</ref> 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!]]".{{sfn |Gilliland |1969 |loc=show 33}}  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.<ref>{{cite book|author=Smith, Chris.|page=32|year=2009|title=101 Albums That Changed Popular Music|publisher=Oxford University Press|isbn=978-0-19-537371-4}}</ref>