folk rock
Folk rock is a musical genre, combining elements of folk music and rock music.
In its earliest 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' guitarist Roger McGuinn. The repertoire was drawn in part from folk sources, but even more from folk-influenced singer-songwriters such as Bob Dylan. Read Full BioFolk rock is a musical genre, combining elements of folk music and rock music.
In its earliest 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' guitarist Roger McGuinn. The repertoire was drawn in part from folk sources, but even more from folk-influenced singer-songwriters such as Bob Dylan. Roger McGuinn of the Byrds has also stated The Beatles inspired him to mix folk with rock music. All Music Guide also credits the Beatles for fusing folk with rock in 1964.
This original folk rock directly led to the distinct, eclectic style of electric folk (a.k.a. British folk rock) pioneered in the late 1960s by The Pentangle and Fairport Convention. Starting from a North-American style folk rock, Pentangle, Fairport 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 afterwards, Fairport bassist Ashley Hutchings formed Steeleye Span in collaboration with traditionalist folk musicians who wished to incorporate electrical amplification, and later 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 a broader sense, folk rock includes later similarly-inspired musical genres and movements in the English-speaking world (and its Celtic 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 music of Europe and North America, 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 revivalists), 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.
In its earliest 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' guitarist Roger McGuinn. The repertoire was drawn in part from folk sources, but even more from folk-influenced singer-songwriters such as Bob Dylan. Read Full BioFolk rock is a musical genre, combining elements of folk music and rock music.
In its earliest 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' guitarist Roger McGuinn. The repertoire was drawn in part from folk sources, but even more from folk-influenced singer-songwriters such as Bob Dylan. Roger McGuinn of the Byrds has also stated The Beatles inspired him to mix folk with rock music. All Music Guide also credits the Beatles for fusing folk with rock in 1964.
This original folk rock directly led to the distinct, eclectic style of electric folk (a.k.a. British folk rock) pioneered in the late 1960s by The Pentangle and Fairport Convention. Starting from a North-American style folk rock, Pentangle, Fairport 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 afterwards, Fairport bassist Ashley Hutchings formed Steeleye Span in collaboration with traditionalist folk musicians who wished to incorporate electrical amplification, and later 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 a broader sense, folk rock includes later similarly-inspired musical genres and movements in the English-speaking world (and its Celtic 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 music of Europe and North America, 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 revivalists), 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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Like a Rolling Stone
Bob Dylan Lyrics
Once upon a time you dressed so fine
Threw the bums a dime in your prime, didn't you?
People call say 'beware doll, you're bound to fall'
You thought they were all kidding you
You used to laugh about
Everybody that was hanging out
Now you don't talk so loud
Now you don't seem so proud
About having to be scrounging your next meal
How does it feel, how does it feel?
To be without a home
Like a complete unknown, like a rolling stone
Ahh you've gone to the finest schools, alright Miss Lonely
But you know you only used to get juiced in it
Nobody's ever taught you how to live out on the street
And now you're gonna have to get used to it
You say you never compromise
With the mystery tramp, but now you realize
He's not selling any alibis
As you stare into the vacuum of his eyes
And say do you want to make a deal?
How does it feel, how does it feel?
To be on your own, with no direction home
A complete unknown, like a rolling stone
Ah you never turned around to see the frowns
On the jugglers and the clowns when they all did tricks for you
You never understood that it ain't no good
You shouldn't let other people get your kicks for you
You used to ride on a chrome horse with your diplomat
Who carried on his shoulder a Siamese cat
Ain't it hard when you discovered that
He really wasn't where it's at
After he took from you everything he could steal
How does it feel, how does it feel?
To have on your own, with no direction home
Like a complete unknown, like a rolling stone
Ahh princess on a steeple and all the pretty people
They're all drinking, thinking that they've got it made
Exchanging all precious gifts
But you better take your diamond ring, you better pawn it babe
You used to be so amused
At Napoleon in rags and the language that he used
Go to him he calls you, you can't refuse
When you ain't got nothing, you got nothing to lose
You're invisible now, you've got no secrets to conceal
How does it feel, ah how does it feel?
To be on your own, with no direction home
Like a complete unknown, like a rolling stone
Lyrics © Sony/ATV Music Publishing LLC
Written by: Bob Dylan
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
Robert Farr
Only because it's got the same, name. It's a great song. I learned to play it.
It's only a few chords. All in the key of C.
Perfect for the lazy pianist. Who plays in the key of C.
Good for a guitarist, who wishes to appear skillful with an arpeggio.
And, the lazy composer, who can't put a sharp or flat on the music key.
Plus play any other key than C. In those fabulous chords.
For the male voice with the dominant Bass note. It's a thicker string, the E. Played with more force.
Pouring scorn on a woman. (Edit, not really pouring scorn. I take that back, it's just music with a dominant Bass note, that is really how the guitar is. There are thick strings which produce a deeper sound).
Baddie Mauve
[Verse 1]
Once upon a time you dressed so fine
Threw the bums a dime in your prime, didn't you?
People call, say "Beware doll, you're bound to fall"
You thought they were all a'kiddin' you
You used to laugh about
Everybody that was hangin' out
Now you don't talk so loud
Now you don't seem so proud
About having to be scrounging your next meal
[Chorus 1]
How does it feel?
How does it feel?
To be without a home?
Like a complete unknown?
Like a rolling stone?
[Verse 2]
Aw, you've gone to the finest school all right, Miss Lonely
But ya' know ya' only used to get juiced in it
Nobody's ever taught ya' how to live out on the street
And now you’re gonna have to get used to it
You say you never compromise
With the mystery tramp but now you realize
He's not selling any alibis
As you stare into the vacuum of his eyes
And say, “Do you want to make a deal?"
[Chorus 2]
How does it feel?
How does it feel?
To be on your own
With no direction home
A complete unknown
Like a rolling stone?
[Verse 3]
Aw, you never turned around to see the frowns
On the jugglers and the clowns when they all did tricks for you
Never understood that it ain't no good
You shouldn't let other people get your kicks for you
You used to ride on a chrome horse with your diplomat
Who carried on his shoulder a Siamese cat
Ain't it hard when you discover that
He really wasn't where it's at
After he took from you everything he could steal?
[Chorus 3]
How does it feel?
How does it feel?
To hang out on your own
With no direction home
Like a complete unknown
Like a rolling stone?
[Verse 4]
Aw, princess on the steeple and all the pretty people
They're all drinkin', thinkin' that they got it made
Exchangin' all precious gifts
But you'd better take your diamond ring, ya' better pawn it, babe
You used to be so amused
At Napoleon in rags and the language that he used
Go to him now, he calls ya', ya' can't refuse
When ya' ain't got nothin', you got nothin' to lose
You're invisible now, ya' got no secrets to conceal
[Chorus 2]
How does it feel?
Aw, how does it feel?
To be on your own
With no direction home
Like a complete unknown
Like a rolling stone?
LetThemTalkTV
This song is perfect
Moon
I agree
Patricia Medina
I lived on the street. Know had to survive and still do.
Darklurker
@Chris Serpicø How is Hey Jude above A Day In The Life?
Edward South
Them days were perfect ... and now we’re losing all we gained back then
marty
PSH, I can do better.
carly grayson
Happy 80th birthday, Bob. Long live the king.
Dessienewshoes
Hear hear 👏👏
patricia fitzgerald
Hope you had a great birthday 🎂, Bob. I have always loved your music 🎶🎵
Surajit Srimani
@carly grayson 😲😲😲😃😃😃