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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The Sound of Silence
by Simon & Garfunkel
Hello darkness, my old friend
I've come to talk with you again
Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted in my brain
Still remains
Within the sound of silence
In restless dreams I walked alone
Narrow streets of cobblestone
'Neath the halo of a street lamp
I turned my collar to the cold and damp
When my eyes were stabbed by the flash of a neon light
That split the night
And touched the sound of silence
And in the naked light I saw
Ten thousand people, maybe more
People talking without speaking
People hearing without listening
People writing songs that voices never share
No one dared
Disturb the sound of silence
"Fools" said I, "You do not know
Silence like a cancer grows
Hear my words that I might teach you
Take my arms that I might reach you"
But my words like silent raindrops fell
And echoed in the wells of silence
And the people bowed and prayed
To the neon god they made
And the sign flashed out its warning
In the words that it was forming
And the sign said, "The words of the prophets
Are written on the subway walls
And tenement halls
And whispered in the sounds of silence"
Lyrics © Universal Music Publishing Group
Written by: Paul Simon
Lyrics Licensed & Provided by LyricFind
by Simon & Garfunkel
Hello darkness, my old friend
I've come to talk with you again
Because a vision softly creeping
Left its seeds while I was sleeping
And the vision that was planted in my brain
Still remains
Within the sound of silence
In restless dreams I walked alone
Narrow streets of cobblestone
'Neath the halo of a street lamp
I turned my collar to the cold and damp
When my eyes were stabbed by the flash of a neon light
That split the night
And touched the sound of silence
And in the naked light I saw
Ten thousand people, maybe more
People talking without speaking
People hearing without listening
People writing songs that voices never share
No one dared
Disturb the sound of silence
"Fools" said I, "You do not know
Silence like a cancer grows
Hear my words that I might teach you
Take my arms that I might reach you"
But my words like silent raindrops fell
And echoed in the wells of silence
And the people bowed and prayed
To the neon god they made
And the sign flashed out its warning
In the words that it was forming
And the sign said, "The words of the prophets
Are written on the subway walls
And tenement halls
And whispered in the sounds of silence"
Lyrics © Universal Music Publishing Group
Written by: Paul Simon
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
Michael Dressner
When you google "Who sings the sound of silence", Disturbed is what pops up, not S&G. That's a crime in my book.
Jodi Rosell
I know it's Simon and Garfunkel! Yeah!😊
caraamon
@Bat Doot With respect to S&G, I vastly prefer the Disturbed one. https://www.youtube.com/watch?v=u9Dg-g7t2l4 if anyone is curious.
Gary Hall
Pretty gay
Jeanne 54
Michael Dressner 100%! This song speaks for an entire generation! They know who they are! There’s also an additional connection to your very soul if you lived in NY at that time. They lived here & spoke to us more IMHO!
M Coleman
Agreed
Charlotte Charles
This song has always touched a deep part of my soul, from the age of 20 to 73..
Donald Nemecek
@Willard Gragg g
julie Daly
@tylerao yes thank your dad
Awaken Bleach
Take it easy sir time are hard as of recent hope you see this.