The 10 greatest folk albums of the 1960s
When the word “folk” crops up in modern conversation, it’s not long until names like Bob Dylan or Joni Mitchell arise. Perhaps, if those present are a little more learned, they’ll mention Woody Guthrie, but beyond the fascist killer’s work between the 1930s and ’50s, the trail of popular folk runs dry – or rather, into a mist of obscurity.
Unlike classical or early jazz musicians, folk artists seldom rose to global success as published composers because the music was generally less about ownership or entertainment – in the shallowest sense of the word. Of course, Bob Dylan built upon Woody Guthrie’s presence as recorded, marketable music became more commonplace, but folk had been around for decades.
Folk music was named and recognised as a distinct style in the 19th century but had lurked in the corners of British taverns for hundreds of years before. Unlike contemporaneous classical and commercial styles, folk music was known for its liberty. Discussing the forgiving nature of the folk community, even in the ’60s, Pete Seeger famously quoted Woody Guthrie, “That guy stole that from me, but I steal from everybody.”
Ownership, of course, became more important as Dylan championed the folk revival in the 1960s. Since audiences had grown from the population of a small country tavern to the world at large, more money was involved. Despite this, the most elementary folk music of the ’60s was derivative of traditional structures, with a notable homage paid by Simon & Garfunkel in their 1966 cover of the old English folk standard ‘Scarborough Fair’.
Today, we’re celebrating the folk revival by listing the ten greatest albums of the genre released in the 1960s. Where possible, we’ve focussed on purer forms of folk, omitting, for instance, Dylan’s mid-decade electric folk-rock departure.
The 10 best folk albums of the 1960s:
Bob Dylan – The Freewheelin’ Bob Dylan
Just three days after his 21st birthday, Bob Dylan released his crowning achievement in folk music, The Freewheelin’ Bob Dylan. Granted, many, myself included, will argue a case for Dylan’s later rock-infused folk albums of the mid-decade, but when it comes to unadulterated folk, it doesn’t get much better than this.
The album is full to the rafters with evocative material, from the plaintive and densely poetic epic, ‘A Hard Rain’s a-Gonna Fall’, to the poignant comedy of ‘Talkin’ World War III Blues’. Following Dylan’s eponymous debut of the previous year, The Freewheelin’ Bob Dylan established the young troubadour as a crucial political commentator and the loud, unique voice behind a blossoming countercultural movement.
Fairport Convention – Liege & Lief
Fairport Convention emerged in 1967 to bring folk music back to England. Based on the American folk stylings of Bob Dylan and Joni Mitchell early on, the London group embraced a hippie aesthetic worthy of their nickname, “The British Jefferson Airplane”. The band’s ’60s output grew from strength to strength through four albums, reaching a climax in Leige and Lief.
A word must be said of Unhalfbricking, a towering album home to the genre classics ‘Who Knows Where the Time Goes?’, ‘A Sailor’s Life’, ‘Autopsy’ and ‘Si Tu Dois Partir’. However, as a whole product, Liege & Lief takes the lead as a refined and seminal collection of traditional English folk songs and virtuosic original compositions.
Peter, Paul and Mary – Peter, Paul And Mary
Although they hung from Bob Dylan’s coattails with popular covers of his early classics, ‘Blowin’ in the Wind’, ‘The Times They Are a-Changin”, ‘Don’t Think Twice, It’s All Right’, and ‘When the Ship Comes In’, Peter, Paul and Mary offered their warming harmonies and expert musicianship to a bounty of original folk classics.
In 1962, Peter, Paul and Mary opened their discography in style with their eponymous debut album. The release was void of Dylan covers but took cues from traditional folk and the work of Hedy West and Pete Seeger, with highlight moments including ‘500 Miles’, ‘If I Had a Hammer’ and ‘Where Have All the Flowers Gone?’. Just a year later, the trio found themselves performing at the March on Washington, famed for Martin Luther King J.’s “I Have a Dream” speech.
Nick Drake – Five Leaves Left
Tragically, Nick Drake was never fully appreciated during his short and troubled life. He passed away from an overdose of antidepressants at age 26, having recorded three studio albums between 1969 and 1972. Each album showcased a different mood and sound, with the haunting, stripped-back Pink Moon often regarded as his apical masterpiece.
Drake’s first album, Five Leaves Left, is less textured and refined than its 1971 follow-up Bryter Layter, which benefitted from collaborations with John Cale and members of Fairport Convention. However, the blinding debut introduced listeners to Drake’s guitar virtuosity and knack for poignant songwriting. Like its two follow-ups, Five Leaves Left is impossible to fault. “Cello Song’ marks an indisputable high-point, but ‘River Man’, ‘Day Is Done’, ‘Time Has Told Me’ and ‘Saturday Sun’ are just as memorable.
Leonard Cohen – Songs of Leonard Cohen
Canadian creative Leonard Cohen moved to New York City in 1966, having grown weary of his limited success in published poetry. Like Bob Dylan, Cohen found success in New York’s thriving folk community, with the word-dense genre posing a suitable conduit for his words. Shortly after arriving, Cohen brushed shoulders with the city’s artistic elite at Andy Warhol’s ‘Factory’ and set about recording his debut album, Songs of Leonard Cohen.
With a deep, baritone voice, Cohen gave warmth and poignancy to his most melodic poetry, but it wasn’t initially to everybody’s taste. In the US, the album reached number 83 on the Billboard 200, but fortunately, it received its due overseas, with a respectable number 13 on the UK Albums Chart. The album is best known for ‘Suzanne’, a published poem of Cohen’s that Judy Collins had previously recorded for her 1966 album, In My Life.
Donovan – Fairytale
The mononymous Scottish folk hero Donovan found his footing in the mid-60s as the British answer to Bob Dylan. Donovan’s early sound, notably derivative of Dylan’s early protest folk, saw him labelled in the press as a copyist, but such was the folk tradition. “He isn’t too bad a singer, but his stuff sounds like Dylan’s,” Donovan’s friend Brian Jones candidly said at the time via Mark Paytress’ Rolling Stones off The Record.
Following the derivative yet successful eponymous debut of 1965, Donovan spared no time in recording its follow-up, Fairytale. The release heard Donovan employ a more traditional English folk style with a palpable degree of identity to boot. Original compositions such as ‘Colours’, ‘To Try for the Sun’ and ‘Jersey Thursday’ are joined by an assortment of well-placed covers.
Nico – Chelsea Girl
Shortly following her vocal contributions to The Velvet Underground’s seminal debut album of March 1967, German singer Nico began working on her debut solo LP, Chelsea Girl. As an established presence in Andy Warhol’s artistic underground in New York City, Nico was able to offer her unique vocal style to songs written by such esteemed artists as Lou Reed, John Cale, Jackson Browne, Bob Dylan and Tim Hardin.
Chelsea Girl is best known for Nico’s rendition of Browne’s ‘These Days’, for which the songwriter offered his arresting acoustic fingerstyle arrangement. Perhaps the album’s second most popular track was Nico’s cover of Bob Dylan’s ‘I’ll Keep It With Mine’. Dylan recorded a rough demo of the song in the early 1960s, offering it first to Judy Collins to record as a single in 1965.
Jackson C. Frank – Jackson C. Frank
The desperation, depression and alcoholism heard in the beautifully plaintive Jackson C. Frank, the like-named songwriter’s first and only studio album, was deeply artistic yet reflective of an unpalatable reality. The troubled folk musician recorded the album at London’s CBS studios with Paul Simon on hand to produce.
With Al Stewart and Art Garfunkel among his studio audience, Frank was reportedly so nervous during the sessions that he had to perform with screens shielding him to isolation. With ‘Blues Run the Game’, ‘Milk and Honey’, ‘Dialogue (I Want to Be Alone)’ and ‘My Name Is Carnival’ in its ranks, the album is now revered as a seminal touchstone.
Shortly after the album’s release, Frank was sadly diagnosed with schizophrenia. As his mental state deteriorated, Frank withdrew from the music industry, spending his later life battling destitution and homelessness before his death in 1999, aged 56.
Simon & Garfunkel – Bookends
Simon & Garfunkel emerged from the trap in admirable stride with their 1964 debut LP Wednesday Morning, 3AM. The album introduced an accomplished classic folk sound alongside evocative lyricism foretelling of greater triumphs to come. With each new album, the pair refined their sound and proved the longevity of Paul Simon’s songwriting prowess.
Some will argue the pair broke up on their greatest triumph, 1970’s Bridge over Troubled Water, but the previous year’s Bookends is a more than worthy sparring partner. The near-perfect concept album is the proud home to The Graduate theme, ‘Mrs. Robinson’ and ‘America’, Simon’s perfect ode to the land of the free and Manifest Destiny.
Van Morrison – Astral Weeks
In 1968, Van Morrison, the Northern Irish musician who cut his teeth with Them, released his second solo album, Astral Weeks. The music within made a welcome departure from the pop-sensibilities of the predating debut, Blowin’ Your Mind!, with enhanced lyrical maturity. With refined instrumentation and idiosyncratic balladry, Astral Weeks was a successfully progressive take on the folk tradition.
With ‘Sweet Thing’, ‘Astral Weeks’ and ‘Cyprus Avenue’ within its ranks, Astral Weeks has a strong case for being Morrison’s finest release. Over the past five decades, the album has enchanted fans and peers alike, with contemporary artists including Harry Styles and Wunderhorse’s Jacob Slater among its most ardent disciples.
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