section_path: 1960s: British invasion and broadening sound/Folk rock
section_name: Folk rock
paragraph_text: Folk rock
  
  By the 1960s, the scene that had developed out of the American folk music revival had grown to a major movement, using traditional music and new compositions in a traditional style, usually on acoustic instruments. In America the genre was pioneered by figures such as Woody Guthrie and Pete Seeger and often identified with progressive or labor politics. In the early sixties figures such as Joan Baez and Bob Dylan had come to the fore in this movement as singer-songwriters. Dylan had begun to reach a mainstream audience with hits including " Blowin' in the Wind " (1963) and " Masters of War " (1963), which brought " protest songs " to a wider public, but, although beginning to influence each other, rock and folk music had remained largely separate genres, often with mutually exclusive audiences.
  
  Early attempts to combine elements of folk and rock included the Animals' " House of the Rising Sun " (1964), which was the first commercially successful folk song to be recorded with rock and roll instrumentation and the Beatles " I'm a Loser " (1964), arguably the first Beatles song to be influenced directly by Dylan. The folk rock movement is usually thought to have taken off with the Byrds ' recording of Dylan's " Mr. Tambourine Man " which topped the charts in 1965. With members who had been part of the café-based folk scene in Los Angeles, the Byrds adopted rock instrumentation, including drums and 12-string Rickenbacker guitars, which became a major element in the sound of the genre. Later that year Dylan adopted electric instruments, much to the outrage of many folk purists, with his " Like a Rolling Stone " becoming a US hit single. According to Ritchie Unterberger, Dylan (even before his adoption of electric instruments) influenced rock musicians like the Beatles, demonstrating "to the rock generation in general that an album could be a major standalone statement without hit singles", such as on The Freewheelin' Bob Dylan (1963).
  
  Folk rock particularly took off in California, where it led acts like the Mamas & the Papas and Crosby, Stills, and Nash to move to electric instrumentation, and in New York, where it spawned performers including the Lovin' Spoonful and Simon and Garfunkel, with the latter's acoustic " The Sounds of Silence " (1965) being remixed with rock instruments to be the first of many hits. These acts directly influenced British performers like Donovan and Fairport Convention. In 1969 Fairport Convention abandoned their mixture of American covers and Dylan-influenced songs to play traditional English folk music on electric instruments. This British folk-rock was taken up by bands including Pentangle, Steeleye Span and the Albion Band, which in turn prompted Irish groups like Horslips and Scottish acts like the JSD Band, Spencer's Feat and later Five Hand Reel, to use their traditional music to create a brand of Celtic rock in the early 1970s.
  
  Folk-rock reached its peak of commercial popularity in the period 1967–68, before many acts moved off in a variety of directions, including Dylan and the Byrds, who began to develop country rock. However, the hybridization of folk and rock has been seen as having a major influence on the development of rock music, bringing in elements of psychedelia, and helping to develop the ideas of the singer-songwriter, the protest song, and concepts of "authenticity".