As a music aficionado who has spent countless hours immersed in the rich tapestry of folk music, I find myself captivated by the profound narratives and poignant melodies that defined this genre during the 1970s. Among the myriad of songs that graced our airwaves, two stand out as exceptional masterpieces – “Diamonds and Rust” by Joan Baez and “The Wreck of the Edmund Fitzgerald” by Gordon Lightfoot.
Let’s continue our retrospective journey through iconic songs of the 1970s, taking a genre-by-genre approach so far, covering rock, glam, funk, punk, and country. Today, we’ll explore the close kin of country – folk, folk rock, and perhaps a hint of country music as well. This will ensure we fully encapsulate the spirit of the decade.
The reason for this is that I chose to concentrate on a unique aspect when listing countries; instead of covering an entire decade, I zeroed in on a single year – 1973. This year stood out as particularly influential in the development of contemporary country music, making it worthy of its own article.
In my previous selection, I had to omit some essential country codes due to certain constraints. Today’s list might not entirely address this issue, but let me acknowledge that I will be including a few tunes that are more appropriately categorized as “country” or “country rock” rather than “folk.” Luckily, these genres have similar roots, so any objections should be minimal. All the songs in today’s lineup maintain some connection to the folk tradition.
15 excellent folk songs from the 1970s
In the 1970s, unlike country music, folk and folk rock genres didn’t require a significant breakthrough moment similar to country’s in 1973. These genres had already undergone a transformation in the mid-60s. While country had figures like Willie Nelson and Waylon Jennings, it lacked an artist like Bob Dylan. He was a key figure in the folk music scene instead.
Dylan, much like Elvis Presley and the Beatles, stands among a rare group of musicians who significantly shaped modern Western popular music. Although he had predecessors and contemporaries who played important roles, his impact on the music scene was profound. Incidentally, if you’re intrigued by this era and haven’t watched the Coen Brothers’ film “Inside Llewyn Davis,” I highly recommend it. It offers a captivating glimpse into what it might have been like to be on the brink of becoming Bob Dylan in the early ’60s.
As a passionate gamer, let me share my perspective on how one could rephrase the given statement:
Teaser: one of the aforementioned singer/songwriters will be showing up on the following list.
Today, we’ll explore fifteen songs from the ’70s that built upon what Dylan and others started in the ’60s with their folk-rock blends. Some of these tracks lean more towards country music, featuring fiddles and banjos, while others have a stronger rock vibe with electric guitars, prominent bass, and heavy drum beats. However, I believe that all these songs can be categorized as having some element of folk music. There’s plenty of finger-picking, a focus on melody over rhythm, and an emphasis on storytelling rather than seduction in the lyrics. In essence, these songs have a folky feel to them.
Just as several genres from the ’70s we’ve discussed, they experienced a peak during the early part of the decade. However, popular music started undergoing a revival in the latter half of the ’70s. This was because rock & roll and its derivatives were starting to show their age. Disco served as a transitional period, paving the way for fresher, more vibrant types of music to emerge. If we delve into the 1980s, we’ll see this shift. For now, though, there are still many fantastic ’70s tunes left to appreciate.
“Sweet Baby James” by James Taylor (1970)
In the late ’60s, Taylor managed to impress the Beatles sufficiently to offer him a contract with their Apple record label. They put out his first album, self-titled, in 1968. Following this, he was drawn into the surge of interest in singer/songwriters and moved to Warner Brothers for his second studio album, Sweet Baby James. The title song became one of his most recognized hits.
Kicking off the track, a straightforward acoustic rhythm sets the tone for Taylor’s melodious, reedy vocals as he sings a classic cowboy tune. Over time, the arrangement expands, and his narrative transitions to portray a contemporary minstrel – a strategy later adopted by artists like Billy Joel and Jon Bon Jovi. After gaining stardom with this track, Taylor experimented with numerous musical genres. However, I feel he was less successful when he deviated significantly from the formula of “Sweet Baby James,” as his meticulous lyrics and captivating acoustic guitar work shone brightest in songs that were both poignant and catchy.
“Big Yellow Taxi” by Joni Mitchell (1970)
The song ‘Big Yellow Taxi’ appeared on Joni Mitchell’s third album, Ladies of the Canyon, marking its end. By then, she had assumed control over the production, making this album a genuine reflection of her creative ideals for the first time.
In the realm of folk music, there was a deep-rooted emphasis on environmentalism, and Mitchell’s lyric “They paved paradise and put up a parking lot” encapsulated this sentiment perfectly. Every line echoed this worry. The melody maintained a lively tempo, with Mitchell’s nimble acoustic guitar strumming complementing the catchy blend of folk and doo-wop chorus harmonies. Over time, this song has become a timeless classic, adaptable to various genres such as country, alt-rock, and punk.
“After the Gold Rush” by Neil Young (1970)
If the phrase “They paved paradise and put up a parking lot” didn’t stir your environmental emotions enough, Neil Young made his message crystal clear on the title track of his third album, which was released only five months after Joni Mitchell’s Ladies of the Canyon. Towards the end of his first verse, he delivers a statement that is almost as memorable – “Behold Mother Nature fleeing in the 1970s.
Back in the ’70s, I found myself moved by Young’s song that navigated through the annals of time, painting a picture of a once-cherished homeland being ravaged by greed, conflict, and indifference. In the climactic stanza, an exhausted Earth could no longer support humanity, making it necessary to bid farewell and embark on a voyage aboard a spaceship, “sailing Mother Nature’s precious seed towards a solar abode.” It was a chilling prophecy then. Fast forward nearly three decades, Dolly Parton, Emmylou Harris, and Linda Ronstadt would breathe new life into their rendition for their joint album. The message – and the music – had only grown more poignant and ominous.
“Paradise” by John Prine (1971)
I believe this is the last of our environmentally-themed folk songs. From this point forward, the songs will focus more on personal themes and stories. For John Prine, “Paradise” was both personal and environmental. He is telling the story of his ancestral home – Kentucky. By the time Perine was born, the family had moved to the Chicago suburbs, but the Kentucky roots ran deep. That is why Prine seemed so good at merging the urban and the rural. It also helped that he was about as good a lyricist as American music has produced in the last fifty years.
From his very first work, ‘Paradise’, he narrated tales of Muhlenberg County, a place he used to visit as a child. This paradise was transformed into a desolate region due to the destructive effects of coal mining. His brother Dave plays the fiddle, while Steve Goodman, a close friend, strums the guitar and harmonizes. Over time, this song has become a standard in progressive country and folk genres, with numerous other artists covering it.
“Jesus Was a Cross Maker” by Judee Sill (1971)
Initially, Asylum (then known as Elektra) started as the visionary dream of David Geffen in 1971. His first signed artist was Judee Sill, a 27-year-old musician from Los Angeles who blended hippie and folk styles. Her music had a contemporary spiritual theme, characterized by her faith-filled folk tunes.
Title track “Jesus Was a Cross Maker” originated in her debut album, penned as a form of therapy following a difficult split with fellow artist JD Southern. The composition predominantly features piano and incorporates ethereal strings to create an ambiance. However, it possesses a gentle soft rock feel, which can be attributed to the expertise of producer Graham Nash.
In the heart of their songs, the powerful drum beats emerged as a defining characteristic of softer rock genres later popularized by artists such as Linda Ronstadt and the Eagles. Tragically, she passed away due to a drug overdose in 1979 without achieving commercial success. However, her legacy lives on through the appreciation and emulation of her work by numerous musicians who came after her. (And this is not the only time I will write such a line.)
“American Pie” by Don McLean (1971)
Judee Sill’s self-titled album didn’t achieve mainstream success, much like another artist who debuted with a folk-rock album in 1971. However, Don McLean’s second studio album’s title track, “American Pie,” was an unprecedented hit that eclipsed his other works. Released in January 1972, it topped the Billboard charts for a month and ended up being the third most popular song of the entire year. Quite impressive for a folk song.
Without a doubt, it’s much more than just a song. It’s an extended, passionate chronicle of the demise and rebirth of contemporary music. The significant tagline – “the day the music died” – symbolizes the demise of Buddy Holly, and McLean weaves his complex, symbolic narrative with veiled references to numerous other musical icons. Over its extensive duration, the song transitions from a straightforward acoustic guitar melody to a boogie-style piano piece that’s catchy as can be. Unlike the rustic poetry of John Prine and many artists we will encounter shortly, this wasn’t meant to be simple or straightforward. Instead, it was intended to be enigmatic. It was designed to spark debate. McLean achieved far more than he ever imagined, and he’s been living with (and profiting from) its impact ever since.
“Poor Boy” by Nick Drake (1971)
As a gamer, I find it quite peculiar to have Don McLean flanked by Judee Sill and Nick Drake in some imaginary lineup. To be honest, while Nick Drake was highly esteemed by his peers and music critics during his brief lifespan, the general public didn’t seem to share that sentiment. However, it’s undeniable that his third and final album, “Pink Moon,” released in 1972, has left a lasting impact on folk and folk rock artists. This minimalistic yet profound exploration of personal torment is one of the most intimately raw collections of songs ever recorded on vinyl.
Originally appearing on the album “Bryter Layter,” the song “Poor Boy” showcases a unique blend of sounds, featuring faster tempos, varied moods, and occasionally uplifting themes, yet it’s not your typical cheerful song cycle. This composition beautifully encapsulates what sets Drake apart as an artist. While you might need to squint to spot the “folk” influences, they are indeed present. With its saxophone, roaming piano, and gospel-inspired backing choices, it’s undeniably a jazz tune. However, the folk essence can still be detected in Drake’s voice. Tragically, three years after “Poor Boy,” Drake passed away due to an overdose at the age of 26.
“More Often Than Not” by Eric Andersen (1972)
Eric Andersen is often overlooked as a significant figure in the folk movement that stretched from the early ’60s to the early ’70s. Similar to those dubbed the “next Bob Dylan,” he could easily have served as the inspiration for the character Llewyn Davis. Much like Judee Sill and Nick Drake, Andersen was highly praised by critics but failed to gain public favor.
As a devoted admirer, I’d say that among Bob Dylan’s works, the 1972 album “Blue River” stands out as one of his most distinctively Dylan-esque creations. The track “More Often Than Not,” with its country-inspired twang and harmonica accompaniment, feels like a song penned by Dylan himself but was not. This heartfelt tale of a man grappling with the aftermath of romantic devastation carries a profound emotional depth, yet Leonard Anderson infuses it with a wistful vitality that stops it from veering into melancholy excess.
Unlike Sill, Drake, and other artists who tragically passed away young, Andersen lived a long life. He evolved into something of a cult icon, consistently producing music across decades, even after moving from the USA to reside in the Netherlands. Regrettably, it seems his due reappraisal will come posthumously. If you’re a folk music enthusiast unfamiliar with his work, I recommend discovering and appreciating his music while he is still alive.
“Pancho & Lefty” by Townes Van Zandt (1972)
As a devoted fan of country music, I’ve taken to spelling “Pancho” the way it was sung by the legendary outlaw country artists, particularly when Merle Haggard and Willie Nelson performed their duet version. Interestingly, the original rendition on Townes Van Zandt’s sixth album, “The Late Great Townes Van Zandt“, spelled it as “Poncho.” Just like Townes, he always had a knack for doing things differently.
Van Zandt was well-known within the country and folk music circles for his exceptional songwriting skills. However, he wasn’t known for having a powerful voice, which might have limited his success. But Townes had a rebellious spirit that likely would have scoffed at success even if it had knocked on his door. “Poncho & Lefty,” originally spelled as such, is a captivating story about an outlaw and his companion, dealing with themes of betrayal and compassion. The song’s poignant warmth is conveyed through its straightforward melody, accentuated by elegant trumpets in the style of mariachi, much like Johnny Cash did with “Ring of Fire” a decade prior.
But the key to the song is its conception, which could only have come from a genuine poet. Pancho, the outlaw, is the tragic hero of the story, but Van Zandt chooses to close the final verse of the story with Lefty, the betrayer. “Pancho needs your prayers it’s true – But save a few for Lefty too – He only did what he had to do – And now he’s growing old.” Alcohol and heroin saw Townes grow old well before his time. He died in 1997 at the age of 52.
“I Got a Name” by Jim Croce (1973)
Trust me, I do wish I could assure you that Jim Croce will be the last of the great folk singers on this list who died tragically young. At least Croce, unlike many of the others, did enjoy a great deal of popular success before he died in a plane crash in 1973 at the age of 30. The crash occurred one day before the release of “I’ve Got a Name,” the title single from his final album. In part because of the tragedy, Croce’s albums You Don’t Mess Around with Jim and I Got a Name pulled the rare feat of claiming the top two spots on the Billboard albums chart at the same time.
If “I Got a Name” hadn’t been so closely tied to the tragedy, it might not have gained such widespread popularity. However, it remains a beautiful anthem that celebrates life and self-reliance amidst life’s challenges. The song was a chart success, but interestingly, its rise may have been hindered somewhat by the re-release of an older song – “Time in a Bottle” – from an album he had recorded two years prior.
The poignant chorus of “Time in a Bottle,” – “There never seems to be enough time to do the things you want, once you find them” – turned out to be uncannily prescient, resonating deeply with the public and climbing to the top of the charts. In contrast to his usual songwriting approach, Croce opted for a more upbeat message in “I Got a Name,” collaborating with pop songwriters Norman Gimbel and Charles Fox. This composition, unlike many of the somber folk songs we’ve been hearing, carries an optimistic tone.
“Return of the Grievous Angel” by Gram Parsons (1974)
Alright, I’m making good on my word here, as this is the final song by a renowned artist who met an untimely end. There’s just one little confession to make: This tune falls under the country music genre. It features a fiddle, a pedal steel guitar, and Emmylou Harris lending her distinctive harmonies. Interestingly enough, this song was part of my previous article about country songs from 1973 – before I decided to limit that list to just one year.
1973 saw Parsons recording his final album, right smack in the middle of the country music boom. However, the album and its accompanying song didn’t see the light of day until the following year. Regrettably, by then, Parsons had passed away at the tender age of 26. A tale of his untimely death and the strange events that followed is a story for another time.
Currently, we can simply describe Parsons as a restless, inventive spirit who made an indelible impact on three prominent bands before embarking on a solo career. His captivating, expansive narrative about traversing the nation and ultimately finding his way back to his heart’s desire is encapsulated in the lyrics: “I traveled twenty thousand roads, roads that led me only home to you.” Harris, starting as a backup vocalist, transforms the music by becoming almost a duet partner on this album, adding depth to the overall sound. This song serves as an ideal introduction to an almost flawless, yet ultimately heartbreaking album.
“I Want to See Bright Lights Tonight” by Richard and Linda Thompson (1974)
This collection appears to be deficient in artists hailing from the UK. The reason for this is largely because of the author’s constraints. To date, Nick Drake has been the sole artist not based in the USA who has been featured. Richard and Linda Thompson are the second and third. It’s worth noting that Richard Thompson was one of the founding members of the influential British folk band Fairport Convention back in the ’60s. After a while, he left to focus on his solo career in the early ’70s.
Over time, Fairport Convention persisted, but their success was tied to the broader fate of folk music. They experienced peak popularity in the late ’60s, yet their subsequent success waned during the 1970s, eventually leading to Fairport Convention disbanding by the end of the decade.
Despite facing challenges, the Thompsons remained resilient. Richard first encountered Linda during his time in FC, where she lent her voice to his initial solo project. By the time of his second album, titled “I Want To See Bright Lights Tonight“, Linda was sharing billing with him. It’s worth mentioning that they were married at this point. Richard is an exceptionally skilled guitarist, while Linda boasts one of the most enchanting voices in British music. They are both gifted songwriters.
It all came together in the album’s title track. Richard plays electric guitar on the track, and it is a virtually perfect specimen of folk rock. Linda sings. There are horns and accordions adding flourishes throughout. It is a glorious homage to going out and having fun, and it is one of the oldest songs that Richard plays in all of his shows. Less than a decade later, the duo would use the concept of “lights” in a very different way. Their final album together, “Shoot Out the Lights,” is among the greatest breakup albums of all time.
Simple Twist of Fate” by Bob Dylan (1975)
Discussing breakups in music, Dylan was quite popular during the mid-’70s; however, some critics began questioning if he would reclaim the glorious heights he reached in the mid-’60s. He had released a few mediocre albums to start the new decade. The album Planet Waves from 1974 hinted at a resurgence, but it didn’t quite capture that timeless enchantment.
1975 marked a significant shift. “Blood on the Tracks” stands alongside his greatest works and is considered one of the best albums ever made. This transformation stemmed from a breakup, specifically the dissolution of his marriage to Sara Lowndes, who inspired the timeless “Sad-Eyed Lady of the Lowlands”. The album poignantly captures the longing of a dying love, with the melody of “Simple Twist of Fate” encapsulating this sentiment better than most songs I’ve heard. As it goes, “She was born in the spring, but I was born too late – Blame it on a simple twist of fate.
“Diamonds and Rust” by Joan Baez (1975)
Moving on to discussions about breakups involving Bob Dylan, let’s touch base with one of the most prominent female folk artists of that time period. Although her status might have diminished over time, overshadowed by Joni Mitchell, she was quite influential for a while. This person is Joan Baez. She had a romantic relationship with Dylan, which eventually ended. Later on, she reflected on their entire relationship in the song “Diamonds and Rust.
The melody is hauntingly beautiful, highlighting the dramatic depth in Joan Baez’s stunning voice. A humble guitar serves as the backbone of the melody, with strings weaving intricately around, giving a dreamy, nostalgic feel. Yet, it’s her voice that truly conveys the message. She can sing a line like “As I remember your eyes were bluer than robin’s eggs – My poetry was lousy you said” in such a way that it sounds more insightful rather than bitter. We are far from the protest songs of the beginning of the decade. Folk music had evolved its own habitat. Now, it was reflecting on itself. No one did it better than Joan Baez in “Diamonds and Rust.
“The Wreck of the Edmund Fitzgerald” by Gordon Lightfoot (1976)
For over a decade, Lightfoot was cherished as a singer-songwriter in Canada, reminiscent of Bob Dylan. In his home country, he achieved one of his initial significant triumphs by covering Dylan’s “Just Like Tom Thumb’s Blues.” His first major success in the USA came in 1970 with “If You Could Read My Mind,” and a few years later, he topped the pop charts with “Sundown.
In a twist of fate, Gordon Lightfoot’s iconic song “The Wreck of the Edmund Fitzgerald” didn’t quite reach the top spot; instead, it got stuck at number two in the charts, trailing behind Rod Stewart’s less-than-impressive love ballad “Tonight’s the Night.” This amusing anecdote serves as a reminder that even the most mundane aspects of life can sometimes outshine the most dramatic events.
Lightfoot tells the story of an actual shipping disaster that he had read about the previous year with remarkable clarity and a cinematic sense of narrative drive. He moves effortlessly from the personal and specific – “When suppertime came, the old cook came on deck saying ‘fellas, it’s too rough to feed ya’ – At seven PM, the main hatchway gave in, he said ‘fellas, it’s been good to know ya” to deeper existential questions – “Does anyone know where the love of God goes when the waves turn the seconds to hours.”
As a devoted admirer, I’d like to highlight that many of his tracks on this playlist are crafted upon a straightforward 12-string guitar foundation, yet they are enriched by the addition of electric guitar and, most notably, Gene Martynec’s synthesizer. This synth, as the tempest brews, intensifies its swirling around the melody, adding depth and intensity to the music.
Now, since I confessed that the song (“Return of the Grievous Angel”) leans more towards country than folk, I’d like to add an extra treat for you…
“Clay Pigeons” by Blaze Foley
The song wasn’t officially published during the 1970s, but it was written and first performed by Blaze Foley during that time. Only a select group of country music singers were aware of him back then. Blaze Foley had a complicated friendship with Townes Van Zandt and was often wary of the sporadic attention he received, which seemed to occasionally focus on him before drifting away again.
This well-known tune by an artist didn’t resonate with the public until John Prine performed it on his 2005 album “Fair and Square”. Interestingly, even though Prine was acquainted with the song’s writer Blaze Foley, he wasn’t aware that Foley had penned the song when he first heard someone singing it.
By that time, Foley had already been a victim of a gunshot while attempting to halt a brawl back in 1989; he was just 39 years old. In the decades since, various live and studio recordings featuring his unique, compassionate tone have surfaced. Additionally, in 2018, Ethan Hawke wrote and directed an outstanding biopic titled “Blaze“. This song, “Clay Pigeons”, is more complex than it initially appears – musically and lyrically – as it delves into the resilience we can find within ourselves when life gives us hard knocks, following the rich folk tradition.
Folk music always had a propensity for elevating the common man – from sweet baby James, alone in his saddle, to the narrator of “Clay Pigeons,” riding the bus next to a “lady with two or three kids” toward salvation.
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2024-10-12 13:02