Fundamental Songs Defining the Psychedelic Folk Movement

The late 1960s and early 1970s saw an extraordinary confluence of traditional folk music with mind-expanding sonic experiments. In basements, communes, and recording studios across the world, musicians were expanding traditional song forms, creating otherworldly sounds with acoustic instruments and exploring the outer reaches of consciousness through their art. This collection presents fifteen essential pieces from the era, plus a bonus track – by no means definitive, but each one opens a door into this ethereal musical world.

Featured image: Dutch artists The Fool (Simon Postuma and Marijke Koger) designed the cover for
The 5000 Spirits or the Layers of the Onion, featuring a multicolored hermaphrodite with light and dark contrasts.

• Genre Fusion: Psychedelic folk emerged in the late ’60s as a experimental blend of traditional acoustic forms with Middle Eastern rhythms and avant-garde recording techniques.
• Essential Artists: The movement features diverse icons ranging from the introspective Nick Drake to the ritualistic sounds of the Third Ear Band and the cult-classic compositions of Vashti Bunyan.
• Cultural Legacy: Many of these albums were overlooked upon release but have since achieved legendary status, influencing modern genres like “freak-folk” and progressive rock.

1. Shirley Collins & Davy Graham – “Nottamun Town” (1964)

Shirley Collins, a central figure in the British folk revival, teamed up with the innovative guitarist Davy Graham for their 1964 album Folk Roots, New Routes. Their collaboration  introduced innovative wider musical influences like Indian and Middle Eastern rhythms. “Nottamun Town” brings traditional English folk into a broader context, where acoustic simplicity meets intricate guitar work, marking a new direction in folk music at the time.

2. Quarteto Novo – “Algodão” (1967)

Quarteto Novo was formed in Brazil in the mid-1960s, bringing together Hermeto Pascoal, a multi-instrumentalist known for his eclectic approach, and guitarist Heraldo do Monte, alongside drummer Airto Moreira and bassist Theo de Barros. Their self-titled 1967 album stands out for merging traditional Brazilian rhythms with more progressive musical forms. Pascoal’s versatility, paired with Moreira’s precise percussion and Monte’s guitar techniques, set the tone for a new direction in Brazilian music. This group was ahead of its time, incorporating folk influences into a broader sonic experiment.

3. The Incredible String Band – “First Girl I Loved” (1967)

Paul McCartney praised 5000 Spirits so highly that he declared it his favourite album of 1967.

The Incredible String Band was formed by Robin Williamson and Clive Palmer in Edinburgh in 1966, later joined by Mike Heron. The duo of Robin Williamson and Mike Heron recordedThe 5000 Spirits or the Layers of the Onion after Williamson’s return from Morocco, drawing on his experiences with Middle Eastern and African music. Notable for its colorful cover by The Fool and praised by musicians like Paul McCartney and David Bowie, the album is a significant work in the British psychedelic folk scene.

4. T. Rex – “Debora” (1968)

Before his transition into glam rock, Marc Bolan worked within an acoustic folk setting as part of the duo Tyrannosaurus Rex with Steve Peregrin Took. The early music of Tyrannosaurus Rex, including “Debora,” was marked by Bolan’s interest in mythological and fantasy themes. These early recordings would later evolve into the more electric sound of T. Rex.

5. Nick Drake – “River Man” (1969)

Nick Drake recorded Five Leaves Left with producer Joe Boyd and arranger Robert Kirby. His music had deep lyrics and sophisticated arrangements, and “River Man” epitomises his songwriting style. Collaborators on the album included Richard Thompson and Danny Thompson. Though largely unnoticed during his lifetime, Drake’s work became influential in the years that followed.

6. Bridget St John – “Ask Me No Questions” (1969)

Bridget St John, born in Surrey, was closely associated with John Peel, who produced her debut album Ask Me No Questions. St John’s deep vocals and sparse guitar work created an idiosyncratic sound, and her introspective lyrics added emotional depth to her songs. She collaborated with artists such as John Martyn. 

7. Third Ear Band – “Ghetto Raga” (1969)

In 1968, Glen Sweeney (percussion), Paul Minns (oboe), Richard Coff (violin), and Mel Davis (cello) founded the Third Ear Band in London. The band combined folk and experimental sounds, drawing inspiration from Eastern and medieval music. They focused on instrumental works that challenged traditional song forms on their album Alchemy. 

8. Linda Perhacs – “Chimacum Rain” (1970)

Parallelograms was recorded by American artist Linda Perhacs, who is located in Los Angeles, and producer Leonard Rosenman. Years after it was first overlooked, the record was rediscovered and praised for its dreamy, ethereal qualities. As evidenced by “Chimacum Rain,” Perhacs’ layered acoustic compositions and gentle vocals were avant-garde and helped the album become a subsequent cult status. Dolphin and other songs of the album are definitely worth listening to.

9. Vashti Bunyan – “Winter Is Blue” (1970)

Vashti Bunyan’s Just Another Diamond Day was recorded following her travels through the British countryside. Produced by Joe Boyd, the album features contributions from musicians such as Robin Williamson and Dave Swarbrick. Bunyan’s soft vocals and minimalist instrumentation made this album a quiet and reflective exploration of rural themes. Her work gained new appreciation when it was rediscovered decades after its release, bringing it newfound acclaim. Read our interview with Vashti Bunyan.

10. Amon Düül II – “She Came Through the Chimney” (1970)

Amon Düül II emerged from the German commune movement and became part of the Krautrock scene. Chris Karrer, John Weinzierl, and Renate Knaup formed the band, which combined avant-garde and experimental elements with acoustic instruments. The song stands out from the rest of the album for its acoustic and magical sounds that almost seem to suggest the descent of a witch-like entity into the warmth of a medieval house.

11. Led Zeppelin – “The Battle of Evermore” (1971)

“The Battle of Evermore” is a folk duet by Robert Plant and Sandy Denny, featured on Led Zeppelin’s 1971 album, Led Zeppelin IV. The song is driven by acoustic guitar and mandolin, written spontaneously by Jimmy Page and Plant at Headley Grange, with Page using John Paul Jones’s mandolin for the first time.

The lyrics make clear references to J. R. R. Tolkien’s The Lord of the Rings, including mentions of the Dark Lord, Ringwraiths, and other elements from Tolkien’s mythology. Scholars describe the song as an example of “fantasy medievalism,” drawing connections to Middle-earth. Fans often associate the song’s battle imagery with the Battle of the Pelennor Fields.

Sandy Denny, former member of Fairport Convention, was invited to join Plant for the duet, representing a town crier to Plant’s narrator. Denny’s contribution was honored with a symbol on the album sleeve, marking her as the only guest vocalist in Led Zeppelin’s discography.

12. Karen Dalton – “Katie Cruel” (1971)

Karen Dalton was an American folk-blues musician with a voice and delivery that stood apart from her peers. Her album In My Own Time was recorded in 1971, and Dalton played the 12-string guitar and banjo on many tracks. “Katie Cruel,” rooted in Scottish folk tradition, became part of the American folk repertoire and has seen various interpretations over time. Karen Dalton’s version on In My Own Time is widely regarded for its raw, emotive sound, setting it apart from other recordings of the song.

13. Mark Fry – “The Witch” (1972)

Mark Fry, an English musician, recorded Dreaming with Alice in Italy with a group of session musicians. The album, largely overlooked upon its release, became a cult favorite in later years. Dreaming with Alice has since been reevaluated as a key contribution to the psychedelic folk genre.

14. Sibylle Baier – “I Lost Something in the Hills” (1970-1973)

Sibylle Baier recorded in her home Colour Green between 1970 and 1973. These songs were initially intended for private listening but were released many years later, gaining a following for their quiet and introspective nature.

15. Paul Giovanni – “Willow’s Song” (1973)

Paul Giovanni composed the soundtrack for the cult movie The Wicker Man. “Willow’s Song” is a central piece in the film’s score, with its haunting atmosphere. Giovanni worked with musician Gary Carpenter to create the score, which played a key role in the unsettling and ritualistic themes of the film. The Wicker Man soundtrack has since achieved iconic status, largely due to its combination of music and narrative.

Bonus

16. Comus – “Diana” (1971)

Read our interview with Comus.

“First Utterance” is the debut album by Comus, released in 1971. The album combines progressive rock, folk, psychedelia, and macabre themes, addressing topics like necrophilia, rape, and shock therapy. Its acoustic sound features guitar, violin, flute, and harmonized vocals. Despite favorable reviews, sales were limited, and the band dissolved after its release. The album has since gained recognition, with influence on bands like Opeth and Current 93. The Wire and FACT called it a precursor to the 2000s freak-folk movement.

Topics: influential psychedelic folk songs 1960s, iconic 1970s folk music, Nick Drake psychedelic folk, Shirley Collins and Davy Graham collaboration, Vashti Bunyan and Joe Boyd

Matteo Damiani

Matteo Damiani is an Italian photographer and author. Curator of the sites Retrofuturista.com; weirditaly.com; china-underground.com and others