Seasons They Change

Folk music is a very broad church. From traditional purists like Ewan MacColl to folk-rock acts like Fairport Convention to folk-tronica and all shades in between, Folk Music has something for everyone. One of the most elusive strands to pin down is Acid or Psychedelic Folk. Yet that is what author Jeanette Leech attempts to do in Seasons They Change. That it is a noble failure is more to do with the nature of the music and the author's basic premise than any lack of research. Because this book has been exhaustively researched.

Starting in the 1950's and early 1960's, Leech traces Folks revival on both sides of the Atlantic through artistes such as Shirley Collins, Davy Graham, Annie Briggs, Bert Jansch, Jackson C Frank and many others. But it is not until the arrival in the mid 60's of the Incredible String Band that the term Acid Folk starts being used. The psychedelic elements that found their way into folk music made for some strange, disturbing and beguiling music. It also made for some unlistenable tosh, but you can say that of any musical genres.

Leech has assembled a formidable history of her chosen subject and if her descriptions can be a little florid at times, you can forgive her because the detail is amazing. She has tracked down and interviewed countless obscure acts who at times made only one album before fading away. It has certainly given me a whole host of new music to listen to, much of which is available on Spotify.

The high point of Psychedelic Folk was the late sixties and by the early 70's the music industry's focus had shifted. Acts were dropped by labels and folk music once more became unfashionable. Leech attempts to trace a line of continuity through independent, self recorded artistes, but the links are tenuous and their influence on later musicians debatable.

Music come and goes in waves. What ebbs one decade, flows once more in another. Folk music resurfaced in the late 90's under various guises, but Leech is mainly concerned with so-called Freak Folk, which she sees as the natural successor to Acid Folk. Acts such as Devendra Banhart, Circulus, Espers, Tunng and the like took the music and retooled it using new sensibilities and modern technology, while drawing inspiration from the previous generation of psychedelic folk musicians. Again Leech interviews a vast array of artistes, but the new generation is harder to pin down and even harder to label.

So, a fascinating and informative read which, if you want, will lead you to a wealth of great music. It is a flawed book but a brave attempt none-the-less to pin down an elusive genre.