3 Folk Songs From 1968 That Should Be Studied in Songwriting Classes

These three folk songs from 1968 are like the building blocks of the genre. Anyone looking to make their way in folk could use these tracks as a jumping-off point. If you want to learn from the best, look no further than the three songs below.

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“Suzanne” — Leonard Cohen

Leonard Cohen paints quite the portrait in his 1968 folk song, “Suzanne”. “Suzanne takes you down to her place, near the river / You can hear the boats go by, you can spend the night beside her / And you know that she’s half-crazy, but that’s why you wanna be there / And she feeds you tea and oranges that come all the way from China,” the lyrics read, encapsulating a platonic relationship in Cohen’s life.

This song is not only a unique subject matter, but Cohen relays it with the utmost precision. It’s both bohemian and free and carefully calculated. If you want to know how to write a character piece, this song is the blueprint.

“Mrs. Robinson” — Simon & Garfunkel

Paul Simon wrote a deeply layered track with “Mrs. Robinson”. The song both tells a story similar to that of the film it’s named after and has a broad cultural scope. Any way you want to look at this song, you’ll find a wealth of commentary.

“And here’s to you, Mrs. Robinson / Jesus loves you more than you will know / Woah, woah, woah / God bless you please, Mrs. Robinson / Heaven holds a place for those who pray,” the lyrics read. If you want advice on how to write a track that can be endlessly relatable, “Mrs. Robinson” is a perfect source material.

“Who Knows Where The Time Goes” — Judy Collins

Few songs are as enduring as this folk standard. Judy Collins released her famous version of “Who Knows Where The Time Goes” in 1968, delivering a timeless sentiment about the passing of time.

“Across the morning sky all the birds are leaving / Ah, how can they know it’s time for them to go? / Before the winter fire, we’ll still be dreaming / I do not count the time,” the stunning lyrics read. This song flexes the beauty of folk music. It’s meditative and longing, rife with imagery, and so tender it almost hurts to listen to.

Photo by Gijsbert Hanekroot/Redferns

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