The Strawbs are one of British prog’s most distinctive and folk-rooted bands. From bluegrass beginnings through folk-rock to full progressive rock, Dave Cousins led them across six decades of literate, often dark, deeply English songwriting. Here is our fellow fan’s ranking of their finest songs.

The short version

If you only hear a few, make them “Lay Down”, “Hero and Heroine”, “Autumn” and “Benedictus” — their anthemic hit, a prog classic, a gorgeous suite and the song that first broke them in Britain. The full ranking is below.

From bluegrass to grave new worlds

The Strawbs began in 1964 as the Strawberry Hill Boys, a London bluegrass trio led by Dave Cousins, before evolving through English folk into one of progressive rock’s most singular bands. Along the way they became an unlikely finishing school for British music: Rick Wakeman played keyboards with them before joining Yes, and Sandy Denny passed through before Fairport Convention. What set them apart was Cousins himself — a songwriter of literate, often dark and theatrical bent, whose dulcimer and banjo sat comfortably alongside mellotrons and electric guitars. They scored big UK hits with “Lay Down” and “Part of the Union,” then made a run of ambitious albums — Grave New World, Hero and Heroine, Ghosts — that fused English folk with full symphonic prog. These fifteen songs are the best.

How we ranked them

This is one fan’s order, weighing songwriting, atmosphere, ambition and lasting impact across their long career. The facts are accurate; the order is a starting point for the debate.

The essential six

At the very top sits “Lay Down” (1973), the anthemic, gospel-tinged hit that remains their signature song. With it: the title track “Hero and Heroine” (1974), a brooding prog classic; “Autumn” (1974), the album’s magnificent multi-part suite; “Benedictus” (1972), the haunting hit that first broke them in Britain; “Ghosts” (1975), the dark, beautiful suite that opens their most literary album; and “Part of the Union” (1973), the satirical, sing-along number-two hit written by Hudson and Ford.

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Reliably great

The next tier is essential too. “New World” (1972) is a soaring highlight of their breakthrough; “Round and Round” (1974) is one of Cousins’ most affecting songs; “Down by the Sea” (1973) was a long-running staple on American FM radio; “The Vision of the Lady of the Lake” (1970) is the early epic that announced their prog ambitions; and “Shine on Silver Sun” (1974) is a bright, irresistible single.

Deeper cuts

For the dedicated, these reward repeat listens. “A Glimpse of Heaven” (1971) opens the Wakeman-era Witchwood in lovely fashion; “Grace Darling” (1975) is a stately, hymn-like single; “I Only Want My Love to Grow in You” (1976) gave them a late American hit; and “The Battle” (1969) is a dramatic highlight of their folk-rooted debut.

Every song at a glance

All fifteen songs, in chronological order — each linked to the album it comes from, so you can hear it in context.

Where to start

Begin with “Lay Down” and the album it comes from, Bursting at the Seams, then the prog classic Hero and Heroine and the literary Ghosts. From there, Grave New World and the Wakeman-era From the Witchwood are essential, while later albums such as Nomadness, Burning for You and Deadlines reward deeper exploration.

The players

The Strawbs were always Dave Cousins’ band — founder, frontman, chief songwriter and the one constant through six decades and countless line-up changes, his voice ranging from fragile whisper to theatrical roar. Co-founder Tony Hooper anchored the early folk years, and the band became famous for the talent that passed through it: keyboardist Rick Wakeman, on his way to Yes, and singer Sandy Denny, on her way to Fairport Convention. The classic 1970s line-ups brought guitarist Dave Lambert, bassists John Ford and Chas Cronk, drummers Richard Hudson and Rod Coombes, and keyboardists Blue Weaver and John Hawken. Dave Cousins died in 2025, closing a career that spanned more than fifty years.

Why they still matter

The Strawbs carved out a corner of progressive rock all their own — one where English folk, medieval melody and symphonic ambition met Dave Cousins’ singular, literary voice. Folkier than most of their peers but every bit as adventurous, they stand alongside Jethro Tull and Renaissance as masters of British folk-prog, with deep ties to Yes through Rick Wakeman and a shared era with Genesis. Few bands wove tradition and experiment together quite so gracefully.

Go deeper

Keep exploring: rank their records with our guide to the best Strawbs albums, find an entry point with where to start with the Strawbs, or dig into the underrated Strawbs albums. You can also place them in the bigger picture with the best progressive rock songs of all time.

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