genre. First, many existing acts, having avoided the American model of folk rock electrification from about 1965 now adopted it, most obviously Pentangle, Strawbs and acoustic duo Tyrannosaurus Rex which became the electric combo T-Rex. It also pushed progressive folk towards more traditional material. Acoustic performers Dando Shaft and Amazing Blondel, both beginning about this time, are examples of this trend. Examples of bands that remained firmly on the border between progressive folk and progressive rock are the short lived Comus and, more successfully, Renaissance, who combined folk and rock with elements of classical music. While progressive folk as a genre continued into the late 1960s, it was overshadowed by electric folk and progressive rock, arguably, later to emerge in a new form. Derivatives Medieval folk rock From about 1970 a number of performers inspired by electric folk, particularly in England, Germany and Brittany, adopted medieval and renaissance music as a basis for their music, in contrast to the early modern and 19th century ballada that dominated the output of Fairport Convention. This followed the trend explored by Steeleye Span, and exemplified by their 1972 album Below the Salt. Acts in this area included Gryphon, Gentle Giant and Third Ear Band. In Germany Ougenweide, originally formed in 1970 as an acoustic folk group, opted to draw exclusively on High German medieval music when they electrified, setting the agenda for future German electric folk. In Brittany, as part of the Celtic rock movement, medieval music was focused on by bands like Ripaille from 1977 and Saga de Ragnar Lodbrock from 1979. However, by the end of the 1970s almost all of these performers had either disbanded or moved, like Gentle Giant and Gryphon, into the developing area of progressive rock. One remaining but notable exponent of medieval folk rock is Ritchie Blackmore with Blackmore's Night. Celtic rock Initially Celtic rock replicated electric folk, but naturally replaced the element of English traditional music with its own folk music. It was rapidly evident in all areas of the Celtic nations and regions surrounding England (both Goidelic (Ireland, Scotland, Isle of Man) and Brythonic (Wales, Cornwall, and Brittany), saw the adoption and adaptation of the electric folk model. Through at least the first half of the 1970s, as Celtic rock held close to folk roots, with its repertoire drawing heavily on traditional Celtic fiddle and harp tunes and even traditional vocal styles, but making