Rock is a broad genre of popular music that originated as "rock and roll" in the United States in the late 1940s and early 1950s, developing into a range of different styles from the mid-1960s, particularly in the United States and the United Kingdom. It has its roots in rock and roll, a style that drew directly from the black musical genres of blues, rhythm and blues, and country music. Rock also drew strongly from genres such as electric blues and folk, and incorporated influences from jazz and other musical styles. For instrumentation, rock is typically centered on the electric guitar, usually as part of a rock group with electric bass guitar, drums, and one or more singers. Usually, rock is song-based music with a 4
4 time signature and utilizing a verse–chorus form, but the genre has become extremely diverse. Like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political. Rock was the most popular genre of music in the U.S. and much of the Western world from the 1950s to the 2010s.
| Rock | |
|---|---|
| Stylistic origins |
|
| Cultural origins | 1940s–1950s, United States |
| Typical instruments |
|
| Derivative forms |
|
| Subgenres | |
| |
| Fusion genres | |
| |
| Regional scenes | |
| |
| Local scenes | |
| |
| Other topics | |
| |
 2025 in rock music | |
Rock musicians in the mid-1960s began to advance the album ahead of the single as the dominant form of recorded music expression and consumption, with the Beatles at the forefront of this development. Their contributions lent the genre a cultural legitimacy in the mainstream and initiated a rock-informed album era in the music industry for the next several decades. By the late 1960s "classic rock" period, a few distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, Southern rock, raga rock, and jazz rock, which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene. New genres that emerged included progressive rock, which extended artistic elements, heavy metal, which emphasized an aggressive thick sound, and glam rock, which highlighted showmanship and visual style. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and eventually alternative rock.
From the 1990s, alternative rock began to dominate rock music and break into the mainstream in the form of grunge, Britpop, and indie rock. Further fusion subgenres have since emerged, including pop-punk, electronic rock, rap rock, and rap metal. Some movements were conscious attempts to revisit rock's history, including the garage rock/post-punk revival in the 2000s. Since the 2010s, rock has lost its position as the pre-eminent popular music genre in world culture, but remains commercially successful. The increased influence of hip-hop and electronic dance music can be seen in rock music, notably in the techno-pop scene of the early 2010s and the pop-punk-hip-hop revival of the 2020s.
Rock has also embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the U.K., the hippie movement and the wider Western counterculture movement that spread out from San Francisco in the U.S. in the 1960s, the latter of which continues to this day. Similarly, 1970s punk culture spawned the goth, punk, and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism, as well as changes in social attitudes to race, sex, and drug use, and is often seen as an expression of youth revolt against adult consumerism and conformity. At the same time, it has been commercially highly successful, leading to accusations of selling out.
Characteristics
A good definition of rock, in fact, is that it's popular music that to a certain degree doesn't care if it's popular.
The sound of rock is traditionally centered on the amplified electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. It was also greatly influenced by the sounds of electric blues guitarists. The sound of an electric guitar in rock music is typically supported by an electric bass guitar, which pioneered jazz music in the same era, and by percussion produced from a drum kit that combines drums and cymbals. This trio of instruments has often been complemented by the inclusion of other instruments, particularly keyboards such as the piano, the Hammond organ, and the synthesizer. The basic rock instrumentation was derived from the basic blues band instrumentation (prominent lead guitar, second chordal instrument, bass, and drums). A group of musicians performing rock music is termed as a rock band or a rock group. Furthermore, it typically consists of between three (the power trio) and five members. Classically, a rock band takes the form of a quartet whose members cover one or more roles, including vocalist, lead guitarist, rhythm guitarist, bass guitarist, drummer, and often keyboard player or another instrumentalist.
![\version "2.22.0" \header { tagline = ##f} \score { \drums \with {midiInstrument = "drums"} \with { \numericTimeSignature } { \repeat volta 2 { << \tempo 4 = 80-160 \bar ".|:" { cymra8 [cymra] cymra [cymra] cymra [cymra] cymra [cymra] }\\{bd4 sne bd sne} >>\break } } \layout {} } \score { \unfoldRepeats { \drums \with {midiInstrument = "drums"}{ \repeat volta 2 { << \tempo 4 = 80-160 \bar ".|:" { cymra8 [cymra] cymra [cymra] cymra [cymra] cymra [cymra] }\\{bd4 sne bd sne} >>\break } } } \midi { \tempo 4 = 90 } }](https://www.english.nina.az/wikipedia/image/aHR0cHM6Ly93d3cuZW5nbGlzaC5uaW5hLmF6L3dpa2lwZWRpYS9pbWFnZS9hSFIwY0hNNkx5OTFjR3h2WVdRdWQybHJhVzFsWkdsaExtOXlaeTl6WTI5eVpTOXhMemN2Y1RkNloyczFPR1pyTlRCeGR6Vm5lVE14T1hsNVlXVTNNR3Q1ZDNSdk9TOXhOM3BuYXpVNFppNXdibWM9LnBuZw==.png)
4 drum pattern common in rock music
Rock music is traditionally built on a foundation of simple syncopated rhythms in a 4
4 meter, with a repetitive snare drum back beat on beats two and four. Melodies often originate from older musical modes such as the Dorian and Mixolydian, as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions. Since the late-1950s, and particularly from the mid-1960s onwards, rock music often used the verse–chorus structure derived from blues and folk music, but there has been considerable variation from this model. Critics have stressed the eclecticism and stylistic diversity of rock. Because of its complex history and its tendency to borrow from other musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition." In 1981, music journalist Robert Christgau said, "the best rock jolts folk-art virtues—directness, utility, natural audience—into the present with shots of modern technology and modernist dissociation".
Rock and roll was conceived as an outlet for adolescent yearnings ... To make rock and roll is also an ideal way to explore intersections of sex, love, violence, and fun, to broadcast the delights and limitations of the regional, and to deal with the depredations and benefits of mass culture itself.
Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, sex, rebellion against "The Establishment", social concerns, and life styles. These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, and rhythm and blues. Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, and asserts that rock's primary "function" "pertains to music, or, more generally, noise." The predominance of white, male, and often middle class musicians in rock music has often been noted, and rock has been seen as an appropriation of Black musical forms for a young, white and largely male audience. As a result, it has also been seen to articulate the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, "rock and roll usually implies an identification of male sexuality and aggression".
Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has usually been contrasted with pop music, with which it has shared many characteristics; however, rock is often distanced from pop; the former has an emphasis on musicianship, live performance, and a focus on serious and progressive themes as part of an ideology of authenticity that is frequently combined with an awareness of the genre's history and development. According to Simon Frith, rock was "something more than pop, something more than rock and roll" and "[r]ock musicians combined an emphasis on skill and technique with the romantic concept of art as artistic expression, original and sincere".
In the new millennium, the term rock has occasionally been used as a blanket term including forms like pop music, reggae music, soul music, and even hip hop, which it has been influenced with but often contrasted through much of the latter's history. Christgau has used the term broadly to refer to popular and semipopular music that caters to his sensibility as "a rock-and-roller", including a fondness for a good beat, a meaningful lyric with some wit, and the theme of youth, which holds an "eternal attraction" so objective "that all youth music partakes of sociology and the field report." Writing in Christgau's Record Guide: The '80s (1990), he said this sensibility is evident in the music of folk singer-songwriter Michelle Shocked, rapper LL Cool J, and synth-pop duo Pet Shop Boys—"all kids working out their identities"—as much as it is in the music of Chuck Berry, the Ramones, and the Replacements.
1940s–1950s: Birth of rock and roll
Rock and roll
The foundations of rock music are in rock and roll, which originated in the United States during the late 1940s and early 1950s; the genre quickly spread to much of the rest of the world. Its immediate origins lay in a melding of various black musical genres of the time, including rhythm and blues and gospel music, with country and western.
Debate surrounds the many recordings which have been suggested as "the first rock and roll record". Contenders include "Strange Things Happening Every Day" by Sister Rosetta Tharpe (1944); "That's All Right" by Arthur Crudup (1946), which was later covered by Elvis Presley in 1954; "The House of Blue Lights" by Ella Mae Morse and Freddie Slack (1946);Wynonie Harris' "Good Rocking Tonight" (1948);Goree Carter's "Rock Awhile" (1949);Jimmy Preston's "Rock the Joint" (1949), also covered by Bill Haley & His Comets in 1952; and "Rocket 88" by Jackie Brenston and his Delta Cats (in fact, Ike Turner and his band the Kings of Rhythm), recorded by Sam Phillips for Chess Records in 1951.
In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music (then termed "race music") for a multi-racial audience, and is credited with first using the phrase "rock and roll" to describe the music. Four years later, Bill Haley's "Rock Around the Clock" (1954) became the first rock and roll song to top Billboard magazine's main sales and airplay charts, and opened the door worldwide for this new wave of popular culture. Other artists with early rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis, and Gene Vincent. Soon rock and roll was the major force in American record sales and crooners, such as Eddie Fisher, Perry Como, and Patti Page, who had dominated the previous decade of popular music, found their access to the pop charts significantly curtailed.
Rock and roll has been seen as leading to a number of distinct subgenres, including rockabilly, combining rock and roll with "hillbilly" country music, which was usually played and recorded in the mid-1950s by white singers such as Carl Perkins, Jerry Lee Lewis, Roy Orbison, Buddy Holly and with the greatest commercial success, Elvis Presley.Hispanic and Latino American movements in rock and roll, which would eventually lead to the success of Latin rock and Chicano rock within the US, began to rise in the Southwest; with rock and roll standard musician Ritchie Valens and even those within other heritage genres, such as Al Hurricane along with his brothers Tiny Morrie and Baby Gaby as they began combining rock and roll with country-western within traditional New Mexico music. In addition, the 1950s saw the growth in popularity of the electric guitar, and the development of a specifically rock and roll style of playing through such exponents as Chuck Berry, Link Wray, and Scotty Moore. The use of distortion, pioneered by Western swing guitarists such as Junior Barnard and Eldon Shamblin was popularized by Chuck Berry in the mid-1950s. The use of power chords, pioneered by Francisco Tárrega and Heitor Villa-Lobos in the 19th century and later on by Willie Johnson and Pat Hare in the early 1950s, was popularized by Link Wray in the late 1950s.
Commentators have traditionally perceived a decline of rock and roll in the late 1950s and early 1960s. By 1959, the death of Buddy Holly, the Big Bopper and Ritchie Valens in a plane crash, the departure of Elvis for the army, the retirement of Little Richard to become a preacher, prosecutions of Jerry Lee Lewis and Chuck Berry and the breaking of the payola scandal (which implicated major figures, including Alan Freed, in bribery and corruption in promoting individual acts or songs), gave a sense that the rock and roll era established at that point had come to an end.
Global spread
Rock quickly spread out from its origins in the US, associated with the rapid Americanization that was taking place globally in the aftermath of the Second World War.Cliff Richard is credited with one of the first rock and roll hits outside of North America with "Move It" (1959), effectively ushering in the sound of British rock. Several artists, most prominently Tommy Steele from the UK, found success with covers of major American rock and roll hits before the recordings could spread internationally, often translating them into local languages where appropriate. Steele in particular toured Britain, Scandinavia, Australia, the USSR and South Africa from 1955 to 1957, influencing the globalisation of rock.Johnny O'Keefe's 1958 record "Wild One" was one of the earliest Australian rock and roll hits. By the late 1950s, as well as in the American-influenced Western world, rock was popular in communist states such as Yugoslavia, and the USSR, as well as in regions such as South America.
In the late 1950s and early 1960s, U.S. blues music and blues rock artists, who had been surpassed by the rise of rock and roll in the US, found new popularity in the UK, visiting with successful tours.Lonnie Donegan's 1955 hit "Rock Island Line" was a major influence and helped to develop the trend of skiffle music groups throughout the country, many of which, including John Lennon's Quarrymen (later the Beatles), moved on to play rock and roll. While former rock and roll market in the US was becoming dominated by lightweight pop and ballads, British rock groups at clubs and local dances were developing a style more strongly influenced by blues-rock pioneers, and were starting to play with an intensity and drive seldom found in white American acts; this influence would go on to shape the future of rock music through the British Invasion.
1960s: British invasion and broadening sound
The first four years of the 1960s has traditionally been seen as an era of hiatus for rock and roll. More recently, some authors[weasel words] have emphasised important innovations and trends in this period without which future developments would not have been possible. While early rock and roll, particularly through the advent of rockabilly, saw the greatest commercial success for male and white performers, in this era, the genre was dominated by black and female artists. Rock and roll had not disappeared entirely from music at the end of the 1950s and some of its energy can be seen in the various dance crazes of the early 1960s, started by Chubby Checker's record "The Twist" (1960). Some music historians have also pointed to important and innovative technical developments that built on rock and roll in this period, including the electronic treatment of sound by such innovators as Joe Meek, and the elaborate production methods of the Wall of Sound pursued by Phil Spector.
Instrumental rock and surf
The instrumental rock and roll of performers such as Duane Eddy, Link Wray and the Ventures was further developed by Dick Dale, who added distinctive "wet" reverb, rapid alternate picking, and Middle Eastern and Mexican influences. He produced the regional hit "Let's Go Trippin'" in 1961 and launched the surf music craze, following up with songs like "Misirlou" (1962). Like Dale and his Del-Tones, most early surf bands were formed in Southern California, including the Bel-Airs, the Challengers, and Eddie & the Showmen.The Chantays scored a top ten national hit with "Pipeline" in 1963 and probably the best-known surf tune was 1963's "Wipe Out", by the Surfaris, which hit number 2 and number 10 on the Billboard charts in 1965. Surf rock was also popular in Europe during this time, with the British group the Shadows scoring hits in the early 1960s with instrumentals such as "Apache" (1960) and "Kon-Tiki" (1961), while Swedish surf group the Spotnicks saw success in both Sweden and Britain.
Surf music achieved its greatest commercial success as vocal pop music, particularly the work of the Beach Boys, formed in 1961 in Southern California. Their early albums included both instrumental surf rock, including covers of music by Dick Dale and vocal songs, drawing on rock and roll and doo wop and the close harmonies of vocal pop acts like the Four Freshmen. The Beach Boys first chart hit, "Surfin'" in 1961 reached the Billboard top 100 and helped make the surf music craze a national phenomenon. It is often argued that the surf music craze and the careers of almost all surf acts was effectively ended by the arrival of the British Invasion from 1964, because most surf music hits were recorded and released between 1960 and 1965.
British Invasion
By the end of 1962, what would become the British rock scene had started with beat groups like the Beatles, Gerry & the Pacemakers and the Searchers from Liverpool and Freddie and the Dreamers, Herman's Hermits and the Hollies from Manchester. They drew on a wide range of American influences including 1950s rock and roll, soul, rhythm and blues, and surf music, initially reinterpreting standard American tunes and playing for dancers. Bands like the Animals from Newcastle and Them from Belfast, and particularly those from London like the Rolling Stones and the Yardbirds, were much more directly influenced by rhythm and blues and later blues music. Soon these groups were composing their own material, combining US forms of music and infusing it with a high energy beat. Beat bands tended towards "bouncy, irresistible melodies", while early British blues acts tended towards less sexually innocent, more aggressive songs, often adopting an anti-establishment stance. There was, however, particularly in the early stages, considerable musical crossover between the two tendencies. By 1963, led by the Beatles, beat groups had begun to achieve national success in Britain, soon to be followed into the charts by the more rhythm and blues focused acts.
"I Want to Hold Your Hand" was the Beatles' first number one hit on the Billboard Hot 100, spending seven weeks at the top and a total of 15 weeks on the chart. Their first appearance on The Ed Sullivan Show on 9 February 1964, drawing an estimated 73 million viewers (at the time a record for an American television program) is considered a milestone in American pop culture. During the week of 4 April 1964, the Beatles held 12 positions on the Billboard Hot 100 singles chart, including the entire top five. The Beatles went on to become the biggest selling rock band of all time and they were followed into the US charts by numerous British bands. During the next two years, British acts dominated their own and the US charts with Peter and Gordon, the Animals,Manfred Mann, Petula Clark, Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman's Hermits, the Rolling Stones,the Troggs, and Donovan all having one or more number one singles. Other major acts that were part of the invasion included the Kinks and the Dave Clark Five.
The British Invasion helped internationalize the production of rock and roll, opening the door for subsequent British (and Irish) performers to achieve international success. In America it arguably spelled the end of instrumental surf music, vocal girl groups and (for a time) the teen idols, that had dominated the American charts in the late 1950s and 1960s. It dented the careers of established R&B acts like Fats Domino and Chubby Checker and even temporarily derailed the chart success of surviving rock and roll acts, including Elvis. The British Invasion also played a major part in the rise of a distinct genre of rock music, and cemented the primacy of the rock group, based on guitars and drums and producing their own material as singer-songwriters. Following the example set by the Beatles' 1965 LP Rubber Soul in particular, other British rock acts released rock albums intended as artistic statements in 1966, including the Rolling Stones' Aftermath, the Beatles' own Revolver, and the Who's A Quick One, as well as American acts in the Beach Boys (Pet Sounds) and Bob Dylan (Blonde on Blonde).
Blues rock
Although the first impact of the British Invasion on American popular music was through beat and R&B based acts, the impetus was soon taken up by a second wave of bands that drew their inspiration more directly from American blues, including the Rolling Stones and the Yardbirds. British blues musicians of the late 1950s and early 1960s had been inspired by the acoustic playing of figures such as Lead Belly, who was a major influence on the Skiffle craze, and Robert Johnson. Increasingly they adopted a loud amplified sound, often centered on the electric guitar, based on the Chicago blues, particularly after the tour of Britain by Muddy Waters in 1958, which prompted Cyril Davies and guitarist Alexis Korner to form the band Blues Incorporated. The band involved and inspired many of the figures of the subsequent British blues boom, including members of the Rolling Stones and Cream, combining blues standards and forms with rock instrumentation and emphasis.
The other key focus for British blues was John Mayall; his band, the Bluesbreakers, included Eric Clapton (after Clapton's departure from the Yardbirds) and later Peter Green. Particularly significant was the release of Blues Breakers with Eric Clapton (Beano) album (1966), considered one of the seminal British blues recordings and the sound of which was much emulated in both Britain and the United States. Eric Clapton went on to form supergroups Cream, Blind Faith, and Derek and the Dominos, followed by an extensive solo career that helped bring blues rock into the mainstream. Green, along with the Bluesbreaker's rhythm section Mick Fleetwood and John McVie, formed Peter Green's Fleetwood Mac, who enjoyed some of the greatest commercial success in the genre. In the late 1960s Jeff Beck, also an alumnus of the Yardbirds, moved blues rock in the direction of heavy rock with his band, the Jeff Beck Group. The last Yardbirds guitarist was Jimmy Page, who went on to form The New Yardbirds which rapidly became Led Zeppelin. Many of the songs on their first three albums, and occasionally later in their careers, were expansions on traditional blues songs.
In the United States, blues rock had been pioneered in the early 1960s by guitarist Lonnie Mack; however, the genre began to take off in the mid-1960s as acts developed a sound similar to British blues musicians. Key acts included Paul Butterfield (whose band acted like Mayall's Bluesbreakers in Britain as a starting point for many successful musicians), Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, the J. Geils Band, and Jimi Hendrix with his power trios, the Jimi Hendrix Experience (which included two British members, and was founded in Britain), and Band of Gypsys, whose guitar virtuosity and showmanship would be among the most emulated of the decade. Blues rock bands from the southern states, like the Allman Brothers Band, Lynyrd Skynyrd, and ZZ Top, incorporated country elements into their style to produce the distinctive genre Southern rock.
Early blues rock bands often emulated jazz, playing long, involved improvisations, which would later be a major element of progressive rock. From about 1967 bands like Cream and the Jimi Hendrix Experience had moved away from purely blues-based music into psychedelia. By the 1970s, blues rock had become heavier and more riff-based, exemplified by the work of Led Zeppelin and Deep Purple, and the lines between blues rock and hard rock "were barely visible", as bands began recording rock-style albums. The genre was continued in the 1970s by figures such as George Thorogood and Pat Travers, but, particularly on the British scene (except perhaps for the advent of groups such as Status Quo and Foghat who moved towards a form of high energy and repetitive boogie rock), bands became focused on heavy metal innovation, and blues rock began to slip out of the mainstream.
Garage rock
Garage rock was a raw form of rock music, particularly prevalent in North America in the mid-1960s and so called because of the perception that it was rehearsed in the suburban family garage. Garage rock songs often revolved around the traumas of high school life, with songs about "lying girls" and unfair social circumstances being particularly common. The lyrics and delivery tended to be more aggressive than was common at the time, often with growled or shouted vocals that dissolved into incoherent screaming. They ranged from crude one-chord music (like the Seeds) to near-studio musician quality (including the Knickerbockers, the Remains, and the Fifth Estate). There were also regional variations in many parts of the country with flourishing scenes particularly in California and Texas. The Pacific Northwest states of Washington and Oregon had perhaps[according to whom?] the most defined regional sound.
The style had been evolving from regional scenes as early as 1958. "Tall Cool One" (1959) by the Wailers and "Louie Louie" by the Kingsmen (1963) are mainstream examples of the genre in its formative stages. By 1963, garage band singles were creeping into the national charts in greater numbers, including Paul Revere and the Raiders (Boise),the Trashmen (Minneapolis) and the Rivieras (South Bend, Indiana). Other influential garage bands, such as the Sonics (Tacoma, Washington), never reached the Billboard Hot 100.
The British Invasion greatly influenced garage bands, providing them with a national audience, leading many (often surf or hot rod groups) to adopt a British influence, and encouraging many more groups to form. Thousands of garage bands were extant in the United States and Canada during the era and hundreds produced regional hits. Despite scores of bands being signed to major or large regional labels, most were commercial failures. It is generally agreed that garage rock peaked both commercially and artistically around 1966. By 1968, the style largely disappeared from the national charts and at the local level as amateur musicians faced college, work or the draft. New styles had evolved to replace garage rock.
Folk rock
By the 1960s, the scene that had developed out of the American folk music revival had grown to a major movement, using traditional music and new compositions in a traditional style, usually on acoustic instruments. In America the genre was pioneered by figures such as Woody Guthrie and Pete Seeger and often identified with progressive or labor politics. In the early sixties figures such as Joan Baez and Bob Dylan had come to the fore in this movement as singer-songwriters. Dylan had begun to reach a mainstream audience with hits including "Blowin' in the Wind" (1963) and "Masters of War" (1963), which brought "protest songs" to a wider public, but, although beginning to influence each other, rock and folk music had remained largely separate genres, often with mutually exclusive audiences.
Early attempts to combine elements of folk and rock included the Animals' "House of the Rising Sun" (1964), which was the first commercially successful folk song to be recorded with rock and roll instrumentation and the Beatles "I'm a Loser" (1964), arguably the first Beatles song to be influenced directly by Dylan. The folk rock movement is usually thought to have taken off with the Byrds' recording of Dylan's "Mr. Tambourine Man" which topped the charts in 1965. With members who had been part of the café-based folk scene in Los Angeles, the Byrds adopted rock instrumentation, including drums and 12-string Rickenbacker guitars, which became a major element in the sound of the genre. Later that year Dylan adopted electric instruments, much to the outrage of many folk purists, with his "Like a Rolling Stone" becoming a US hit single. According to Ritchie Unterberger, Dylan (even before his adoption of electric instruments) influenced rock musicians like the Beatles, demonstrating "to the rock generation in general that an album could be a major standalone statement without hit singles", such as on The Freewheelin' Bob Dylan (1963).
Folk rock particularly took off in California, where it led acts like the Mamas & the Papas and Crosby, Stills, and Nash to move to electric instrumentation, and in New York, where it spawned performers including the Lovin' Spoonful and Simon and Garfunkel, with the latter's acoustic "The Sounds of Silence" (1965) being remixed with rock instruments to be the first of many hits. These acts directly influenced British performers like Donovan and Fairport Convention. In 1969 Fairport Convention abandoned their mixture of American covers and Dylan-influenced songs to play traditional English folk music on electric instruments. This British folk-rock was taken up by bands including Pentangle, Steeleye Span and the Albion Band, which in turn prompted Irish groups like Horslips and Scottish acts like the JSD Band, Spencer's Feat and later Five Hand Reel, to use their traditional music to create a brand of Celtic rock in the early 1970s.
Folk-rock reached its peak of commercial popularity in the period 1967–68, before many acts moved off in a variety of directions, including Dylan and the Byrds, who began to develop country rock. However, the hybridization of folk and rock has been seen as having a major influence on the development of rock music, bringing in elements of psychedelia, and helping to develop the ideas of the singer-songwriter, the protest song, and concepts of "authenticity".
Psychedelic rock
Psychedelic music's LSD-inspired vibe began in the folk scene. The first group to advertise themselves as psychedelic rock were the 13th Floor Elevators from Texas. The Beatles introduced many of the major elements of the psychedelic sound to audiences in this period, such as guitar feedback, the Indian sitar and backmasking sound effects. Psychedelic rock particularly took off in California's emerging music scene as groups followed the Byrds' shift from folk to folk rock from 1965. The psychedelic lifestyle, which revolved around hallucinogenic drugs, had already developed in San Francisco and particularly prominent products of the scene were Big Brother and the Holding Company, the Grateful Dead and Jefferson Airplane. The Jimi Hendrix Experience's lead guitarist, Jimi Hendrix did extended distorted, feedback-filled jams which became a key feature of psychedelia. Psychedelic rock reached its apogee in the last years of the decade. 1967 saw the Beatles release their definitive psychedelic statement in Sgt. Pepper's Lonely Hearts Club Band, including the controversial track "Lucy in the Sky with Diamonds", the Rolling Stones responded later that year with Their Satanic Majesties Request, and Pink Floyd debuted with The Piper at the Gates of Dawn. Key recordings included Jefferson Airplane's Surrealistic Pillow and the Doors' self-titled debut album. These trends peaked in the 1969 Woodstock festival, which saw performances by most of the major psychedelic acts.
Sgt. Pepper was later regarded as the greatest album of all time and a starting point for the album era, during which rock music transitioned from the singles format to albums and achieved cultural legitimacy in the mainstream. Led by the Beatles in the mid-1960s, rock musicians advanced the LP as the dominant form of recorded music expression and consumption, initiating a rock-informed album era in the music industry for the next several decades.
Progressive rock
Progressive rock, a term sometimes used interchangeably with art rock, moved beyond established musical formulas by experimenting with different instruments, song types, and forms. From the mid-1960s, the Left Banke, the Beatles, the Rolling Stones and the Beach Boys, had pioneered the inclusion of harpsichords, wind, and string sections on their recordings to produce a form of Baroque rock and can be heard in singles like Procol Harum's "A Whiter Shade of Pale" (1967), with its Bach-inspired introduction.The Moody Blues used a full orchestra on their album Days of Future Passed (1967) and subsequently created orchestral sounds with synthesizers. Classical orchestration, keyboards, and synthesizers were a frequent addition to the established rock format of guitars, bass, and drums in subsequent progressive rock.
Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy and science fiction.The Pretty Things' SF Sorrow (1968), the Kinks' Arthur (Or the Decline and Fall of the British Empire) (1969), and the Who's Tommy (1969) introduced the format of rock operas and opened the door to concept albums, often telling an epic story or tackling a grand overarching theme.King Crimson's 1969 début album, In the Court of the Crimson King, which mixed powerful guitar riffs and mellotron, with jazz and symphonic music, is often taken as the key recording in progressive rock, helping the widespread adoption of the genre in the early 1970s among existing blues-rock and psychedelic bands, as well as newly formed acts. The vibrant Canterbury scene saw acts following Soft Machine from psychedelia, through jazz influences, toward more expansive hard rock, including Caravan, Hatfield and the North, Gong, and National Health. The French group Magma around drummer Christian Vander almost single-handedly created the new music genre zeuhl with their first albums in the early 1970s.
Greater commercial success was enjoyed by Pink Floyd, who also moved away from psychedelia after the departure of Syd Barrett in 1968, with The Dark Side of the Moon (1973), seen as a masterpiece of the genre, becoming one of the best-selling albums of all time. There was an emphasis on instrumental virtuosity, with Yes showcasing the skills of both guitarist Steve Howe and keyboard player Rick Wakeman, while Emerson, Lake & Palmer were a supergroup who produced some of the genre's most technically demanding work.Jethro Tull and Genesis both pursued very different, but distinctly English, brands of music.Renaissance, formed in 1969 by ex-Yardbirds Jim McCarty and Keith Relf, evolved into a high-concept band featuring the three-octave voice of Annie Haslam. Most British bands depended on a relatively small cult following, but a handful, including Pink Floyd, Genesis, and Jethro Tull, managed to produce top ten singles at home and break the American market. The American brand of progressive rock varied from the eclectic and innovative Frank Zappa, Captain Beefheart and Blood, Sweat & Tears, to more pop rock orientated bands like Boston, Foreigner, Kansas, Journey, and Styx. These, beside British bands Supertramp and ELO, all demonstrated a prog rock influence and while ranking among the most commercially successful acts of the 1970s, heralding the era of pomp or arena rock, which would last until the costs of complex shows (often with theatrical staging and special effects), would be replaced by more economical rock festivals as major live venues in the 1990s.[citation needed]
The instrumental strand of the genre resulted in albums like Mike Oldfield's Tubular Bells (1973), the first record, and worldwide hit, for the Virgin Records label, which became a mainstay of the genre. Instrumental rock was particularly significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream, Can, Focus (band) and Faust to circumvent the language barrier. Their synthesiser-heavy "krautrock", along with the work of Brian Eno (for a time the keyboard player with Roxy Music), would be a major influence on subsequent electronic rock. With the advent of punk rock and technological changes in the late 1970s, progressive rock was increasingly dismissed as pretentious and overblown. Many bands broke up, but some, including Genesis, ELP, Yes, and Pink Floyd, regularly scored top ten albums with successful accompanying worldwide tours. Some bands which emerged in the aftermath of punk, such as Siouxsie and the Banshees, Ultravox, and Simple Minds, showed the influence of progressive rock, as well as their more usually recognized punk influences.
Jazz rock
In the late 1960s, jazz-rock emerged as a distinct subgenre out of the blues-rock, psychedelic, and progressive rock scenes, mixing the power of rock with the musical complexity and improvisational elements of jazz. AllMusic states that the term jazz-rock "may refer to the loudest, wildest, most electrified fusion bands from the jazz camp, but most often it describes performers coming from the rock side of the equation." Jazz-rock "...generally grew out of the most artistically ambitious rock subgenres of the late '60s and early '70s", including the singer-songwriter movement. Many early US rock and roll musicians had begun in jazz and carried some of these elements into the new music. In Britain, the subgenre of blues rock, and many of its leading figures, like Ginger Baker and Jack Bruce of the Eric Clapton-fronted band Cream, had emerged from the British jazz scene. Often highlighted as the first true jazz-rock recording is the only album by the relatively obscure New York–based the Free Spirits with Out of Sight and Sound (1966). The first group of bands to self-consciously use the label were R&B oriented white rock bands that made use of jazzy horn sections, like Electric Flag, Blood, Sweat & Tears and Chicago, to become some of the most commercially successful acts of the later 1960s and the early 1970s.
British acts to emerge in the same period from the blues scene, to make use of the tonal and improvisational aspects of jazz, included Nucleus and the Graham Bond and John Mayall spin-off Colosseum. From the psychedelic rock and the Canterbury scenes came Soft Machine, who, it has been suggested, produced one of the artistically successfully fusions of the two genres. Perhaps the most critically acclaimed fusion came from the jazz side of the equation, with Miles Davis, particularly influenced by the work of Hendrix, incorporating rock instrumentation into his sound for the album Bitches Brew (1970). It was a major influence on subsequent rock-influenced jazz artists, including Herbie Hancock, Chick Corea and Weather Report. The genre began to fade in the late 1970s, as a mellower form of fusion began to take its audience, but acts like Steely Dan, Frank Zappa and Joni Mitchell recorded significant jazz-influenced albums in this period, and it has continued to be a major influence on rock music.
1970s–1980s: Commercialisation
Reflecting on developments that occurred in rock music in the early 1970s, Robert Christgau wrote in Christgau's Record Guide: Rock Albums of the Seventies (1981):
The decade is, of course, an arbitrary schema itself—time doesn't just execute a neat turn toward the future every ten years. But like a lot of artificial concepts—money, say—the category does take on a reality of its own once people figure out how to put it to work. "The '60s are over," a slogan one only began to hear in 1972 or so, mobilized all those eager to believe that idealism had become passe, and once they were mobilized, it had. In popular music, embracing the '70s meant both an elitist withdrawal from the messy concert and counterculture scene and a profiteering pursuit of the lowest common denominator in FM radio and album rock.
Rock saw greater commodification during this decade, turning into a multibillion-dollar industry and doubling its market while, as Christgau noted, suffering a significant "loss of cultural prestige". "Maybe the Bee Gees became more popular than the Beatles, but they were never more popular than Jesus", he said. "Insofar as the music retained any mythic power, the myth was self-referential – there were lots of songs about the rock and roll life but very few about how rock could change the world, except as a new brand of painkiller ... In the '70s the powerful took over, as rock industrialists capitalized on the national mood to reduce potent music to an often reactionary species of entertainment—and to transmute rock's popular base from the audience to market."
Roots rock
Roots rock is the term now used to describe a move away from what some saw as the excesses of the psychedelic scene, to a more basic form of rock and roll that incorporated its original influences, particularly blues, country and folk music, leading to the creation of country rock and Southern rock. In 1966, Bob Dylan went to Nashville to record the album Blonde on Blonde. This, and subsequent more clearly country-influenced albums, such as Nashville Skyline, have been seen as creating the genre of country folk, a route pursued by a number of largely acoustic folk musicians. Other acts that followed the back-to-basics trend were the Canadian group the Band and the California-based Creedence Clearwater Revival, both of which mixed basic rock and roll with folk, country and blues, to be among the most successful and influential bands of the late 1960s. The same movement saw the beginning of the recording careers of Californian solo artists like Ry Cooder, Bonnie Raitt and Lowell George, and influenced the work of established performers such as the Rolling Stones' Beggar's Banquet (1968) and the Beatles' Let It Be (1970). Reflecting on this change of trends in rock music over the past few years, Christgau wrote in his June 1970 "Consumer Guide" column that this "new orthodoxy" and "cultural lag" abandoned improvisatory, studio-ornamented productions in favor of an emphasis on "tight, spare instrumentation" and song composition: "Its referents are '50s rock, country music, and rhythm-and-blues, and its key inspiration is the Band."
In 1968, Gram Parsons recorded Safe at Home with the International Submarine Band, arguably the first true country rock album. Later that year he joined the Byrds for Sweetheart of the Rodeo (1968), generally considered one of the most influential recordings in the genre. The Byrds continued in the same vein, but Parsons left to be joined by another ex-Byrds member Chris Hillman in forming the Flying Burrito Brothers who helped establish the respectability and parameters of the genre, before Parsons departed to pursue a solo career. Bands in California that adopted country rock included Hearts and Flowers, Poco, New Riders of the Purple Sage, the Beau Brummels, and the Nitty Gritty Dirt Band. Some performers also enjoyed a renaissance by adopting country sounds, including: the Everly Brothers; one-time teen idol Rick Nelson who became the frontman for the Stone Canyon Band; former Monkee Mike Nesmith who formed the First National Band; and Neil Young.The Dillards were, unusually, a country act, who moved towards rock music. The greatest commercial success for country rock came in the 1970s, with artists including the Doobie Brothers, Emmylou Harris, Linda Ronstadt and the Eagles (made up of members of the Burritos, Poco, and Stone Canyon Band), who emerged as one of the most successful rock acts of all time, producing albums that included Hotel California (1976).
The founders of Southern rock are usually thought to be the Allman Brothers Band, who developed a distinctive sound, largely derived from blues rock, but incorporating elements of boogie, soul, and country in the early 1970s. The most successful act to follow them were Lynyrd Skynyrd, who helped establish the "Good ol' boy" image of the subgenre and the general shape of 1970s' guitar rock. Their successors included the fusion/progressive instrumentalists Dixie Dregs, the more country-influenced Outlaws, funk/R&B-leaning Wet Willie and (incorporating elements of R&B and gospel) the Ozark Mountain Daredevils. After the loss of original members of the Allmans and Lynyrd Skynyrd, the genre began to fade in popularity in the late 1970s, but was sustained the 1980s with acts like .38 Special, Molly Hatchet and the Marshall Tucker Band.
Glam rock
Glam rock emerged from the English psychedelic and art rock scenes of the late 1960s; it can be seen as both an extension of (and reaction against) those trends. Musically diverse, varying between the simple rock and roll revivalism of figures like Alvin Stardust to the complex art rock of Roxy Music, and can be seen as much as a fashion as a musical subgenre. Visually, it was a mesh of various styles, ranging from 1930s Hollywood glamor, through 1950s pin-up sex appeal, pre-war Cabaret theatrics, Victorian literary and symbolist styles, science fiction, to ancient and occult mysticism and mythology; manifesting itself in outrageous clothes, makeup, hairstyles, and platform-soled boots. Glam is most noted for its sexual and gender ambiguity and representations of androgyny, beside extensive use of theatrics. It was prefigured by the showmanship and gender-identity manipulation of American acts such as the Cockettes and Alice Cooper.
The origins of glam rock are associated with Marc Bolan, who had renamed his folk duo to T. Rex and taken up electric instruments by the end of the 1960s. Often cited as the moment of inception is his appearance on the BBC music show Top of the Pops in March 1971 wearing glitter and satins, to perform what would be his second UK Top 10 hit (and first UK Number 1 hit), "Hot Love". From 1971, already a minor star, David Bowie developed his Ziggy Stardust persona, incorporating elements of professional make up, mime and performance into his act. These performers were soon followed in the style by acts including Roxy Music, Sweet, Slade, Mott the Hoople, Mud and Alvin Stardust. While highly successful in the single charts in the United Kingdom, very few of these musicians were able to make a serious impact in the United States; Bowie was the major exception becoming an international superstar and prompting the adoption of glam styles among acts like Lou Reed, Iggy Pop, New York Dolls and Jobriath, often known as "glitter rock" and with a darker lyrical content than their British counterparts. In the UK the term glitter rock was most often used to refer to the extreme version of glam pursued by Gary Glitter and his support musicians the Glitter Band, who between them achieved eighteen top ten singles in the UK between 1972 and 1976. A second wave of glam rock acts, including Suzi Quatro, Roy Wood's Wizzard and Sparks, dominated the British single charts from about 1974 to 1976. Existing acts, some not usually considered central to the genre, also adopted glam styles, including Rod Stewart, Elton John, Queen and, for a time, even the Rolling Stones. It was also a direct influence on acts that rose to prominence later, including Kiss and Adam Ant, and less directly on the formation of gothic rock and glam metal as well as on punk rock, which helped end the fashion for glam from about 1976. Glam has since enjoyed sporadic modest revivals through bands such as Chainsaw Kittens, the Darkness and in R&B crossover act Prince.
Chicano rock
After the early successes of Latin rock in the 1960s, Chicano musicians like Carlos Santana and Al Hurricane continued to have successful careers throughout the 1970s. Santana opened the decade with success in his 1970 single "Black Magic Woman" on the Abraxas album. His third album Santana III yielded the single "No One to Depend On", and his fourth album Caravanserai experimented with his sound to mixed reception. He later released a series of four albums that all achieved gold status: Welcome, Borboletta, Amigos, and Festivál. Al Hurricane continued to mix his rock music with New Mexico music, though he was also experimenting more heavily with Jazz music, which led to several successful singles, especially on his Vestido Mojado album, including the eponymous "Vestido Mojado", as well as "Por Una Mujer Casada" and "Puño de Tierra"; his brothers had successful New Mexico music singles in "La Del Moño Colorado" by Tiny Morrie and "La Cumbia De San Antone" by Baby Gaby.Al Hurricane Jr. also began his successful rock-infused New Mexico music recording career in the 1970s, with his 1976 rendition of "Flor De Las Flores".Los Lobos gained popularity at this time, with their first album Los Lobos del Este de Los Angeles in 1977.
Soft rock, hard rock, and early heavy metal
A strange time, 1971—although rock's balkanization into genres was well underway, it was often hard to tell one catch-phrase from the next. "Art-rock" could mean anything from the Velvets to the Moody Blues, and although Led Zeppelin was launched and Black Sabbath celebrated, "heavy metal" remained an amorphous concept.
From the late -1960s, it became common to divide mainstream rock music into soft and hard rock. Soft rock was often derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies. Major artists included Carole King, Cat Stevens and James Taylor. It reached its commercial peak in the mid- to late-1970s with acts like Billy Joel, America and the reformed Fleetwood Mac, whose Rumours (1977) was the best-selling album of the decade. In contrast, hard rock was more often derived from blues-rock and was played louder and with more intensity. It often emphasised the electric guitar, both as a rhythm instrument using simple repetitive riffs and as a solo lead instrument, and was more likely to be used with distortion and other effects. Key acts included British Invasion bands like the Kinks, as well as psychedelic era performers like Cream, Jimi Hendrix and the Jeff Beck Group. Hard rock-influenced bands that enjoyed international success in the later 1970s included Queen,Thin Lizzy,Aerosmith, AC/DC, and Van Halen.
Also from the late-1960s, the term "heavy metal" began to be used to describe some hard rock played with even more volume and intensity, first as an adjective and by the early 1970s as a noun. The term was first used in music in Steppenwolf's "Born to Be Wild" (1967); the term began to be associated with pioneer bands like San Francisco's Blue Cheer, Cleveland's James Gang and Michigan's Grand Funk Railroad. By 1970, three key British bands had developed the characteristic sounds and styles which would help shape the subgenre. Led Zeppelin added elements of fantasy to their riff laden blues-rock, Deep Purple brought in symphonic and medieval interests from their progressive rock phase and Black Sabbath introduced facets of the gothic and modal harmony, helping to produce a "darker" sound. These elements were taken up by a "second generation" of heavy metal bands into the late-1970s, including: Judas Priest, UFO, Motörhead and Rainbow from Britain; Kiss, Ted Nugent, and Blue Öyster Cult from the US; Rush from Canada and Scorpions from Germany, all marking the expansion in popularity of the subgenre. Despite a lack of airplay and very little presence on the singles charts, late-1970s heavy metal built a considerable following, particularly among adolescent working-class males in North America and Europe.
In the 1980s, bands such as Bon Jovi, Guns N' Roses, Skid Row and Def Leppard saw mainstream success, with hard rock and a fusion of hard rock and heavy metal with pop. During the 1990s, hard rock saw a slight decline in popularity, save for some major hits like Guns N' Roses' "November Rain". However, in the early-2000s, Bon Jovi's "It's My Life" saw a huge increase in popularity of rock and pop rock and helped introduce the genres to a newer fanbase.
Christian rock
Rock music, mostly the heavy metal genre, has sometimes been criticized by some Christian leaders, who have condemned it as immoral, anti-Christian, and even satanic. However, Christian rock began to develop in the late 1960s, particularly out of the Jesus movement beginning in Southern California; however, it emerged as a subgenre in the 1970s with artists like Larry Norman, usually seen as the first major "star" of Christian rock. The genre was mostly a phenomenon in the United States. Many Christian rock performers have ties to the contemporary Christian music scene. Starting in the 1980s, Christian pop performers have had some mainstream success. While these artists were largely acceptable in Christian communities, the adoption of heavy rock and glam metal styles by bands like Stryper, who achieved considerable mainstream success in the 1980s, was more controversial. Starting in the 1990s, there were increasing numbers of acts who attempted to avoid the Christian band label, preferring to be seen as groups who were also Christians, including P.O.D.
Heartland rock
American working-class oriented heartland rock, characterized by a straightforward musical style, and a concern with the lives of ordinary, blue-collar American people, developed in the second half of the 1970s. The term heartland rock was first used to describe Midwestern arena rock groups like Kansas, REO Speedwagon and Styx, but which came to be associated with a more socially concerned form of roots rock more directly influenced by folk, country and rock and roll. It has been seen as an American Midwest and Rust Belt counterpart to West Coast country rock and the Southern rock of the American South. Led by figures who had initially been identified with punk and New Wave, it was most strongly influenced by acts such as Bob Dylan, the Byrds, Creedence Clearwater Revival and Van Morrison, and the basic rock of 1960s garage and the Rolling Stones.
Exemplified by the commercial success of singer songwriters Bruce Springsteen, Bob Seger, and Tom Petty, along with less widely known acts such as Southside Johnny and the Asbury Jukes and Joe Grushecky and the Houserockers, it was partly a reaction to post-industrial urban decline in the East and Mid-West, often dwelling on issues of social disintegration and isolation, beside a form of good-time rock and roll revivalism. The genre reached its commercial, artistic and influential peak in the mid-1980s, with Springsteen's Born in the USA (1984), topping the charts worldwide and spawning a series of top ten singles, together with the arrival of artists including John Mellencamp, Steve Earle and more gentle singer-songwriters such as Bruce Hornsby. It can also be heard as an influence on artists as diverse as Billy Joel,Kid Rock and the Killers.
Heartland rock faded away as a recognized genre by the early 1990s, as rock music in general, and blue-collar and white working class themes in particular, lost influence with younger audiences, and as heartland's artists turned to more personal works. Many heartland rock artists continued to record with critical and commercial success, most notably Bruce Springsteen, Tom Petty, and John Mellencamp, although their output became more personal and experimental, no longer fitting a specific genre.
Punk rock
Punk rock was developed between 1974 and 1976 in the United States and the United Kingdom. Rooted in garage rock and other forms of what is now known as protopunk music, punk rock bands eschewed the perceived excesses of mainstream 1970s rock. They created fast, hard-edged music, typically with short songs, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY (do it yourself) ethic, with many bands self-producing their recordings and distributing them through informal channels.
By late 1976, acts such as the Ramones and Patti Smith, in New York City, and the Sex Pistols and the Clash, in London, were recognized as the vanguard of a new musical movement. The following year saw punk rock spreading around the world. Punk quickly became a major cultural phenomenon in the UK. The Sex Pistols' live TV skirmish with Bill Grundy on 1 December 1976, was the watershed moment in British punk's transformation into a major media phenomenon, even as some stores refused to stock the records and radio airplay was hard to come by. In May 1977, the Sex Pistols achieved new heights of controversy (and number two on the singles chart) with a song that referenced Queen Elizabeth II, "God Save the Queen", during her Silver Jubilee. For the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive clothing styles and a variety of anti-authoritarian ideologies.
By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant mode of punk rock. This has resulted in several evolved strains of hardcore punk, such as D-beat (a distortion-heavy subgenre influenced by the UK band Discharge), anarcho-punk (such as Crass), grindcore (such as Napalm Death), and crust punk. Musicians identifying with or inspired by punk also pursued a broad range of other variations, giving rise to New wave, post-punk and the alternative rock movement.
New wave
Although punk rock was a significant social and musical phenomenon, it achieved less in the way of record sales (being distributed by small specialty labels such as Stiff Records), or American radio airplay (as the radio scene continued to be dominated by mainstream formats such as disco and album-oriented rock). Punk rock had attracted devotees from the art and collegiate world and soon bands sporting a more literate, arty approach, such as Talking Heads and Devo began to infiltrate the punk scene; in some quarters the description "new wave" began to be used to differentiate these less overtly punk bands. Record executives, who had been mostly mystified by the punk movement, recognized the potential of the more accessible new wave acts and began aggressively signing and marketing any band that could claim a remote connection to punk or new wave. Many of these bands, such as the Cars and the Go-Go's can be seen as pop bands marketed as new wave; other existing acts, including the Police, the Pretenders and Elvis Costello, used the new wave movement as the springboard for relatively long and critically successful careers, while "skinny tie" bands exemplified by the Knack, or the photogenic Blondie, began as punk acts and moved into more commercial territory.
Between 1979 and 1985, influenced by Kraftwerk, Yellow Magic Orchestra, David Bowie and Gary Numan, British new wave went in the direction of such New Romantics as Spandau Ballet, Ultravox, Japan, Duran Duran, A Flock of Seagulls, Culture Club, Talk Talk and the Eurythmics, sometimes using the synthesizer to replace all other instruments. This period coincided with the rise of MTV and led to a great deal of exposure for this brand of synth-pop, creating what has been characterised as a second British Invasion. Some more traditional rock bands adapted to the video age and profited from MTV's airplay, most obviously Dire Straits, whose "Money for Nothing" gently poked fun at the station, despite the fact that it had helped make them international stars, but in general, guitar-oriented rock was commercially eclipsed.
Post-punk
If hardcore most directly pursued the stripped down aesthetic of punk, and new wave came to represent its commercial wing, post-punk emerged in the late-1970s and early-1980s as its more artistic and challenging side. In addition to punk bands, major influences included the Velvet Underground, Frank Zappa, Captain Beefheart, and the New York-based no wave scene, including James Chance and the Contortions, DNA, and Sonic Youth. Early contributors to the genre included U.S. bands Pere Ubu, Devo, the Residents, and Talking Heads.
The first wave of British post-punk included Gang of Four, Siouxsie and the Banshees and Joy Division, who placed less emphasis on art than their US counterparts and more on the dark emotional qualities of their music. Bands like Siouxsie and the Banshees, Bauhaus, the Cure, and the Sisters of Mercy, moved increasingly in this direction to found Gothic rock, which had become the basis of a major sub-culture by the early 1980s. Similar emotional territory was pursued by Australian acts like the Birthday Party and Nick Cave. Members of Bauhaus and Joy Division explored new stylistic territory as Love and Rockets and New Order respectively. Another early post-punk movement was the industrial music developed by British bands Throbbing Gristle and Cabaret Voltaire, and New York-based Suicide, using a variety of electronic and sampling techniques that emulated the sound of industrial production and which would develop into a variety of forms of post-industrial music in the 1980s.
The second generation of British post-punk bands that broke through in the early 1980s, including the Fall, the Pop Group, the Mekons, Echo and the Bunnymen and the Teardrop Explodes, tended to move away from dark sonic landscapes. Arguably the most successful band to emerge from post-punk was Ireland's U2, who incorporated elements of religious imagery together with political commentary into their often anthemic music, and by the late 1980s had become one of the biggest bands in the world. Although many post-punk bands continued to record and perform, it declined as a movement in the mid-1980s as acts disbanded or moved off to explore other musical areas, but it has continued to influence the development of rock music and has been seen as a major element in the creation of the alternative rock movement.
Emergence of alternative rock
The term alternative rock was coined in the early 1980s to describe rock artists who did not fit into the mainstream genres of the time. Bands dubbed "alternative" had no unified style, but were all seen as distinct from mainstream music. Alternative bands were linked by their collective debt to punk rock, through hardcore, New Wave or the post-punk movements. Important alternative rock bands of the 1980s in the US included R.E.M., Hüsker Dü, Jane's Addiction, Sonic Youth, and the Pixies; in the UK, popular bands the Cure, New Order, the Jesus and Mary Chain, and the Smiths. Artists were largely confined to independent record labels, building an extensive underground music scene based on college radio, fanzines, touring, and word-of-mouth. They rejected the dominant synth-pop of the early 1980s, marking a return to group-based guitar rock.
Few of these early bands achieved mainstream success, although exceptions to this rule include R.E.M., the Smiths, and the Cure. Despite a general lack of spectacular album sales, the original alternative rock bands exerted a considerable influence on the generation of musicians who came of age in the 1980s and ended up breaking through to mainstream success in the 1990s. Styles of alternative rock in the US during the 1980s included jangle pop, associated with the early recordings of R.E.M., which incorporated the ringing guitars of mid-1960s pop and rock, and college rock, used to describe alternative bands that began in the college circuit and college radio, including acts such as 10,000 Maniacs and the Feelies. In the UK, Gothic rock was dominant in the early 1980s; however, by the end of the decade, indie or dream pop like Primal Scream, Bogshed, Half Man Half Biscuit and the Wedding Present, and what were dubbed shoegaze bands like My Bloody Valentine, Slowdive, Ride and Lush entered. Particularly vibrant was the Madchester scene, producing such bands as Happy Mondays, Inspiral Carpets and the Stone Roses. The next decade would see the success of grunge in the US and Britpop in the UK, bringing alternative rock into the mainstream.
1990s–2000s: Rise of alternative culture
Grunge
Disaffected by commercialized and highly produced pop and rock in the mid-1980s, bands in Washington state (particularly in the Seattle area) formed a new style of rock which sharply contrasted with the mainstream music of the time. The developing genre came to be known as "grunge", a term descriptive of the dirty sound of the music and the unkempt appearance of most musicians, who actively rebelled against the over-groomed images of other artists. Grunge fused elements of hardcore punk and heavy metal into a single sound, and made heavy use of guitar distortion, fuzz, and feedback. The lyrics were typically apathetic and angst-filled, and often concerned themes such as social alienation and entrapment, although it was also known for its dark humor and parodies of commercial rock.
Bands such as Green River, Soundgarden, Melvins, and Skin Yard pioneered the genre, with Mudhoney becoming the most successful by the end of the decade. Grunge remained largely a local phenomenon until 1991, when Nirvana's album Nevermind became a huge success, containing the anthemic song "Smells Like Teen Spirit".Nevermind was more melodic than its predecessors, by signing to Geffen Records the band was one of the first to employ traditional corporate promotion and marketing mechanisms such as an MTV video, in store displays and the use of radio "consultants" who promoted airplay at major mainstream rock stations. During 1991 and 1992, other grunge albums such as Pearl Jam's Ten, Soundgarden's Badmotorfinger, and Alice in Chains' Dirt, along with the Temple of the Dog album featuring members of Pearl Jam and Soundgarden, became among the 100 top-selling albums. Major record labels signed most of the remaining grunge bands in Seattle, while a second influx of acts moved to the city in the hope of success. However, with the death of Kurt Cobain and the subsequent break-up of Nirvana in 1994, touring problems for Pearl Jam and the departure of Alice in Chains' lead singer Layne Staley in 1998, the genre began to decline, partly to be overshadowed by Britpop and more commercial sounding post-grunge.
Britpop
Britpop emerged from the British alternative rock scene of the early 1990s and was characterised by bands particularly influenced by British guitar music of the 1960s and 1970s.The Smiths were a major influence, as were bands of the Madchester scene, which had dissolved in the early 1990s. The movement has been seen partly as a reaction against various US-based, musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon and as a reassertion of a British rock identity. Britpop was varied in style, but often used catchy tunes and hooks, beside lyrics with particularly British concerns and the adoption of the iconography of the 1960s British Invasion, including the symbols of British identity previously used by the mods. It was launched around 1993 with releases by groups such as Suede and Blur, who were soon joined by others including Oasis, Pulp, Supergrass, and Elastica, who produced a series of successful albums and singles. For a while the contest between Blur and Oasis was built by the popular press into the "Battle of Britpop", initially won by Blur, but with Oasis achieving greater long-term and international success, directly influencing later Britpop bands, such as Ocean Colour Scene and Kula Shaker. Britpop groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement known as Cool Britannia. Although its more popular bands, particularly Blur and Oasis, were able to spread their commercial success overseas, especially to the United States, the movement had largely fallen apart by the end of the decade.
Post-grunge
The term post-grunge was coined for the generation of bands that followed the emergence into the mainstream and subsequent hiatus of the Seattle grunge bands. Post-grunge bands emulated their attitudes and music, but with a more radio-friendly commercially oriented sound. Often they worked through the major labels and came to incorporate diverse influences from jangle pop, pop-punk, alternative metal or hard rock. The term post-grunge originally was meant to be pejorative, suggesting that they were simply musically derivative, or a cynical response to an "authentic" rock movement. Originally, grunge bands that emerged when grunge was mainstream and were suspected of emulating the grunge sound were pejoratively labelled as post-grunge. From 1994, former Nirvana drummer Dave Grohl's new band, the Foo Fighters, helped popularize the genre and define its parameters.
Some post-grunge bands, like Candlebox, were from Seattle, but the subgenre was marked by a broadening of the geographical base of grunge, with bands like Los Angeles' Audioslave, and Georgia's Collective Soul and beyond the US to Australia's Silverchair and Britain's Bush, who all cemented post-grunge as one of the most commercially viable subgenres of the late 1990s. Although male bands predominated post-grunge, female solo artist Alanis Morissette's 1995 album Jagged Little Pill, labelled as post-grunge, also became a multi-platinum hit. Post-grunge morphed during the late 1990s as post-grunge bands like Creed and Nickelback emerged. Bands like Creed and Nickelback took post-grunge into the 21st century with considerable commercial success, abandoning most of the angst and anger of the original movement for more conventional anthems, narratives and romantic songs, and were followed in this vein by newer acts including Shinedown, Seether, 3 Doors Down and Puddle of Mudd.
Pop-punk
The origins of 1990s pop-punk can be seen in the more song-oriented bands of the 1970s punk movement like Buzzcocks and the Clash, commercially successful new wave acts such as the Jam and the Undertones, and the more hardcore-influenced elements of alternative rock in the 1980s. Pop-punk tends to use power-pop melodies and chord changes with speedy punk tempos and loud guitars. Punk music provided the inspiration for some California-based bands on independent labels in the early 1990s, including Rancid and Green Day. In 1994, Green Day moved to a major label and produced the album Dookie, which found a new, largely teenage, audience and proved a surprise diamond-selling success, leading to a series of hit singles, including two number ones in the US. They were soon followed by the eponymous debut from Weezer, which spawned three top ten singles in the US. This success opened the door for the multi-platinum sales of metallic punk band the Offspring with Smash (1994). This first wave of pop punk reached its commercial peak with Green Day's Nimrod (1997) and the Offspring's Americana (1998).
A second wave of pop-punk was spearheaded by Blink-182, with their breakthrough album Enema of the State (1999), followed by bands such as Good Charlotte, Simple Plan and Sum 41, who made use of humour in their videos and had a more radio-friendly tone to their music, while retaining the speed, some of the attitude and even the look of 1970s punk. Later pop-punk bands, including All Time Low, the All-American Rejects and Fall Out Boy, had a sound that has been described as closer to 1980s hardcore, while still achieving commercial success.
Indie rock
In the 1980s the terms indie rock and alternative rock were used interchangeably. By the mid-1990s, as elements of the movement began to attract mainstream interest, particularly grunge and then Britpop, post-grunge and pop-punk, the term alternative began to lose its meaning. Those bands following the less commercial contours of the scene were increasingly referred to by the label indie. They characteristically attempted to retain control of their careers by releasing albums on their own or small independent labels, while relying on touring, word-of-mouth, and airplay on independent or college radio stations for promotion. Linked by an ethos more than a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged, grunge-influenced bands like the Cranberries and Superchunk, through do-it-yourself experimental bands like Pavement, to punk-folk singers such as Ani DiFranco. It has been noted that indie rock has a relatively high proportion of female artists compared with preceding rock genres, a tendency exemplified by the development of feminist-informed Riot grrrl music. Many countries have developed an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but virtually unknown outside them.
By the end of the 1990s many recognisable subgenres, most with their origins in the late 1980s alternative movement, were included under the umbrella of indie. Lo-fi eschewed polished recording techniques for a D.I.Y. ethos and was spearheaded by Beck, Sebadoh and Pavement. The work of Talk Talk and Slint helped inspire both post rock, an experimental style influenced by jazz and electronic music, pioneered by Bark Psychosis and taken up by acts such as Tortoise, Stereolab, and Laika, as well as leading to more dense and complex, guitar-based math rock, developed by acts like Polvo and Chavez. Space rock looked back to progressive roots, with drone heavy and minimalist acts like Spacemen 3, the two bands created out of its split, Spectrum and Spiritualized, and later groups including Flying Saucer Attack, Godspeed You! Black Emperor and Quickspace. In contrast, Sadcore emphasised pain and suffering through melodic use of acoustic and electronic instrumentation in the music of bands like American Music Club and Red House Painters, while the revival of baroque pop reacted against lo-fi and experimental music by placing an emphasis on melody and classical instrumentation, with artists like Arcade Fire, Belle and Sebastian and Rufus Wainwright.
Alternative metal, rap rock and nu metal
Alternative metal emerged from the hardcore scene of alternative rock in the US in the later 1980s, but gained a wider audience after grunge broke into the mainstream in the early 1990s. Early alternative metal bands mixed a wide variety of genres with hardcore and heavy metal sensibilities, with acts like Jane's Addiction and Primus using progressive rock, Soundgarden and Corrosion of Conformity using garage punk, the Jesus Lizard and Helmet mixing noise rock, Ministry and Nine Inch Nails influenced by industrial music, Monster Magnet moving into psychedelia, Pantera, Sepultura and White Zombie creating groove metal, while Biohazard, Limp Bizkit and Faith No More turned to hip hop and rap.
Hip hop had gained attention from rock acts in the early 1980s, including the Clash with "The Magnificent Seven" (1980) and Blondie with "Rapture" (1980). Early crossover acts included Run DMC and the Beastie Boys. Detroit rapper Esham became known for his "acid rap" style, which fused rapping with a sound that was often based in rock and heavy metal. Rappers who sampled rock songs included Ice-T, the Fat Boys, LL Cool J, Public Enemy and Whodini. The mixing of thrash metal and rap was pioneered by Anthrax on their 1987 comedy-influenced single "I'm the Man".
In 1990, Faith No More broke into the mainstream with their single "Epic", often seen as the first truly successful combination of heavy metal with rap. This paved the way for the success of existing bands like 24-7 Spyz and Living Colour, and new acts including Rage Against the Machine and Red Hot Chili Peppers, who all fused rock and hip hop among other influences. Among the first wave of performers to gain mainstream success as rap rock were 311,Bloodhound Gang, and Kid Rock. A more metallic sound – nu metal – was pursued by bands including Limp Bizkit, Korn and Slipknot. Later in the decade this style, which contained a mix of grunge, punk, metal, rap and turntable scratching, spawned a wave of successful bands like Linkin Park, P.O.D. and Staind, who were often classified as rap metal or nu metal, the first of which are the best-selling band of the genre.
In 2001, nu metal reached its peak with albums like Staind's Break the Cycle, P.O.D's Satellite, Slipknot's Iowa and Linkin Park's Hybrid Theory. New bands also emerged like Disturbed, Godsmack and Papa Roach, whose major label début Infest became a platinum hit. Korn's long-awaited fifth album Untouchables, and Papa Roach's second album Lovehatetragedy, did not sell as well as their previous releases, while nu metal bands were played more infrequently on rock radio stations and MTV began focusing on pop punk and emo. Since then, many bands have changed to a more conventional hard rock, heavy metal, or electronic music sound.
Post-Britpop
From about 1997, as dissatisfaction grew with the concept of Cool Britannia, and Britpop as a movement began to dissolve, emerging bands began to avoid the Britpop label while still producing music derived from it. Many of these bands tended to mix elements of British traditional rock (or British trad rock), particularly the Beatles, Rolling Stones and Small Faces, with American influences, including post-grunge. Drawn from across the United Kingdom (with several important bands emerging from the north of England, Scotland, Wales and Northern Ireland), the themes of their music tended to be less parochially centered on British, English and London life and more introspective than had been the case with Britpop at its height. This, beside a greater willingness to engage with the American press and fans, may have helped some of them in achieving international success. Several alternative bands that had enjoyed some success during the mid-1990s, but did not find major commercial success until the late 1990s included the Verve and Radiohead. After the decline of Britpop they began to gain more critical and popular attention. The Verve's album Urban Hymns (1997) was a worldwide hit, and Radiohead achieved near-universal critical acclaim with their experimental third album OK Computer (1997), as well as its follow-up Kid A (2000).
Post-Britpop bands have been seen as presenting the image of the rock star as an ordinary person and their increasingly melodic music was criticised for being bland or derivative. Post-Britpop bands like Travis from The Man Who (1999), Stereophonics from Performance and Cocktails (1999), Feeder from Echo Park (2001), and particularly Coldplay from their debut album Parachutes (2000), achieved much wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and early 2000s, arguably providing a launchpad for the subsequent garage rock revival and post-punk revival, which has also been seen as a reaction to their introspective brand of rock.
Post-hardcore and emo
Post-hardcore developed in the US, particularly in the Chicago and Washington, DC areas, in the early to mid-1980s, with bands that were inspired by the do-it-yourself ethics and guitar-heavy music of hardcore punk, but influenced by post-punk, adopting longer song formats, more complex musical structures and sometimes more melodic vocal styles.
Emo also emerged from the hardcore scene in 1980s Washington, D.C., initially as "emocore", used as a term to describe bands who favored expressive vocals over the more common abrasive, barking style. The early emo scene operated as an underground, with short-lived bands releasing small-run vinyl records on tiny independent labels. Emo broke into mainstream culture in the early 2000s with the platinum-selling success of Jimmy Eat World's Bleed American (2001) and Dashboard Confessional's The Places You Have Come to Fear the Most (2003). The new emo had a much more mainstream sound than in the 1990s and a far greater appeal amongst adolescents than its earlier incarnations. At the same time, use of the term emo expanded beyond the musical genre, becoming associated with fashion, a hairstyle and any music that expressed emotion. By 2003 post-hardcore bands had also caught the attention of major labels and began to enjoy mainstream success in the album charts.[citation needed] A number of these bands were seen as a more aggressive offshoot of emo and given the often vague label of screamo.
Garage rock and post-punk revivals
In the early-2000s, a new group of bands that played a stripped down and back-to-basics version of guitar rock, emerged into the mainstream. They were variously characterised as part of a garage rock, post-punk or New Wave revival. Because the bands came from across the globe, cited diverse influences (from traditional blues, through New Wave to grunge), and adopted differing styles of dress, their unity as a genre has been disputed. There had been attempts to revive garage rock and elements of punk in the 1980s and 1990s; by 2000, scenes had grown up in several countries.
The commercial breakthrough from these scenes was led by four bands: the Strokes, who emerged from the New York club scene with their debut album Is This It (2001); the White Stripes, from Detroit, with their third album White Blood Cells (2001); the Hives from Sweden after their compilation album Your New Favourite Band (2001); and the Vines from Australia with Highly Evolved (2002). They were christened by the media as the "The" bands, and dubbed "The saviours of rock 'n' roll", leading to accusations of hype. A second wave of bands that gained international recognition due to the movement included Black Rebel Motorcycle Club, Yeah Yeah Yeahs, the Killers, Interpol and Kings of Leon from the US,the Libertines, Arctic Monkeys, Bloc Party, Editors, Kaiser Chiefs and Franz Ferdinand from the UK,Jet and Wolfmother from Australia, and the Datsuns and the D4 from New Zealand.
Digital electronic rock
In the 2000s, as computer technology became more accessible and music software advanced, it became possible to create high quality music using little more than a single laptop computer. This resulted in a massive increase in the amount of home-produced electronic music available to the general public via the expanding internet, and new forms of performance such as laptronica and live coding. These techniques also began to be used by existing bands and by developing genres that mixed rock with digital techniques and sounds, including indie electronic, electroclash, dance-punk and new rave.[citation needed]
2010s–present: Commercial stagnation and revival scenes
During the 2010s, rock music declined from its position as the major popular music genre, now sharing with electronic dance and hip hop, the latter of which had surpassed it as the most consumed musical genre in the United States by 2017. The rise of streaming and the advent of technology, which changed approaches toward music creation, were cited as major factors. Ken Partridge of Genius suggested that hip-hop became more popular because it is a more transformative genre and does not need to rely on past sounds, and that there is a direct connection to the stagnation of rock music and changing social attitudes during the 2010s. Bill Flanagan, in a 2016 opinion piece for The New York Times, compared the state of rock during this period to the state of jazz in the early 1980s, "slowing down and looking back."
The rock bands which had chart success in the 2010s were mostly associated with the trends that had been popular in the 2000s and earlier decades rather than reflecting new scenes and sounds. Some pop rock and hard rock bands continued to see commercial success during this period, including Ghost, Maroon 5, Twenty One Pilots, Fall Out Boy, Imagine Dragons, Halestorm, Panic! at the Disco, Black Veil Brides, Greta Van Fleet, and The Black Keys. Outside of the charts, the commercialisation of rock festivals was a major theme of the decade, with both global megafestivals such as Coachella, Glastonbury and Roskilde, and smaller-scale local festivals expanding.
In 2020, the COVID-19 pandemic brought extreme changes to the rock scene worldwide. Restrictions, such as quarantine rules, caused widespread cancellations and postponements of concerts, tours, festivals, album releases, award ceremonies, and competitions. Some artists resorted to giving online performances to keep their careers active. Another scheme to circumvent the quarantine limitations was used at a concert of Danish rock musician Mads Langer: the audience watched the performance from inside their cars, much like in a drive-in theater. Musically, the pandemic led to a surge in new releases from the slower, less energetic, and more acoustic subgenres of rock music. The industry raised funds to help itself through efforts such as Crew Nation, a relief fund for live music crews organised by Livenation.
Psychedelic and progressive revivals
Psychedelic and progressive styles in rock would see a major resurgence in popularity during the 2010s and 2020s. Some of the most notable acts in neo-psychedelia originated in Australia; Kevin Parker's Tame Impala released the single "Elephant" in 2012, which became a hit on alternative radio in various countries, and would be followed by the release of critically acclaimed albums by Parker such as Lonerism (2012) and Currents (2015). This new style of Australian psychedelic music not only built on the psychedelic and progressive rock acts of the '60s and '70s, but also incorporated new and unique musical influences from various subgenres of rock, heavy metal, EDM, and world music. A 2014 article in The Guardian described Australia as a place where "independently minded rock bands are free to develop at their own pace". Other Australian psychedelic and progressive revival acts of the 2010s and 2020s include King Gizzard & the Lizard Wizard, Psychedelic Porn Crumpets, Rolling Blackouts Coastal Fever, Bananagun, Jay Watson, The Murlocs, Stonefield, and Tropical Fuck Storm.
Psychedelic trends in rock have also seen a revival in Europe, with European and American stoner rock groups such as Uncle Acid & the Deadbeats, Graveyard, Kadavar, All Them Witches, and True Widow performing a heavier, more riff-based version of neo-psychedelia containing stronger blues and metal influences. Europe has been described as "really good" for new psychedelic music, with many American stoner rock bands choosing to tour in Europe as opposed to North America.
Pop-punk and post-punk revivals
At the start of the 2020s, recording artists in both pop and rap music released popular pop-punk-influenced recordings, many of them produced or assisted by Blink-182 drummer Travis Barker. Representing a commercial resurgence for the genre, these acts included Machine Gun Kelly, Willow Smith, Trippie Redd, Halsey, Yungblud, and Olivia Rodrigo. The popularity of the social media platform TikTok helped spark nostalgia for the angst-driven musical style among young listeners during the pandemic. Among the most successful of these releases have been Machine Gun Kelly's 2020 album Tickets to My Downfall, which topped the Billboard 200, and Rodrigo's number-one hit single "Good 4 U" (2021).
In the mid-to-late 2010s and early-2020s, a new wave of post-punk bands from Britain and Ireland emerged. The groups in this scene have been described with the term "Crank Wave" by NME and The Quietus in 2019, and as "Post-Brexit New Wave" by NPR writer Matthew Perpetua in 2021. Artists that have been identified as part of the style include Black Midi, Wet Leg, Squid, Black Country, New Road, Dry Cleaning, Shame, Sleaford Mods, Fontaines D.C., The Murder Capital, Idles and Yard Act. Post-punk artists that attained prominence in the 2010s and early-2020s from other countries besides the UK included Parquet Courts, Protomartyr and Geese (United States), Preoccupations (Canada), Iceage (Denmark), and Viagra Boys (Sweden).
Classic rock revival
During the mid-to-late 2010s, some mainstream rock bands began to gain notoriety for performing in a back-to-basics style of rock music meant to emulate the sound of legacy acts popular on classic rock radio. The release of albums such as the Struts' Everybody Wants (2014) and Greta Van Fleet's Anthem of the Peaceful Army (2018) saw a renewed mainstream interest in earlier rock styles of the late 1960s and 1970s, with Revolver describing this classic rock revival sound as "hard-hitting, swaggering, riff-driven rock 'n' roll built around a core vocal-guitar-bass-drum configuration". Other groups considered to be a part of this trend include Rival Sons, Dirty Honey, Crown Lands, Larkin Poe, and White Reaper.
Social impact
Different subgenres of rock were adopted by, and became central to, the identity of a large number of sub-cultures. In the 1950s and 1960s, respectively, British youths adopted the Teddy Boy and Rocker subcultures, which revolved around US rock and roll. The counterculture of the 1960s was closely associated with psychedelic rock. The mid- to late-1970s, punk subculture began in the US, but it was given a distinctive look by British designer Vivienne Westwood, a look which spread worldwide. Out of the punk scene, the Goth and Emo subcultures grew, both of which presented distinctive visual styles.
When an international rock culture developed, it supplanted cinema as the major sources of fashion influence. Paradoxically, followers of rock music have often mistrusted the world of fashion, which has been seen as elevating image above substance. Rock fashions have been seen as combining elements of different cultures and periods, as well as expressing divergent views on sexuality and gender, and rock music in general has been noted and criticised for facilitating greater sexual freedom. Rock has also been associated with various forms of drug use, including the amphetamines taken by mods in the early to mid-1960s, through the LSD, mescaline, hashish and other hallucinogenic drugs linked with psychedelic rock in the mid- to late-1960s and early-1970s; and sometimes to cannabis, cocaine and heroin, all of which have been eulogised in song.
Rock has been credited with changing attitudes to race by opening up African-American culture to white audiences; but at the same time, rock has been accused of appropriating and exploiting that culture. While rock music has absorbed many influences and introduced Western audiences to different musical traditions, the global spread of rock music has been interpreted as a form of cultural imperialism. Rock music inherited the folk tradition of protest song, making political statements on subjects such as war, religion, poverty, civil rights, justice and the environment. Political activism reached a mainstream peak with the "Do They Know It's Christmas?" single (1984) and Live Aid concert for Ethiopia in 1985, which, while raising awareness of world poverty and funds for aid, have also been criticised (along with similar events), for providing a stage for self-aggrandisement and increased profits for the rock stars involved.
Since its early development, rock music has been associated with rebellion against social and political norms, most in early rock and roll's rejection of an adult-dominated culture, the counterculture's rejection of consumerism and conformity and punk's rejection of all forms of social convention; however, it can also be seen as providing a means of commercial exploitation of such ideas and of diverting youth away from political action.
Role of women
Professional women instrumentalists are uncommon in rock genres such as heavy metal although bands such as Within Temptation have featured women as lead singers with men playing instruments. According to Schaap and Berkers, "playing in a band is a male homosocial activity, that is, learning to play in a band is a peer-based ... experience, shaped by existing sex-segregated friendship networks. They note that rock music "is often defined as a form of male rebellion vis-à-vis female bedroom culture." (The theory of "bedroom culture" argues that society influences girls to not engage in crime and deviance by virtually trapping them in their bedroom; it was identified by a sociologist named Angela McRobbie.) In popular music, there has been a gendered "distinction between public (male) and private (female) participation" in music. "Several scholars have argued that men exclude women from bands or from the bands' rehearsals, recordings, performances, and other social activities". "Women are regarded as passive and private consumers of slick, prefabricated – hence, inferior – pop music ..., excluding them from participating as high status rock musicians". One of the reasons that there are mixed gender bands is that "bands operate as tight-knit units in which homosocial solidarity – social bonds between people of the same sex ... – plays a crucial role". In the 1960s rock music scene, "singing was sometimes an acceptable pastime for a girl, but playing an instrument ... simply wasn't done".
"The rebellion of rock music was a male rebellion; the women – often, in the 1950s and '60s, girls in their teens – in rock sang songs as personæ dependent on their macho boyfriends ...". Philip Auslander says that "Although there were many women in rock by the late 1960s, most performed only as singers, a feminine position in popular music". Though some women played instruments in American all-female garage rock bands, none of these bands achieved more than regional success. So they "did not provide viable templates for women's on-going participation in rock". In relation to the gender composition of heavy metal bands, it has been said that "[h]eavy metal performers are almost exclusively male" "...at least until the mid-1980s" apart from "...exceptions such as Girlschool". However, "...now [in the 2010s] maybe more than ever–strong metal women have put up their dukes and got down to it", "carv[ing] out a considerable place for [them]selves." When Suzi Quatro emerged in 1973, "no other prominent female musician worked in rock simultaneously as a singer, instrumentalist, songwriter, and bandleader". According to Auslander, she was "kicking down the male door in rock and roll and proving that a female musician ... and this is a point I am extremely concerned about ... could play as well if not better than the boys".
An all-female band is a musical group in genres such as rock and blues which is composed of female musicians. This is distinct from a girl group, in which the female members are vocalists, though this terminology is not universally followed.
See also
- List of rock genres
- List of mainstream rock performers
- Rock Against Racism
- Rock Against Sexism
- Rock for the Rainforest
Notes
- Having died down in the late 1950s, doo wop enjoyed a revival in the same period, with hits for acts like the Marcels, the Capris, Maurice Williams and the Zodiacs, and Shep and the Limelights. The rise of girl groups like the Chantels, the Shirelles and the Crystals placed an emphasis on harmonies and polished production that was in contrast to earlier rock and roll. Some of the most significant girl group hits were products of the Brill Building Sound, named after the block in New York where many songwriters were based, which included the number 1 hit for the Shirelles "Will You Love Me Tomorrow" in 1960, penned by the partnership of Gerry Goffin and Carole King.
- Only the Beach Boys were able to sustain a creative career into the mid-1960s, producing a string of hit singles and albums, including the highly regarded Pet Sounds in 1966, which made them, arguably, the only American rock or pop act that could rival the Beatles.
- In Detroit, garage rock's legacy remained alive into the early 1970s, with bands such as the MC5 and the Stooges, who employed a much more aggressive approach to the form. These bands began to be labelled punk rock and are now often seen as proto-punk or proto-hard rock.
References
- "Power Pop Guide: A Brief History of Power Pop". MasterClass. 4 March 2022. Archived from the original on 24 May 2022. Retrieved 23 May 2022.
- Azerrad, Michael (16 April 1992). "Grunge City: The Seattle Scene". Rolling Stone. Archived from the original on 20 September 2023. Retrieved 2 November 2018.
- W. E. Studwell and D. F. Lonergan, The Classic Rock and Roll Reader: Rock Music from its Beginnings to the mid-1970s (Abingdon: Routledge, 1999), ISBN 0-7890-0151-9 p.xi
- Wyman, Bill (20 December 2016). "Chuck Berry Invented the Idea of Rock and Roll". Vulture.com. New York Media, LLC. Archived from the original on 11 March 2021. Retrieved 19 March 2017.
- J.M. Curtis, Rock Eras: Interpretations of Music and Society, 1954–1984 (Madison, WI: Popular Press, 1987), ISBN 0-87972-369-6, pp. 68–73.
- Campbell, Michael; Brody, James (2007). Rock and Roll: An Introduction (2nd ed.). Belmont, CA: Thomson Schirmer. pp. 80–81. ISBN 978-0-534-64295-2.
- R.C. Brewer, "Bass Guitar" in Shepherd 2003, p 56.
- R. Mattingly, "Drum Set" in Shepherd 2003, p 361.
- P. Théberge, Any Sound you can Imagine: Making Music/Consuming Technology (Middletown, CT, Wesleyan University Press, 1997), ISBN 0-8195-6309-9, pp. 69–70.
- D. Laing, "Quartet" in Shepherd 2003, p 56.
- C. Ammer, The Facts on File Dictionary of Music (New York: Infobase, 4th edn., 2004), ISBN 0-8160-5266-2, pp. 251–52.
- Campbell & Brody 2007, p. 117
- J. Covach, "From craft to art: formal structure in the music of the Beatles", in K. Womack and Todd F. Davis, eds, Reading the Beatles: Cultural Studies, Literary Criticism, and the Fab Four (New York: SUNY Press, 2006), ISBN 0-7914-6715-5, p. 40.
- T. Gracyk, Rhythm and Noise: an Aesthetics of Rock, (London: I.B. Tauris, 1996), ISBN 1-86064-090-7, p. xi.
- P. Wicke, Rock Music: Culture, Aesthetics and Sociology (Cambridge: Cambridge University Press, 1990), ISBN 0-521-39914-9, p. x.
- Christgau, Robert (1981). "Genesis: Selling England by the Pound". Christgau's Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN 0-89919-025-1. Archived from the original on 6 April 2023. Retrieved 16 October 2021 – via robertchristgau.com.
- Christgau, Robert (1981). "The Decade". Christgau's Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN 0-89919-025-1. Archived from the original on 2 April 2019. Retrieved 6 April 2019 – via robertchristgau.com.
- Farber, Barry A. (2007). Rock 'n' roll Wisdom: What Psychologically Astute Lyrics Teach About Life and Love. Westport, CT: Praeger. pp. xxvi–xxviii. ISBN 978-0-275-99164-7.
- Christgau, Robert; et al. (2000). McKeen, William (ed.). Rock & Roll Is Here to Stay: An Anthology. W.W. Norton & Company. pp. 564–65, 567. ISBN 0-393-04700-8.
- McDonald, Chris (2009). Rush, Rock Music and the Middle Class: Dreaming in Middletown. Bloomington, IN: Indiana University Press. pp. 108–09. ISBN 978-0-253-35408-2.
- S. Waksman, Instruments of Desire: the Electric Guitar and the Shaping of Musical Experience (Cambridge, MA: Harvard University Press, 2001), ISBN 0-674-00547-3, p. 176.
- Frith, Simon (2007). Taking Popular Music Seriously: Selected Essays. Aldershot, England: Ashgate Publishing. pp. 43–44. ISBN 978-0-7546-2679-4. Archived from the original on 6 April 2023. Retrieved 27 March 2023.
- Christgau, Robert (11 June 1972). "Tuning Out, Tuning In, Turning On". Newsday. Archived from the original on 20 September 2023. Retrieved 17 March 2017.
- T. Warner, Pop Music: Technology and Creativity: Trevor Horn and the Digital Revolution (Aldershot: Ashgate, 2003), ISBN 0-7546-3132-X, pp. 3–4.
- R. Beebe, D. Fulbrook and B. Saunders, "Introduction" in R. Beebe, D. Fulbrook, B. Saunders, eds, Rock Over the Edge: Transformations in Popular Music Culture (Durham, NC: Duke University Press, 2002), ISBN 0-8223-2900-X, p. 7.
- Christgau, Robert (1990). "Introduction: Canons and Listening Lists". Christgau's Record Guide: The '80s. Pantheon Books. ISBN 0-679-73015-X. Archived from the original on 9 July 2023. Retrieved 6 April 2019.
- R. Unterberger, "Birth of Rock & Roll", in Bogdanov et al., 2002, pp. 1303–04.
- Wald, Gayle (2007). Shout, Sister, Shout!: The Untold Story of Rock-and-Roll Trailblazer Sister Rosetta Tharpe. Beacon Press. p. 68. ISBN 9780807009895.
- "World's First Rock-and-Roll Song Identified - Seeker". 23 January 2021. Archived from the original on 23 January 2021. Retrieved 18 April 2024.
- "The First Rock and Roll Song". LiveAbout. Archived from the original on 27 October 2022. Retrieved 11 November 2022.
- Will the creator of modern music please stand up? Alexis Petridis The Guardian 16 April 2004
- Robert Palmer, "Church of the Sonic Guitar", pp. 13–38 in Anthony DeCurtis, Present Tense, Duke University Press, 1992, p. 19. ISBN 0-8223-1265-4
- Bill Dahl, "Jimmy Preston", AllMusic, archived from the original on 20 May 2016, retrieved 27 April 2012
- Campbell, Michael (2008). Popular Music in America: The Beat Goes On (3rd ed.). Boston, MA: Cengage Learning. pp. 157–58. ISBN 978-0-495-50530-3.
- T. E. Scheurer, American Popular Music: The Age of Rock (Madison, WI: Popular Press, 1989), ISBN 0-87972-468-4, p. 170.
- Gilliland 1969, show 55, track 2.
- P. Browne, The Guide to United States Popular Culture (Madison, WI: Popular Press, 2001), ISBN 0-87972-821-3, p. 358.
- R. S. Denisoff, W. L. Schurk, Tarnished Gold: the Record Industry Revisited (New Brunswick, NJ: Transaction, 3rd edn., 1986), ISBN 0-88738-618-0, p. 13.
- "Rockabilly", AllMusic, archived from the original on 11 February 2011.
- Lucero, Mario J. (3 January 2020). "The problem with how the music streaming industry handles data". Quartz. Archived from the original on 31 March 2023. Retrieved 14 February 2020.
- J. M. Curtis, Rock Eras: Interpretations of Music and Society, 1954–1984 (Madison, WI: Popular Press, 1987), ISBN 0-87972-369-6, p. 73.
- Davis, Lance (8 March 2011). "Get It Low: The Dirty Guitar of Junior Barnard". The Adios Lounge. Archived from the original on 12 July 2018. Retrieved 11 November 2022.
- Collis, John (2002). Chuck Berry: The Biography. Aurum. p. 38. ISBN 978-1-85410-873-9. Archived from the original on 8 February 2023. Retrieved 17 October 2015.
- Hicks, Michael (2000). Sixties Rock: Garage, Psychedelic, and Other Satisfactions. University of Illinois Press. p. 17. ISBN 0-252-06915-3.
- Campbell 2008, p. 99
- Horn, Adrian (2009). Juke Box Britain: Americanisation and Youth Culture, 1945–60. Manchester: Manchester University Press. ISBN 978-0719083662.
- D. Hatch and S. Millward (1987). From Blues to Rock: An Analytical History of Pop Music. Manchester: Manchester University Press. p. 78. ISBN 0-7190-1489-1.
- Mitchell, G. A. M. (2011). "A Very 'British' Introduction to Rock 'n' Roll: Tommy Steele and the Advent of Rock 'n' Roll Music in Britain, 1956–1960". Contemporary British History, 25(2), 205–225.
- Meyers, J. P. (2015). "The Beatles in Buenos Aires, Muse in Mexico City: Tribute Bands and the Global Consumption of Rock Music". Ethnomusicology Forum (Vol. 24, No. 3, pp. 329–348). Routledge.
- Smith, Barnaby (30 September 2014). "The Wild One by Johnny O'Keefe – Australia's first rock'n'roll hit". The Guardian. ISSN 0261-3077. Retrieved 18 April 2024.
- Vuletic, D. (2008). "Generation Number One: Politics and Popular Music in Yugoslavia in the 1950s". Nationalities Papers, 36(5), 861–879.
- Rauth, R. (1982). "Back in the USSR—Rock and roll in the Soviet Union". Popular Music & Society, 8(3–4), 3–12.
- Schwartz, Roberta F. (2007). How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom. Aldershot, England: Ashgate Publishing. p. 22. ISBN 978-0-7546-5580-0.
- Roberts, J. (2001). The Beatles. Mineappolis, MN: Lerner Publications. p. 13. ISBN 0-8225-4998-0.
- Eder, B. "British Blues", in V. Bogdanov, C. Woodstra, S.T. Erlewine, eds, All Music Guide to the Blues: The Definitive Guide to the Blues (Milwaukee, WI: Backbeat Books, 3rd ed., 2003), p. 700. ISBN 0-87930-736-6.
- Gilliland 1969, shows 20–21.
- B. Bradby, "Do-talk, don't-talk: the division of the subject in girl-group music" in S. Frith and A. Goodwin, eds, On Record: Rock, Pop, and the Written Word (Abingdon: Routledge, 1990), ISBN 0-415-05306-4, p. 341.
- K. Keightley, "Reconsidering rock" in S. Frith, W. Straw and J. Street, eds, The Cambridge Companion to Pop and Rock (Cambridge: Cambridge University Press, 2001), ISBN 0-521-55660-0, p. 116.
- R. Unterberger, "Doo Wop", in Bogdanov et.al., 2002, pp. 1306–07.
- R. Dale, Education and the State: Politics, Patriarchy and Practice (London: Taylor & Francis, 1981), ISBN 0-905273-17-6, p. 106.
- R. Unterberger, "Brill Building Sound", in Bogdanov et.al., 2002, pp. 1311–12.
- J. Blair, The Illustrated Discography of Surf Music, 1961–1965 (Ypsilanti, MI: Pierian Press, 2nd edn., 1985), ISBN 0-87650-174-9, p. 2.
- J. Blair, The Illustrated Discography of Surf Music, 1961–1965 (Ypsilanti, MI: Pierian Press, 2nd edn., 1985), ISBN 0-87650-174-9, p. 75.
- "Throwback tune of the day: Nowhere to Go – The Four Freshmen". Buzz.ie. Archived from the original on 8 March 2021. Retrieved 25 February 2021.
- W. Ruhlman, et al., "Beach Boys", in Bogdanov et al., 2002, pp. 71–75.
- "Surf Music". Nostalgia Central. 3 July 2014. Archived from the original on 23 July 2019. Retrieved 29 July 2019.
- R. Stakes, "Those boys: the rise of Mersey beat", in S. Wade, ed., Gladsongs and Gatherings: Poetry and its Social Context in Liverpool Since the 1960s (Liverpool: Liverpool University Press, 2001), ISBN 0-85323-727-1, pp. 157–66.
- I. Chambers, Urban Rhythms: Pop Music and Popular Culture (Basingstoke: Macmillan, 1985), ISBN 0-333-34011-6, p. 75.
- J.R. Covach and G. MacDonald Boone, Understanding Rock: Essays in Musical Analysis (Oxford: Oxford University Press, 1997), ISBN 0-19-510005-0, p. 60.
- R. Unterberger, "British Invasion", in Bogdanov et al., 2002, pp. 1316–17.
- R. Unterberger, "British R&B", in Bogdanov et al., 2002, pp. 1315–16.
- Gilliland 1969, show 28.
- I.A. Robbins, "British Invasion", Encyclopædia Britannica, archived from the original on 21 December 2010
- H. Bill, The Book Of Beatle Lists (Poole, Dorset: Javelin, 1985), ISBN 0-7137-1521-9, p. 66.
- Gilliland 1969, show 29.
- Gilliland 1969, show 30.
- Gilliland 1969, show 48.
- T. Leopold (5 February 2004), When the Beatles hit America CNN February 10, 2004, CNN, archived from the original on 11 April 2010
- "British Invasion", AllMusic, archived from the original on 11 February 2011.
- "Britpop", AllMusic, archived from the original on 12 February 2011.
- K. Keightley, "Reconsidering rock" in, S. Frith, W. Straw and J. Street, eds, The Cambridge Companion to Pop and Rock (Cambridge: Cambridge University Press, 2001), ISBN 0-521-55660-0, p. 117.
- F.W. Hoffmann, "British Invasion" in F.W. Hoffmann and H. Ferstler, eds, Encyclopedia of Recorded Sound, Volume 1 (New York: CRC Press, 2nd edn., 2004), ISBN 0-415-93835-X, p. 132.
- R. Shuker, Popular Music: the Key Concepts (Abingdon: Routledge, 2nd edn., 2005), ISBN 0-415-34770-X, p. 35.
- Simonelli, David (2013). Working Class Heroes: Rock Music and British Society in the 1960s and 1970s. Lanham, MD: Lexington Books. pp. 96–97. ISBN 978-0-7391-7051-9. Archived from the original on 16 November 2023. Retrieved 4 June 2021.
- H.S. Macpherson, Britain and the Americas: Culture, Politics, and History (Oxford: ABC-CLIO, 2005), ISBN 1-85109-431-8, p. 626.
- V. Coelho, The Cambridge Companion to the Guitar (Cambridge: Cambridge University Press, 2003), ISBN 0-521-00040-8, p. 104.
- R. Uterberger, "Blues Rock", in V. Bogdanov, C. Woodstra, S.T. Erlewine, eds, All Music Guide to the Blues: The Definitive Guide to the Blues (Milwaukee, WI: Backbeat Books, 3rd edn., 2003), ISBN 0-87930-736-6, pp. 701–02.
- T. Rawlings, A. Neill, C. Charlesworth and C. White, Then, Now and Rare British Beat 1960–1969 (London: Omnibus Press, 2002), ISBN 0-7119-9094-8, p. 130.
- P. Prown, H.P. Newquist and J.F. Eiche, Legends of Rock Guitar: the Essential Reference of Rock's Greatest Guitarists (Milwaukee, WI: Hal Leonard Corporation, 1997), ISBN 0-7935-4042-9, p. 25.
- R. Unterberger, "Southern Rock", in Bogdanov et al., 2002, pp. 1332–33.
- "Blues-rock", AllMusic, archived from the original on 12 February 2011.
- P. Prown, H.P. Newquist and J.F. Eiche, Legends of Rock Guitar: the Essential Reference of Rock's Greatest Guitarists (Milwaukee, WI: Hal Leonard Corporation, 1997), ISBN 0-7935-4042-9, p. 113.
- R. Shuker, Popular Music: the Key Concepts (Abingdon: Routledge, 2nd edn., 2005), ISBN 0-415-34770-X, p. 140.
- E.J. Abbey, Garage Rock and its Roots: Musical Rebels and the Drive for Individuality (Jefferson, NC: McFarland, 2006), ISBN 0-7864-2564-4, pp. 74–76.
- R. Unterberger, "Garage Rock", in Bogdanov et al., 2002, pp. 1320–21.
- N. Campbell, American Youth Cultures (Edinburgh: Edinburgh University Press, 2nd edn., 2004), ISBN 0-7486-1933-X, p. 213.
- Otfinoski, Steven. "The Golden Age of Rock Instrumentals". Billboard Books, (1997), p. 36, ISBN 0-8230-7639-3
- W.E. Studwell and D.F. Lonergan, The Classic Rock and Roll Reader: Rock Music from its Beginnings to the mid-1970s (Abingdon: Routledge, 1999), ISBN 0-7890-0151-9, p. 213.
- J. Austen, TV-a-Go-Go: Rock on TV from American Bandstand to American Idol (Chicago IL: Chicago Review Press, 2005), ISBN 1-55652-572-9, p. 19.
- Waksman, Steve (2009). This Ain't the Summer of Love: Conflict and Crossover in Heavy Metal and Punk. Berkeley CA: University of California Press. p. 116. ISBN 978-0-520-25310-0.
- F.W. Hoffmann "Garage Rock/Punk", in F.W. Hoffman and H. Ferstler, Encyclopedia of Recorded Sound, Volume 1 (New York: CRC Press, 2nd edn., 2004), ISBN 0-415-93835-X, p. 873.
- Thompson, Graham (2007). American Culture in the 1980s. Edinburgh, UK: Edinburgh University Press. p. 134. ISBN 978-0-7486-1910-8.
- Mitchell, Gillian (2007). The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945–1980. Aldershot, England: Ashgate Publishing. p. 95. ISBN 978-0-7546-5756-9.
- Mitchell 2007, p. 72
- J.E. Perone, Music of the Counterculture Era American History Through Music (Westwood, CT: Greenwood, 2004), ISBN 0-313-32689-4, p. 37.
- R. Unterberger, "Folk Rock", in Bogdanov et al., 2002, pp. 1308–09.
- Perone, James E. (2009). Mods, Rockers, and the Music of the British Invasion. Westport, CT: Praeger Publishers. p. 128. ISBN 978-0-275-99860-8.
- R. Unterberger, "The Beatles: I'm a Loser", AllMusic, archived from the original on 12 February 2011.
- Unterberger, Richie (31 December 2018). "2018". Folkrocks. Archived from the original on 20 September 2023. Retrieved 3 June 2021.
- M. Brocken, The British Folk Revival 1944–2002 (Ashgate, Aldershot, 2003), ISBN 0-7546-3282-2, p. 97.
- C. Larkin, The Guinness Encyclopedia of Popular Music (London: Guinness, 1992), ISBN 1-882267-04-4, p. 869.
- G.W. Haslam, A.H. Russell and R. Chon, Workin' Man Blues: Country Music in California (Berkeley CA: Heyday Books, 2005), ISBN 0-520-21800-0, p. 201.
- K. Keightley, "Reconsidering rock" in, S. Frith, W. Straw, and J. Street, eds, The Cambridge Companion to Pop and Rock (Cambridge: Cambridge University Press, 2001), ISBN 0-521-55660-0, p. 121.
- M. Hicks, Sixties Rock: Garage, Psychedelic, and Other Satisfactions (Chicago, IL: University of Illinois Press, 2000), ISBN 0-252-06915-3, pp. 59–60.
- R. Unterberger, "Psychedelic Rock", in Bogdanov et al., 2002, pp. 1322–23.
- Gilliland 1969, shows 41–42.
- DeRogatis, Jim; Kot, Greg (2010). The Beatles vs. The Rolling Stones: Sound Opinions on the Great Rock 'n' Roll Rivalry. Voyageur Press. pp. 70, 75. ISBN 978-1610605137.
- Whitburn, Joel (2003). Joel Whitburn's Top Pop Singles 1955-2002. Record Research. p. xxiii. ISBN 9780898201550.
- Pareles, Jon (5 January 1997). "All That Music, and Nothing to Listen To". The New York Times. Archived from the original on 27 December 2017. Retrieved 10 March 2020.
- R. Unterberger, "Progressive Rock", in Bogdanov et al., 2002, pp. 1330–31.
- J.S. Harrington, Sonic Cool: the Life & Death of Rock 'n' Roll (Milwaukee, WI: Hal Leonard Corporation, 2003), ISBN 0-634-02861-8, p. 191.
- E. Macan, Rocking the Classics: English Progressive Rock and the Counterculture (Oxford: Oxford University Press, 1997), ISBN 0-19-509887-0, pp. 34–35.
- E. Macan, Rocking the Classics: English Progressive Rock and the Counterculture (Oxford: Oxford University Press, 1997), ISBN 0-19-509887-0, p. 64.
- "Prog rock", AllMusic, archived from the original on 12 February 2011.
- E. Macan, Rocking the Classics: English Progressive Rock and the Counterculture (Oxford: Oxford University Press, 1997), ISBN 0-19-509887-0, p. 129.
- Jeff Wagner (2010). Mean Deviation: Four Decades of Progressive Heavy Metal. Bazillion Points Books. p. 242. ISBN 978-0-9796163-3-4.
- R. Reising, Speak to Me: The Legacy of Pink Floyd's The Dark Side of the Moon (Aldershot: Ashgate, 2005), ISBN 0-7546-4019-1.
- M. Brocken, The British Folk Revival, 1944–2002 (Aldershot: Ashgate, 2003), ISBN 0-7546-3282-2, p. 96.
- B. Eder, "Renaissance", AllMusic, archived from the original on 12 February 2011.
- K. Holm-Hudson, Progressive Rock Reconsidered (London: Taylor & Francis, 2002), ISBN 0-8153-3715-9, p. 9.
- N.E. Tawa, Supremely American: Popular Song in the 20th Century: Styles and Singers and What They Said About America (Lanham, MA: Scarecrow Press, 2005), ISBN 0-8108-5295-0, pp. 249–50.
- P. Bussy, Kraftwerk: Man, Machine and Music (London: SAF, 3rd end., 2004), ISBN 0-946719-70-5, pp. 15–17.
- K. Holm-Hudson, Progressive Rock Reconsidered (London: Taylor & Francis, 2002), ISBN 0-8153-3715-9, p. 92.
- Knight, Brian L., "Rock in the Name of Progress (Part VI -"Thelonius Punk")", The Vermont Review, archived from the original on 17 July 2011
- T. Udo, "Did Punk kill prog?", Classic Rock Magazine, vol. 97, September 2006.
- "Jazz-Rock Music Genre Overview", AllMusic, archived from the original on 16 February 2011
- R. Unterberger, "Jazz Rock", in Bogdanov et al., 2002, pp. 1328–30.
- I. Carr, D. Fairweather and B. Priestley, The Rough Guide to Jazz (London: Rough Guides, 3rd edn., 2004), ISBN 1-84353-256-5, p. iii.
- Auslander, Philip (2008). Liveness: Performance in a Mediatized Culture (2nd ed.). Abingdon, England: Routledge. p. 83. ISBN 978-0-415-77353-9.
- K. Wolff and O. Duane, Country Music: The Rough Guide (London: Rough Guides, 2000), ISBN 1-85828-534-8, p. 392.
- R. Unterberger, "The Band", and S.T. Erlewine, "Creedence Clearwater Revival", in Bogdanov et al., 2002, pp. 61–62, 265–66.
- Hoskyns, Barney (2007). Hotel California: The True-Life Adventures of Crosby, Stills, Nash, Young, Mitchell, Taylor, Browne, Ronstadt, Geffen, the Eagles, and Their Many Friends. Hoboken, NJ: John Wiley & Sons. pp. 87–90. ISBN 978-0-470-12777-3.
- Christgau, Robert (18 June 1970). "Consumer Guide (11)". The Village Voice. Archived from the original on 6 April 2023. Retrieved 18 February 2020 – via robertchristgau.com.
- R. Unterberger, "Country Rock", in Bogdanov et al., 2002, p. 1327.
- B. Hinton, "The Nitty Gritty Dirt Band", in P. Buckley, ed., Rock: The Rough Guide (London: Rough Guides, 1st edn., 1996), ISBN 1-85828-201-2, pp. 612–13.
- N.E. Tawa, Supremely American: Popular Song in the 20th Century: Styles and Singers and What They Said About America (Lanham, MA: Scarecrow Press, 2005), ISBN 0-8108-5295-0, p. 227–28.
- R. Shuker, Popular Music: the Key Concepts (Abingdon: Routledge, 2nd edn., 2005), ISBN 0-415-34770-X, pp. 124–25.
- P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4, pp. 57, 63, 87 and 141.
- "Glam rock", AllMusic, archived from the original on 12 February 2011.
- P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-472-06868-7, p. 34.
- Mark Paytress, Bolan – The Rise And Fall of a 20th Century Superstar (Omnibus Press 2002) ISBN 0-7119-9293-2, pp. 180–181.
- P. Auslander, "Watch that man David Bowie: Hammersmith Odeon, London, July 3, 1973" in I. Inglis, ed., Performance and Popular Music: History, Place and Time (Aldershot: Ashgate, 2006), ISBN 0-7546-4057-4, p. 72.
- P. Auslander, "Watch that man David Bowie: Hammersmith Odeon, London, July 3, 1973" in Ian Inglis, ed., Performance and Popular Music: History, Place and Time (Aldershot: Ashgate, 2006), ISBN 0-7546-4057-4, p. 80.
- D. Thompson, "Glitter Band" and S. Huey, "Gary Glitter", in Bogdanov et al., 2002, p. 466.
- R. Huq, Beyond Subculture: Pop, Youth and Identity in a Postcolonial World (Abingdon: Routledge, 2006), ISBN 0-415-27815-5, p. 161.
- P. Auslander, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor, MI: University of Michigan Press, 2006), ISBN 0-7546-4057-4, p. 227.
- Billboard. 27 June 1970 https://books.google.com/books?id=eikEAAAAMBAJ&q=pacific+high+recording+studioas&pg=PA55. Retrieved 24 August 2015.
{{cite magazine}}: Missing or empty|title=(help) - referred to as career suicide, as recalled in a 2013 interview by drummer and album co-producer Michael Shrieve
- Gleason, Ralph J. (8 December 1976). "Santana: Caravanserai : Music Reviews : Rolling Stone". Rolling Stone. Archived from the original on 5 June 2017. Retrieved 14 April 2012.
- La Herencia Del Norte (in Spanish). Gran Via. 1998. Retrieved 14 February 2020.
- Koskoff, E. (2017). The Garland Encyclopedia of World Music: The United States and Canada. Taylor & Francis. p. 1253. ISBN 978-1-351-54414-6. Archived from the original on 10 June 2024. Retrieved 14 February 2020.
- Hurricane, Al Jr. "Flor De Las Flores". Frontera Project. Archived from the original on 20 September 2023. Retrieved 14 February 2020.
- Christgau, Robert (1995). "The Move: Great Move! The Best of the Move". Details. Archived from the original on 9 July 2023. Retrieved 10 September 2018.
- J.M. Curtis, Rock Eras: Interpretations of Music and Society, 1954–1984 (Madison, WI: Popular Press, 1987), ISBN 0-87972-369-6, p. 236.
- J. Kennaugh, "Fleetwood Mac", in P. Buckley, ed., Rock: The Rough Guide (London: Rough Guides, 1st edn., 1996), ISBN 1-85828-201-2, pp. 323–24.
- "Hard Rock", AllMusic, archived from the original on 12 February 2011.
- S.T. Erlewine, "Queen", AllMusic, archived from the original on 12 February 2011.
- J. Dougan, "Thin Lizzy", AllMusic, archived from the original on 12 February 2011.
- R. Walser, Running With the Devil: Power, Gender, and Madness in Heavy Metal Music (Middletown, CT: Wesleyan University Press, 1993), ISBN 0-8195-6260-2, p. 7.
- R. Walser, Running With the Devil: Power, Gender, and Madness in Heavy Metal Music (Middletown, CT: Wesleyan University Press, 1993), ISBN 0-8195-6260-2, p. 9.
- R. Walser, Running With the Devil: Power, Gender, and Madness in Heavy Metal Music (Middletown, CT: Wesleyan University Press, 1993), ISBN 0-8195-6260-2, p. 10.
- R. Walser, Running With the Devil: Power, Gender, and Madness in Heavy Metal Music (Middletown, CT: Wesleyan University Press, 1993), ISBN 0-8195-6260-2, p. 3.
- J.J. Thompson, Raised by Wolves: the Story of Christian Rock & Roll (Toronto: ECW Press, 2000), ISBN 1-55022-421-2, pp. 30–31.
- J.R. Howard and J.M. Streck, Apostles of Rock: The Splintered World of Contemporary Christian Music (Lexington, KY: University Press of Kentucky, 2004), ISBN 0-8131-9086-X, p. 30.
- J.R. Howard and J.M. Streck, Apostles of Rock: The Splintered World of Contemporary Christian Music (Lexington, KY: University Press of Kentucky, 2004), ISBN 0-8131-9086-X, pp. 43–44.
- J.J. Thompson, Raised by Wolves: the Story of Christian Rock & Roll (Toronto: ECW Press, 2000), ISBN 1-55022-421-2, pp. 66–67 and 159–161.
- M.B. Wagner, God's Schools: Choice and Compromise in American Society (Rutgers University Press, 1990), ISBN 0-8135-1607-2, p. 134.
- J.J. Thompson, Raised by Wolves: the Story of Christian Rock & Roll (Toronto: ECW Press, 2000), ISBN 1-55022-421-2, pp. 206–07.
- Kirkpatrick, Rob (2007). The Words and Music of Bruce Springsteen. Westport, CT: Praeger. p. 51. ISBN 978-0-275-98938-5.
- Thompson 2007, p. 138
- "Heartland Rock", AllMusic, archived from the original on 13 February 2011.
- J.A. Peraino (30 August 1987), "Heartland rock: Bruce's Children", The New York Times, archived from the original on 12 May 2011
- A. DeCurtis (18 October 2007), "Kid Rock: Rock n' Roll Jesus", Rolling Stone, archived from the original on 14 May 2011
- S.T. Erlewine, "The Killers: Sam's Town", Rolling Stone, archived from the original on 29 April 2011
- S. Peake, "Heartland Rock", About.com, archived from the original on 12 May 2011
- J. Dougan, "Punk Music", in Bogdanov et al., 2002, pp. 1335–36.
- A. Rodel, "Extreme Noise Terror: Punk Rock and the Aesthetics of Badness", in C. Washburne and M. Derno, eds, Bad Music: The Music We Love to Hate (New York: Routledge), ISBN 0-415-94365-5, pp. 235–56.
- Savage (1992), pp. 260, 263–67, 277–79; Laing (1985), pp. 35, 37, 38.
- Young, Charles M. (20 October 1977). "Rock Is Sick and Living in London". Rolling Stone. Archived from the original on 14 September 2006. Retrieved 10 October 2006.
- R. Sabin, "Rethingking punk and racism", in R. Sabin, ed., Punk Rock: So What?: the Cultural Legacy of Punk (Abingdon: Routledge, 1999), ISBN 0-415-17029-X, p. 206.
- Skott-Myhre, Hans A. (2009). Youth and Subculture as Creative Force: Creating New Spaces for Radical Youth Work. Toronto, Canada: University of Toronto Press. p. xi. ISBN 978-1-4426-0992-1.
- T. Gosling, "'Not for sale': The Underground network of Anarcho-punk" in A. Bennett and R.A. Peterson, eds, Music Scenes: Local, Translocal and Virtual (Nashville TN: Vanderbilt University Press, 2004), ISBN 0-8265-1451-0, pp. 168–86.
- Waksman 2009, p. 157
- E. Koskoff, Music Cultures in the United States: an Introduction (Abingdon: Routledge, 2005), ISBN 0-415-96589-6, p. 358.
- Campbell 2008, pp. 273–74
- R. Shuker, Popular Music: the Key Concepts (Abingdon: Routledge, 2nd edn., 2005), ISBN 0-415-34770-X, pp. 185–86.
- M. Janosik, ed., The Greenwood Encyclopedia of Rock History: The Video Generation, 1981–1990 (London: Greenwood, 2006), ISBN 0-313-32943-5, p. 75.
- M.K. Hall, Crossroads: American Popular Culture and the Vietnam Generation (Rowman & Littlefield, 2005), ISBN 0-7425-4444-3, p. 174.
- Borack, John M. (2007). Shake Some Action: The Ultimate Power Pop Guide. Not Lame Recordings. p. 27. ISBN 978-0-9797714-0-8.
- S.T. Erlewine, "New Wave", in Bogdanov et al., 2002, pp. 1337–38.
- S. Borthwick and R. Moy (2004), Popular Music Genres: an Introduction, Edinburgh: Edinburgh University Press, pp. 121–23, ISBN 0-7486-1745-0, archived from the original on 10 June 2024, retrieved 19 November 2020
- S. Reynolds, Rip It Up and Start Again Postpunk 1978–1984 (London: Penguin Books, 2006), ISBN 0-14-303672-6, pp. 340, 342–43.
- M. Haig, Brand Royalty: How the World's Top 100 Brands Thrive & Survive (London: Kogan Page Publishers, 2006), ISBN 0-7494-4826-1, p. 54.
- Young, Jon (2007). "Roll over guitar heroes, synthesizers are here". In Cateforis, Theo (ed.). The Rock History Reader (1st ed.). London, UK: Routledge. pp. 21–38. ISBN 978-0-415-97501-8.
- S.T. Erlewine, "Post Punk", in Bogdanov et al., 2002, pp. 1337–8.
- Goodlad & Bibby 2007, p. 239
- C. Gere, Digital Culture (London: Reaktion Books, 2002), ISBN 1-86189-143-1, p. 172.
- "Industrial rock", AllMusic, archived from the original on 1 January 2011
- F.W. Hoffmann and H. Ferstler, Encyclopedia of Recorded Sound, Volume 1 (New York: CRC Press, 2nd edn., 2004), ISBN 0-415-93835-X, p. 1135.
- D. Hesmondhaigh, "Indie: the institutional political and aesthetics of a popular music genre" in Cultural Studies, 13 (2002), p. 46.
- S.T. Erlewine, "American Alternative Rock / Post Punk", in V. Bogdanov, C. Woodstra and S.T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, pp. 1344–6.
- S.T. Erlewine, "British Alternative Rock", in V. Bogdanov, C. Woodstra and S.T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, pp. 1346–47.
- T. Frank, "Alternative to what?", in C.L. Harrington and D.D. Bielby, eds, Popular Culture: Production and Consumption (Oxford: Wiley-Blackwell, 2001), ISBN 0-631-21710-X, pp. 94–105.
- S.T. Erlewine, "The Smiths", AllMusic, archived from the original on 16 July 2011
- S.T. Erlewine, "R.E.M.", AllMusic, archived from the original on 28 June 2011
- "College rock", AllMusic, archived from the original on 29 December 2010
- N. Abebe (24 October 2005), "Twee as Fuck: The Story of Indie Pop", Pitchfork Media, archived from the original on 3 February 2011
- "Shoegaze", AllMusic, archived from the original on 24 February 2011
- R. Shuker, Popular Music: the Key Concepts (Abingdon: Routledge, 2nd edn., 2005), ISBN 0-415-34770-X, p. 7.
- "Grunge", AllMusic, archived from the original on 13 February 2011.
- E. Olsen (4 September 2004), 10 years later, Cobain continues to live on through his music, MSNBC, archived from the original on 11 March 2011
- J. Lyons, Selling Seattle: Representing Contemporary Urban America (London: Wallflower, 2004), ISBN 1-903364-96-5, p. 136.
- M. Azerrad, Our Band Could Be Your Life: Scenes from the American Indie Underground, 1981–1991 (Boston, MA: Little Brown and Company, 2001), ISBN 0-316-78753-1, pp. 452–53.
- "Post-grunge", AllMusic, archived from the original on 13 February 2011.
- H. Jenkins, T. McPherson and J. Shattuc, Hop on Pop: the Politics and Pleasures of Popular Culture (Durham NC: Duke University Press, 2002), ISBN 0-8223-2737-6, p. 541.
- E. Kessler, "Noelrock!", NME, 8 June 1996.
- W. Osgerby, Youth Media (Abingdon: Routledge, 2004), ISBN 0-415-23808-0, pp. 92–96.
- T. Grierson, "Post-Grunge: A History of Post-Grunge Rock", About.com, archived from the original on 14 May 2011
- S.T. Erlewine, "Foo Fighters", in Bogdanov et al., 2002, p. 423.
- S.T. Erlewine, "Alanis Morissette", in Bogdanov et al., 2002, p. 761.
- W. Lamb, "Punk Pop", About.com, archived from the original on 16 May 2011
- "Punk Pop", AllMusic, archived from the original on 17 February 2011.
- S.T. Erlewine, "Weezer", AllMusic, archived from the original on 13 February 2011.
- S.T. Erlewine, "Green Day", and "Offspring", in Bogdanov et al., 2002, pp. 484–85, 816.
- "Indie rock", AllMusic, archived from the original on 5 January 2011
- Leonard, Marion (2007). Gender in the Music Industry: Rock, Discourse and Girl Power. Aldershot, England: Ashgate Publishing. p. 2. ISBN 978-0-7546-3862-9.
- J. Connell and C. Gibson, Sound Tracks: Popular Music, Identity, and Place (Abingdon: Routledge, 2003), ISBN 0-415-17028-1, pp. 101–03.
- S. Taylor, A to X of Alternative Music (London: Continuum, 2006), ISBN 0-8264-8217-1, pp. 154–55.
- "Post rock", AllMusic, archived from the original on 14 February 2011.
- "Math rock", AllMusic, archived from the original on 14 February 2011.
- "Space rock", AllMusic, archived from the original on 12 June 2022
- "Sadcore", AllMusic, archived from the original on 14 February 2011.
- "Chamber pop", AllMusic, archived from the original on 14 February 2011.
- "Alternative Metal", AllMusic, archived from the original on 14 February 2011.
- W. Ruhlmann, "Blondie", AllMusic, archived from the original on 15 January 2011
- D.A. Guarisco, "The Clash: The Magnificent Seven", AllMusic, archived from the original on 14 February 2011.
- K. Sanneh (3 December 2000), "Rappers Who Definitely Know How to Rock", The New York Times, archived from the original on 14 July 2012
- C.L. Keyes, Rap Music and Street Consciousness (Chicago, IL: University of Illinois Press, 2002), ISBN 0-252-07201-4, p. 108.
- W.E. Ketchum III (15 October 2008), "Mayor Esham? What?", Metro Times, archived from the original on 4 May 2011
- "Rap-Metal", AllMusic, 15 October 2008, archived from the original on 2 April 2012
Rock is a broad genre of popular music that originated as rock and roll in the United States in the late 1940s and early 1950s developing into a range of different styles from the mid 1960s particularly in the United States and the United Kingdom It has its roots in rock and roll a style that drew directly from the black musical genres of blues rhythm and blues and country music Rock also drew strongly from genres such as electric blues and folk and incorporated influences from jazz and other musical styles For instrumentation rock is typically centered on the electric guitar usually as part of a rock group with electric bass guitar drums and one or more singers Usually rock is song based music with a 4 4 time signature and utilizing a verse chorus form but the genre has become extremely diverse Like pop music lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political Rock was the most popular genre of music in the U S and much of the Western world from the 1950s to the 2010s RockStylistic originsRock and rollrockabillyblueselectric bluesfolkcountryrhythm and bluessouljazzCultural origins1940s 1950s United StatesTypical instrumentsGuitarbassdrumskeyboardspianovocalsDerivative formsNew wavepost progressiveprogressive popSubgenresAcid rock alternative rock arena rock art rock beat music Christian rock death rock experimental rock garage rock glam rock grunge hard rock heartland rock heavy metal subgenres indie rock occult rock post punk post rock power pop progressive rock psychedelic rock punk rock subgenres roots rock soft rock stoner rock surf music complete list Fusion genresBaroque pop blues rock country rock dance rock electronic rock folk rock funk rock industrial rock jazz rock Latin rock noise rock pop rock raga rock rap rock reggae rock samba rock sufi rockRegional scenesArgentina Armenia Australia Bangladesh Belarus Belgium Bosnia and Herzegovina Brazil Canada Chile China Colombia Cuba Croatia Denmark Dominican Republic Ecuador Estonia Finland France Greece Germany Guatemala Haiti Hungary Iceland India Indonesia Iran Ireland Israel Italy Japan Latvia Lithuania Malaysia Mexico Nepal New Zealand Norway Pakistan Peru Philippines Poland Portugal Puerto Rico Romania Russia Sahara desert region Serbia Slovenia South Korea Spain Sri Lanka Spanish speaking world Sweden Switzerland Taiwan Tatar Thailand Turkey Ukraine United Kingdom United States Southern Uruguay Venezuela Yugoslavia ZambiaLocal scenesSeattle grunge Madchester Palm Desert Scene San Francisco sound TrondelagOther topicsAfro fusion Album era Backbeat distortion Hall of Fame Pop progressive music relationship with electronics Rock band rock music terms rock opera rockism social impact2025 in rock music Rock musicians in the mid 1960s began to advance the album ahead of the single as the dominant form of recorded music expression and consumption with the Beatles at the forefront of this development Their contributions lent the genre a cultural legitimacy in the mainstream and initiated a rock informed album era in the music industry for the next several decades By the late 1960s classic rock period a few distinct rock music subgenres had emerged including hybrids like blues rock folk rock country rock Southern rock raga rock and jazz rock which contributed to the development of psychedelic rock influenced by the countercultural psychedelic and hippie scene New genres that emerged included progressive rock which extended artistic elements heavy metal which emphasized an aggressive thick sound and glam rock which highlighted showmanship and visual style In the second half of the 1970s punk rock reacted by producing stripped down energetic social and political critiques Punk was an influence in the 1980s on new wave post punk and eventually alternative rock From the 1990s alternative rock began to dominate rock music and break into the mainstream in the form of grunge Britpop and indie rock Further fusion subgenres have since emerged including pop punk electronic rock rap rock and rap metal Some movements were conscious attempts to revisit rock s history including the garage rock post punk revival in the 2000s Since the 2010s rock has lost its position as the pre eminent popular music genre in world culture but remains commercially successful The increased influence of hip hop and electronic dance music can be seen in rock music notably in the techno pop scene of the early 2010s and the pop punk hip hop revival of the 2020s Rock has also embodied and served as the vehicle for cultural and social movements leading to major subcultures including mods and rockers in the U K the hippie movement and the wider Western counterculture movement that spread out from San Francisco in the U S in the 1960s the latter of which continues to this day Similarly 1970s punk culture spawned the goth punk and emo subcultures Inheriting the folk tradition of the protest song rock music has been associated with political activism as well as changes in social attitudes to race sex and drug use and is often seen as an expression of youth revolt against adult consumerism and conformity At the same time it has been commercially highly successful leading to accusations of selling out CharacteristicsA good definition of rock in fact is that it s popular music that to a certain degree doesn t care if it s popular Bill Wyman bass guitarist for The Rolling Stones in Vulture December 2016 The quartet of the rock band Red Hot Chili Peppers at the Pinkpop Festival in June 2006 including left to right bassist Flea lead vocalist Anthony Kiedis drummer Chad Smith and guitarist John Frusciante The sound of rock is traditionally centered on the amplified electric guitar which emerged in its modern form in the 1950s with the popularity of rock and roll It was also greatly influenced by the sounds of electric blues guitarists The sound of an electric guitar in rock music is typically supported by an electric bass guitar which pioneered jazz music in the same era and by percussion produced from a drum kit that combines drums and cymbals This trio of instruments has often been complemented by the inclusion of other instruments particularly keyboards such as the piano the Hammond organ and the synthesizer The basic rock instrumentation was derived from the basic blues band instrumentation prominent lead guitar second chordal instrument bass and drums A group of musicians performing rock music is termed as a rock band or a rock group Furthermore it typically consists of between three the power trio and five members Classically a rock band takes the form of a quartet whose members cover one or more roles including vocalist lead guitarist rhythm guitarist bass guitarist drummer and often keyboard player or another instrumentalist source Audio playback is not supported in your browser You can download the audio file A simple 4 4 drum pattern common in rock music Rock music is traditionally built on a foundation of simple syncopated rhythms in a 4 4 meter with a repetitive snare drum back beat on beats two and four Melodies often originate from older musical modes such as the Dorian and Mixolydian as well as major and minor modes Harmonies range from the common triad to parallel perfect fourths and fifths and dissonant harmonic progressions Since the late 1950s and particularly from the mid 1960s onwards rock music often used the verse chorus structure derived from blues and folk music but there has been considerable variation from this model Critics have stressed the eclecticism and stylistic diversity of rock Because of its complex history and its tendency to borrow from other musical and cultural forms it has been argued that it is impossible to bind rock music to a rigidly delineated musical definition In 1981 music journalist Robert Christgau said the best rock jolts folk art virtues directness utility natural audience into the present with shots of modern technology and modernist dissociation Rock and roll was conceived as an outlet for adolescent yearnings To make rock and roll is also an ideal way to explore intersections of sex love violence and fun to broadcast the delights and limitations of the regional and to deal with the depredations and benefits of mass culture itself Rock music critic Robert Christgau in Christgau s Record Guide in 1981 Unlike many earlier styles of popular music rock lyrics have dealt with a wide range of themes including romantic love sex rebellion against The Establishment social concerns and life styles These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition folk music and rhythm and blues Christgau characterizes rock lyrics as a cool medium with simple diction and repeated refrains and asserts that rock s primary function pertains to music or more generally noise The predominance of white male and often middle class musicians in rock music has often been noted and rock has been seen as an appropriation of Black musical forms for a young white and largely male audience As a result it has also been seen to articulate the concerns of this group in both style and lyrics Christgau writing in 1972 said in spite of some exceptions rock and roll usually implies an identification of male sexuality and aggression Since the term rock started being used in preference to rock and roll from the late 1960s it has usually been contrasted with pop music with which it has shared many characteristics however rock is often distanced from pop the former has an emphasis on musicianship live performance and a focus on serious and progressive themes as part of an ideology of authenticity that is frequently combined with an awareness of the genre s history and development According to Simon Frith rock was something more than pop something more than rock and roll and r ock musicians combined an emphasis on skill and technique with the romantic concept of art as artistic expression original and sincere In the new millennium the term rock has occasionally been used as a blanket term including forms like pop music reggae music soul music and even hip hop which it has been influenced with but often contrasted through much of the latter s history Christgau has used the term broadly to refer to popular and semipopular music that caters to his sensibility as a rock and roller including a fondness for a good beat a meaningful lyric with some wit and the theme of youth which holds an eternal attraction so objective that all youth music partakes of sociology and the field report Writing in Christgau s Record Guide The 80s 1990 he said this sensibility is evident in the music of folk singer songwriter Michelle Shocked rapper LL Cool J and synth pop duo Pet Shop Boys all kids working out their identities as much as it is in the music of Chuck Berry the Ramones and the Replacements 1940s 1950s Birth of rock and rollRock and roll Elvis Presley in a promotion shot for Jailhouse Rock in 1957 The foundations of rock music are in rock and roll which originated in the United States during the late 1940s and early 1950s the genre quickly spread to much of the rest of the world Its immediate origins lay in a melding of various black musical genres of the time including rhythm and blues and gospel music with country and western Chuck Berry in a 1958 publicity photo Debate surrounds the many recordings which have been suggested as the first rock and roll record Contenders include Strange Things Happening Every Day by Sister Rosetta Tharpe 1944 That s All Right by Arthur Crudup 1946 which was later covered by Elvis Presley in 1954 The House of Blue Lights by Ella Mae Morse and Freddie Slack 1946 Wynonie Harris Good Rocking Tonight 1948 Goree Carter s Rock Awhile 1949 Jimmy Preston s Rock the Joint 1949 also covered by Bill Haley amp His Comets in 1952 and Rocket 88 by Jackie Brenston and his Delta Cats in fact Ike Turner and his band the Kings of Rhythm recorded by Sam Phillips for Chess Records in 1951 In 1951 Cleveland Ohio disc jockey Alan Freed began playing rhythm and blues music then termed race music for a multi racial audience and is credited with first using the phrase rock and roll to describe the music Four years later Bill Haley s Rock Around the Clock 1954 became the first rock and roll song to top Billboard magazine s main sales and airplay charts and opened the door worldwide for this new wave of popular culture Other artists with early rock and roll hits included Chuck Berry Bo Diddley Fats Domino Little Richard Jerry Lee Lewis and Gene Vincent Soon rock and roll was the major force in American record sales and crooners such as Eddie Fisher Perry Como and Patti Page who had dominated the previous decade of popular music found their access to the pop charts significantly curtailed Rock and roll has been seen as leading to a number of distinct subgenres including rockabilly combining rock and roll with hillbilly country music which was usually played and recorded in the mid 1950s by white singers such as Carl Perkins Jerry Lee Lewis Roy Orbison Buddy Holly and with the greatest commercial success Elvis Presley Hispanic and Latino American movements in rock and roll which would eventually lead to the success of Latin rock and Chicano rock within the US began to rise in the Southwest with rock and roll standard musician Ritchie Valens and even those within other heritage genres such as Al Hurricane along with his brothers Tiny Morrie and Baby Gaby as they began combining rock and roll with country western within traditional New Mexico music In addition the 1950s saw the growth in popularity of the electric guitar and the development of a specifically rock and roll style of playing through such exponents as Chuck Berry Link Wray and Scotty Moore The use of distortion pioneered by Western swing guitarists such as Junior Barnard and Eldon Shamblin was popularized by Chuck Berry in the mid 1950s The use of power chords pioneered by Francisco Tarrega and Heitor Villa Lobos in the 19th century and later on by Willie Johnson and Pat Hare in the early 1950s was popularized by Link Wray in the late 1950s Commentators have traditionally perceived a decline of rock and roll in the late 1950s and early 1960s By 1959 the death of Buddy Holly the Big Bopper and Ritchie Valens in a plane crash the departure of Elvis for the army the retirement of Little Richard to become a preacher prosecutions of Jerry Lee Lewis and Chuck Berry and the breaking of the payola scandal which implicated major figures including Alan Freed in bribery and corruption in promoting individual acts or songs gave a sense that the rock and roll era established at that point had come to an end Global spread British rock and roll singer Tommy Steele in a March 1958 promotional photo Rock quickly spread out from its origins in the US associated with the rapid Americanization that was taking place globally in the aftermath of the Second World War Cliff Richard is credited with one of the first rock and roll hits outside of North America with Move It 1959 effectively ushering in the sound of British rock Several artists most prominently Tommy Steele from the UK found success with covers of major American rock and roll hits before the recordings could spread internationally often translating them into local languages where appropriate Steele in particular toured Britain Scandinavia Australia the USSR and South Africa from 1955 to 1957 influencing the globalisation of rock Johnny O Keefe s 1958 record Wild One was one of the earliest Australian rock and roll hits By the late 1950s as well as in the American influenced Western world rock was popular in communist states such as Yugoslavia and the USSR as well as in regions such as South America In the late 1950s and early 1960s U S blues music and blues rock artists who had been surpassed by the rise of rock and roll in the US found new popularity in the UK visiting with successful tours Lonnie Donegan s 1955 hit Rock Island Line was a major influence and helped to develop the trend of skiffle music groups throughout the country many of which including John Lennon s Quarrymen later the Beatles moved on to play rock and roll While former rock and roll market in the US was becoming dominated by lightweight pop and ballads British rock groups at clubs and local dances were developing a style more strongly influenced by blues rock pioneers and were starting to play with an intensity and drive seldom found in white American acts this influence would go on to shape the future of rock music through the British Invasion 1960s British invasion and broadening soundThe first four years of the 1960s has traditionally been seen as an era of hiatus for rock and roll More recently some authors weasel words have emphasised important innovations and trends in this period without which future developments would not have been possible While early rock and roll particularly through the advent of rockabilly saw the greatest commercial success for male and white performers in this era the genre was dominated by black and female artists Rock and roll had not disappeared entirely from music at the end of the 1950s and some of its energy can be seen in the various dance crazes of the early 1960s started by Chubby Checker s record The Twist 1960 Some music historians have also pointed to important and innovative technical developments that built on rock and roll in this period including the electronic treatment of sound by such innovators as Joe Meek and the elaborate production methods of the Wall of Sound pursued by Phil Spector Instrumental rock and surf A June 1963 publicity photo of The Beach Boys including left to right Brian Wilson Mike Love Dennis Wilson Carl Wilson and David Marks The instrumental rock and roll of performers such as Duane Eddy Link Wray and the Ventures was further developed by Dick Dale who added distinctive wet reverb rapid alternate picking and Middle Eastern and Mexican influences He produced the regional hit Let s Go Trippin in 1961 and launched the surf music craze following up with songs like Misirlou 1962 Like Dale and his Del Tones most early surf bands were formed in Southern California including the Bel Airs the Challengers and Eddie amp the Showmen The Chantays scored a top ten national hit with Pipeline in 1963 and probably the best known surf tune was 1963 s Wipe Out by the Surfaris which hit number 2 and number 10 on the Billboard charts in 1965 Surf rock was also popular in Europe during this time with the British group the Shadows scoring hits in the early 1960s with instrumentals such as Apache 1960 and Kon Tiki 1961 while Swedish surf group the Spotnicks saw success in both Sweden and Britain Surf music achieved its greatest commercial success as vocal pop music particularly the work of the Beach Boys formed in 1961 in Southern California Their early albums included both instrumental surf rock including covers of music by Dick Dale and vocal songs drawing on rock and roll and doo wop and the close harmonies of vocal pop acts like the Four Freshmen The Beach Boys first chart hit Surfin in 1961 reached the Billboard top 100 and helped make the surf music craze a national phenomenon It is often argued that the surf music craze and the careers of almost all surf acts was effectively ended by the arrival of the British Invasion from 1964 because most surf music hits were recorded and released between 1960 and 1965 British Invasion The Beatles arriving at John F Kennedy International Airport in New York City at the start of the British Invasion in February 1964 By the end of 1962 what would become the British rock scene had started with beat groups like the Beatles Gerry amp the Pacemakers and the Searchers from Liverpool and Freddie and the Dreamers Herman s Hermits and the Hollies from Manchester They drew on a wide range of American influences including 1950s rock and roll soul rhythm and blues and surf music initially reinterpreting standard American tunes and playing for dancers Bands like the Animals from Newcastle and Them from Belfast and particularly those from London like the Rolling Stones and the Yardbirds were much more directly influenced by rhythm and blues and later blues music Soon these groups were composing their own material combining US forms of music and infusing it with a high energy beat Beat bands tended towards bouncy irresistible melodies while early British blues acts tended towards less sexually innocent more aggressive songs often adopting an anti establishment stance There was however particularly in the early stages considerable musical crossover between the two tendencies By 1963 led by the Beatles beat groups had begun to achieve national success in Britain soon to be followed into the charts by the more rhythm and blues focused acts I Want to Hold Your Hand was the Beatles first number one hit on the Billboard Hot 100 spending seven weeks at the top and a total of 15 weeks on the chart Their first appearance on The Ed Sullivan Show on 9 February 1964 drawing an estimated 73 million viewers at the time a record for an American television program is considered a milestone in American pop culture During the week of 4 April 1964 the Beatles held 12 positions on the Billboard Hot 100 singles chart including the entire top five The Beatles went on to become the biggest selling rock band of all time and they were followed into the US charts by numerous British bands During the next two years British acts dominated their own and the US charts with Peter and Gordon the Animals Manfred Mann Petula Clark Freddie and the Dreamers Wayne Fontana and the Mindbenders Herman s Hermits the Rolling Stones the Troggs and Donovan all having one or more number one singles Other major acts that were part of the invasion included the Kinks and the Dave Clark Five The British Invasion helped internationalize the production of rock and roll opening the door for subsequent British and Irish performers to achieve international success In America it arguably spelled the end of instrumental surf music vocal girl groups and for a time the teen idols that had dominated the American charts in the late 1950s and 1960s It dented the careers of established R amp B acts like Fats Domino and Chubby Checker and even temporarily derailed the chart success of surviving rock and roll acts including Elvis The British Invasion also played a major part in the rise of a distinct genre of rock music and cemented the primacy of the rock group based on guitars and drums and producing their own material as singer songwriters Following the example set by the Beatles 1965 LP Rubber Soul in particular other British rock acts released rock albums intended as artistic statements in 1966 including the Rolling Stones Aftermath the Beatles own Revolver and the Who s A Quick One as well as American acts in the Beach Boys Pet Sounds and Bob Dylan Blonde on Blonde Blues rock The Rolling Stones in May 1965 Although the first impact of the British Invasion on American popular music was through beat and R amp B based acts the impetus was soon taken up by a second wave of bands that drew their inspiration more directly from American blues including the Rolling Stones and the Yardbirds British blues musicians of the late 1950s and early 1960s had been inspired by the acoustic playing of figures such as Lead Belly who was a major influence on the Skiffle craze and Robert Johnson Increasingly they adopted a loud amplified sound often centered on the electric guitar based on the Chicago blues particularly after the tour of Britain by Muddy Waters in 1958 which prompted Cyril Davies and guitarist Alexis Korner to form the band Blues Incorporated The band involved and inspired many of the figures of the subsequent British blues boom including members of the Rolling Stones and Cream combining blues standards and forms with rock instrumentation and emphasis The other key focus for British blues was John Mayall his band the Bluesbreakers included Eric Clapton after Clapton s departure from the Yardbirds and later Peter Green Particularly significant was the release of Blues Breakers with Eric Clapton Beano album 1966 considered one of the seminal British blues recordings and the sound of which was much emulated in both Britain and the United States Eric Clapton went on to form supergroups Cream Blind Faith and Derek and the Dominos followed by an extensive solo career that helped bring blues rock into the mainstream Green along with the Bluesbreaker s rhythm section Mick Fleetwood and John McVie formed Peter Green s Fleetwood Mac who enjoyed some of the greatest commercial success in the genre In the late 1960s Jeff Beck also an alumnus of the Yardbirds moved blues rock in the direction of heavy rock with his band the Jeff Beck Group The last Yardbirds guitarist was Jimmy Page who went on to form The New Yardbirds which rapidly became Led Zeppelin Many of the songs on their first three albums and occasionally later in their careers were expansions on traditional blues songs In the United States blues rock had been pioneered in the early 1960s by guitarist Lonnie Mack however the genre began to take off in the mid 1960s as acts developed a sound similar to British blues musicians Key acts included Paul Butterfield whose band acted like Mayall s Bluesbreakers in Britain as a starting point for many successful musicians Canned Heat the early Jefferson Airplane Janis Joplin Johnny Winter the J Geils Band and Jimi Hendrix with his power trios the Jimi Hendrix Experience which included two British members and was founded in Britain and Band of Gypsys whose guitar virtuosity and showmanship would be among the most emulated of the decade Blues rock bands from the southern states like the Allman Brothers Band Lynyrd Skynyrd and ZZ Top incorporated country elements into their style to produce the distinctive genre Southern rock Early blues rock bands often emulated jazz playing long involved improvisations which would later be a major element of progressive rock From about 1967 bands like Cream and the Jimi Hendrix Experience had moved away from purely blues based music into psychedelia By the 1970s blues rock had become heavier and more riff based exemplified by the work of Led Zeppelin and Deep Purple and the lines between blues rock and hard rock were barely visible as bands began recording rock style albums The genre was continued in the 1970s by figures such as George Thorogood and Pat Travers but particularly on the British scene except perhaps for the advent of groups such as Status Quo and Foghat who moved towards a form of high energy and repetitive boogie rock bands became focused on heavy metal innovation and blues rock began to slip out of the mainstream Garage rock Garage rock was a raw form of rock music particularly prevalent in North America in the mid 1960s and so called because of the perception that it was rehearsed in the suburban family garage Garage rock songs often revolved around the traumas of high school life with songs about lying girls and unfair social circumstances being particularly common The lyrics and delivery tended to be more aggressive than was common at the time often with growled or shouted vocals that dissolved into incoherent screaming They ranged from crude one chord music like the Seeds to near studio musician quality including the Knickerbockers the Remains and the Fifth Estate There were also regional variations in many parts of the country with flourishing scenes particularly in California and Texas The Pacific Northwest states of Washington and Oregon had perhaps according to whom the most defined regional sound The D Men later renamed the Fifth Estate in 1964 The style had been evolving from regional scenes as early as 1958 Tall Cool One 1959 by the Wailers and Louie Louie by the Kingsmen 1963 are mainstream examples of the genre in its formative stages By 1963 garage band singles were creeping into the national charts in greater numbers including Paul Revere and the Raiders Boise the Trashmen Minneapolis and the Rivieras South Bend Indiana Other influential garage bands such as the Sonics Tacoma Washington never reached the Billboard Hot 100 The British Invasion greatly influenced garage bands providing them with a national audience leading many often surf or hot rod groups to adopt a British influence and encouraging many more groups to form Thousands of garage bands were extant in the United States and Canada during the era and hundreds produced regional hits Despite scores of bands being signed to major or large regional labels most were commercial failures It is generally agreed that garage rock peaked both commercially and artistically around 1966 By 1968 the style largely disappeared from the national charts and at the local level as amateur musicians faced college work or the draft New styles had evolved to replace garage rock Folk rock Joan Baez and Bob Dylan in August 1963 By the 1960s the scene that had developed out of the American folk music revival had grown to a major movement using traditional music and new compositions in a traditional style usually on acoustic instruments In America the genre was pioneered by figures such as Woody Guthrie and Pete Seeger and often identified with progressive or labor politics In the early sixties figures such as Joan Baez and Bob Dylan had come to the fore in this movement as singer songwriters Dylan had begun to reach a mainstream audience with hits including Blowin in the Wind 1963 and Masters of War 1963 which brought protest songs to a wider public but although beginning to influence each other rock and folk music had remained largely separate genres often with mutually exclusive audiences Early attempts to combine elements of folk and rock included the Animals House of the Rising Sun 1964 which was the first commercially successful folk song to be recorded with rock and roll instrumentation and the Beatles I m a Loser 1964 arguably the first Beatles song to be influenced directly by Dylan The folk rock movement is usually thought to have taken off with the Byrds recording of Dylan s Mr Tambourine Man which topped the charts in 1965 With members who had been part of the cafe based folk scene in Los Angeles the Byrds adopted rock instrumentation including drums and 12 string Rickenbacker guitars which became a major element in the sound of the genre Later that year Dylan adopted electric instruments much to the outrage of many folk purists with his Like a Rolling Stone becoming a US hit single According to Ritchie Unterberger Dylan even before his adoption of electric instruments influenced rock musicians like the Beatles demonstrating to the rock generation in general that an album could be a major standalone statement without hit singles such as on The Freewheelin Bob Dylan 1963 Folk rock particularly took off in California where it led acts like the Mamas amp the Papas and Crosby Stills and Nash to move to electric instrumentation and in New York where it spawned performers including the Lovin Spoonful and Simon and Garfunkel with the latter s acoustic The Sounds of Silence 1965 being remixed with rock instruments to be the first of many hits These acts directly influenced British performers like Donovan and Fairport Convention In 1969 Fairport Convention abandoned their mixture of American covers and Dylan influenced songs to play traditional English folk music on electric instruments This British folk rock was taken up by bands including Pentangle Steeleye Span and the Albion Band which in turn prompted Irish groups like Horslips and Scottish acts like the JSD Band Spencer s Feat and later Five Hand Reel to use their traditional music to create a brand of Celtic rock in the early 1970s Folk rock reached its peak of commercial popularity in the period 1967 68 before many acts moved off in a variety of directions including Dylan and the Byrds who began to develop country rock However the hybridization of folk and rock has been seen as having a major influence on the development of rock music bringing in elements of psychedelia and helping to develop the ideas of the singer songwriter the protest song and concepts of authenticity Psychedelic rock Jimi Hendrix performing in Sweden in May 1967 Psychedelic music s LSD inspired vibe began in the folk scene The first group to advertise themselves as psychedelic rock were the 13th Floor Elevators from Texas The Beatles introduced many of the major elements of the psychedelic sound to audiences in this period such as guitar feedback the Indian sitar and backmasking sound effects Psychedelic rock particularly took off in California s emerging music scene as groups followed the Byrds shift from folk to folk rock from 1965 The psychedelic lifestyle which revolved around hallucinogenic drugs had already developed in San Francisco and particularly prominent products of the scene were Big Brother and the Holding Company the Grateful Dead and Jefferson Airplane The Jimi Hendrix Experience s lead guitarist Jimi Hendrix did extended distorted feedback filled jams which became a key feature of psychedelia Psychedelic rock reached its apogee in the last years of the decade 1967 saw the Beatles release their definitive psychedelic statement in Sgt Pepper s Lonely Hearts Club Band including the controversial track Lucy in the Sky with Diamonds the Rolling Stones responded later that year with Their Satanic Majesties Request and Pink Floyd debuted with The Piper at the Gates of Dawn Key recordings included Jefferson Airplane s Surrealistic Pillow and the Doors self titled debut album These trends peaked in the 1969 Woodstock festival which saw performances by most of the major psychedelic acts Sgt Pepper was later regarded as the greatest album of all time and a starting point for the album era during which rock music transitioned from the singles format to albums and achieved cultural legitimacy in the mainstream Led by the Beatles in the mid 1960s rock musicians advanced the LP as the dominant form of recorded music expression and consumption initiating a rock informed album era in the music industry for the next several decades Progressive rock Progressive rock band Yes performing in Indianapolis in August 1977 Progressive rock a term sometimes used interchangeably with art rock moved beyond established musical formulas by experimenting with different instruments song types and forms From the mid 1960s the Left Banke the Beatles the Rolling Stones and the Beach Boys had pioneered the inclusion of harpsichords wind and string sections on their recordings to produce a form of Baroque rock and can be heard in singles like Procol Harum s A Whiter Shade of Pale 1967 with its Bach inspired introduction The Moody Blues used a full orchestra on their album Days of Future Passed 1967 and subsequently created orchestral sounds with synthesizers Classical orchestration keyboards and synthesizers were a frequent addition to the established rock format of guitars bass and drums in subsequent progressive rock Instrumentals were common while songs with lyrics were sometimes conceptual abstract or based in fantasy and science fiction The Pretty Things SF Sorrow 1968 the Kinks Arthur Or the Decline and Fall of the British Empire 1969 and the Who s Tommy 1969 introduced the format of rock operas and opened the door to concept albums often telling an epic story or tackling a grand overarching theme King Crimson s 1969 debut album In the Court of the Crimson King which mixed powerful guitar riffs and mellotron with jazz and symphonic music is often taken as the key recording in progressive rock helping the widespread adoption of the genre in the early 1970s among existing blues rock and psychedelic bands as well as newly formed acts The vibrant Canterbury scene saw acts following Soft Machine from psychedelia through jazz influences toward more expansive hard rock including Caravan Hatfield and the North Gong and National Health The French group Magma around drummer Christian Vander almost single handedly created the new music genre zeuhl with their first albums in the early 1970s Genesis performing at Old Trafford Manchester in July 2007 Left to right Bass guitarist Daryl Stuermer guitarist Mike Rutherford drummer Chester Thompson lead vocalist Phil Collins and keyboardist Tony Banks Greater commercial success was enjoyed by Pink Floyd who also moved away from psychedelia after the departure of Syd Barrett in 1968 with The Dark Side of the Moon 1973 seen as a masterpiece of the genre becoming one of the best selling albums of all time There was an emphasis on instrumental virtuosity with Yes showcasing the skills of both guitarist Steve Howe and keyboard player Rick Wakeman while Emerson Lake amp Palmer were a supergroup who produced some of the genre s most technically demanding work Jethro Tull and Genesis both pursued very different but distinctly English brands of music Renaissance formed in 1969 by ex Yardbirds Jim McCarty and Keith Relf evolved into a high concept band featuring the three octave voice of Annie Haslam Most British bands depended on a relatively small cult following but a handful including Pink Floyd Genesis and Jethro Tull managed to produce top ten singles at home and break the American market The American brand of progressive rock varied from the eclectic and innovative Frank Zappa Captain Beefheart and Blood Sweat amp Tears to more pop rock orientated bands like Boston Foreigner Kansas Journey and Styx These beside British bands Supertramp and ELO all demonstrated a prog rock influence and while ranking among the most commercially successful acts of the 1970s heralding the era of pomp or arena rock which would last until the costs of complex shows often with theatrical staging and special effects would be replaced by more economical rock festivals as major live venues in the 1990s citation needed The instrumental strand of the genre resulted in albums like Mike Oldfield s Tubular Bells 1973 the first record and worldwide hit for the Virgin Records label which became a mainstay of the genre Instrumental rock was particularly significant in continental Europe allowing bands like Kraftwerk Tangerine Dream Can Focus band and Faust to circumvent the language barrier Their synthesiser heavy krautrock along with the work of Brian Eno for a time the keyboard player with Roxy Music would be a major influence on subsequent electronic rock With the advent of punk rock and technological changes in the late 1970s progressive rock was increasingly dismissed as pretentious and overblown Many bands broke up but some including Genesis ELP Yes and Pink Floyd regularly scored top ten albums with successful accompanying worldwide tours Some bands which emerged in the aftermath of punk such as Siouxsie and the Banshees Ultravox and Simple Minds showed the influence of progressive rock as well as their more usually recognized punk influences Jazz rock Jaco Pastorius of Weather Report in 1980 In the late 1960s jazz rock emerged as a distinct subgenre out of the blues rock psychedelic and progressive rock scenes mixing the power of rock with the musical complexity and improvisational elements of jazz AllMusic states that the term jazz rock may refer to the loudest wildest most electrified fusion bands from the jazz camp but most often it describes performers coming from the rock side of the equation Jazz rock generally grew out of the most artistically ambitious rock subgenres of the late 60s and early 70s including the singer songwriter movement Many early US rock and roll musicians had begun in jazz and carried some of these elements into the new music In Britain the subgenre of blues rock and many of its leading figures like Ginger Baker and Jack Bruce of the Eric Clapton fronted band Cream had emerged from the British jazz scene Often highlighted as the first true jazz rock recording is the only album by the relatively obscure New York based the Free Spirits with Out of Sight and Sound 1966 The first group of bands to self consciously use the label were R amp B oriented white rock bands that made use of jazzy horn sections like Electric Flag Blood Sweat amp Tears and Chicago to become some of the most commercially successful acts of the later 1960s and the early 1970s British acts to emerge in the same period from the blues scene to make use of the tonal and improvisational aspects of jazz included Nucleus and the Graham Bond and John Mayall spin off Colosseum From the psychedelic rock and the Canterbury scenes came Soft Machine who it has been suggested produced one of the artistically successfully fusions of the two genres Perhaps the most critically acclaimed fusion came from the jazz side of the equation with Miles Davis particularly influenced by the work of Hendrix incorporating rock instrumentation into his sound for the album Bitches Brew 1970 It was a major influence on subsequent rock influenced jazz artists including Herbie Hancock Chick Corea and Weather Report The genre began to fade in the late 1970s as a mellower form of fusion began to take its audience but acts like Steely Dan Frank Zappa and Joni Mitchell recorded significant jazz influenced albums in this period and it has continued to be a major influence on rock music 1970s 1980s CommercialisationSteven Tyler and Joe Perry of Aerosmith known as the Toxic Twins performing in April 2007 Reflecting on developments that occurred in rock music in the early 1970s Robert Christgau wrote in Christgau s Record Guide Rock Albums of the Seventies 1981 The decade is of course an arbitrary schema itself time doesn t just execute a neat turn toward the future every ten years But like a lot of artificial concepts money say the category does take on a reality of its own once people figure out how to put it to work The 60s are over a slogan one only began to hear in 1972 or so mobilized all those eager to believe that idealism had become passe and once they were mobilized it had In popular music embracing the 70s meant both an elitist withdrawal from the messy concert and counterculture scene and a profiteering pursuit of the lowest common denominator in FM radio and album rock Rock saw greater commodification during this decade turning into a multibillion dollar industry and doubling its market while as Christgau noted suffering a significant loss of cultural prestige Maybe the Bee Gees became more popular than the Beatles but they were never more popular than Jesus he said Insofar as the music retained any mythic power the myth was self referential there were lots of songs about the rock and roll life but very few about how rock could change the world except as a new brand of painkiller In the 70s the powerful took over as rock industrialists capitalized on the national mood to reduce potent music to an often reactionary species of entertainment and to transmute rock s popular base from the audience to market Roots rock Roots rock is the term now used to describe a move away from what some saw as the excesses of the psychedelic scene to a more basic form of rock and roll that incorporated its original influences particularly blues country and folk music leading to the creation of country rock and Southern rock In 1966 Bob Dylan went to Nashville to record the album Blonde on Blonde This and subsequent more clearly country influenced albums such as Nashville Skyline have been seen as creating the genre of country folk a route pursued by a number of largely acoustic folk musicians Other acts that followed the back to basics trend were the Canadian group the Band and the California based Creedence Clearwater Revival both of which mixed basic rock and roll with folk country and blues to be among the most successful and influential bands of the late 1960s The same movement saw the beginning of the recording careers of Californian solo artists like Ry Cooder Bonnie Raitt and Lowell George and influenced the work of established performers such as the Rolling Stones Beggar s Banquet 1968 and the Beatles Let It Be 1970 Reflecting on this change of trends in rock music over the past few years Christgau wrote in his June 1970 Consumer Guide column that this new orthodoxy and cultural lag abandoned improvisatory studio ornamented productions in favor of an emphasis on tight spare instrumentation and song composition Its referents are 50s rock country music and rhythm and blues and its key inspiration is the Band The Eagles during their 2008 2009 Long Road Out of Eden Tour In 1968 Gram Parsons recorded Safe at Home with the International Submarine Band arguably the first true country rock album Later that year he joined the Byrds for Sweetheart of the Rodeo 1968 generally considered one of the most influential recordings in the genre The Byrds continued in the same vein but Parsons left to be joined by another ex Byrds member Chris Hillman in forming the Flying Burrito Brothers who helped establish the respectability and parameters of the genre before Parsons departed to pursue a solo career Bands in California that adopted country rock included Hearts and Flowers Poco New Riders of the Purple Sage the Beau Brummels and the Nitty Gritty Dirt Band Some performers also enjoyed a renaissance by adopting country sounds including the Everly Brothers one time teen idol Rick Nelson who became the frontman for the Stone Canyon Band former Monkee Mike Nesmith who formed the First National Band and Neil Young The Dillards were unusually a country act who moved towards rock music The greatest commercial success for country rock came in the 1970s with artists including the Doobie Brothers Emmylou Harris Linda Ronstadt and the Eagles made up of members of the Burritos Poco and Stone Canyon Band who emerged as one of the most successful rock acts of all time producing albums that included Hotel California 1976 The founders of Southern rock are usually thought to be the Allman Brothers Band who developed a distinctive sound largely derived from blues rock but incorporating elements of boogie soul and country in the early 1970s The most successful act to follow them were Lynyrd Skynyrd who helped establish the Good ol boy image of the subgenre and the general shape of 1970s guitar rock Their successors included the fusion progressive instrumentalists Dixie Dregs the more country influenced Outlaws funk R amp B leaning Wet Willie and incorporating elements of R amp B and gospel the Ozark Mountain Daredevils After the loss of original members of the Allmans and Lynyrd Skynyrd the genre began to fade in popularity in the late 1970s but was sustained the 1980s with acts like 38 Special Molly Hatchet and the Marshall Tucker Band Glam rock David Bowie during the Ziggy Stardust and the Spiders Tour in 1972 Glam rock emerged from the English psychedelic and art rock scenes of the late 1960s it can be seen as both an extension of and reaction against those trends Musically diverse varying between the simple rock and roll revivalism of figures like Alvin Stardust to the complex art rock of Roxy Music and can be seen as much as a fashion as a musical subgenre Visually it was a mesh of various styles ranging from 1930s Hollywood glamor through 1950s pin up sex appeal pre war Cabaret theatrics Victorian literary and symbolist styles science fiction to ancient and occult mysticism and mythology manifesting itself in outrageous clothes makeup hairstyles and platform soled boots Glam is most noted for its sexual and gender ambiguity and representations of androgyny beside extensive use of theatrics It was prefigured by the showmanship and gender identity manipulation of American acts such as the Cockettes and Alice Cooper The origins of glam rock are associated with Marc Bolan who had renamed his folk duo to T Rex and taken up electric instruments by the end of the 1960s Often cited as the moment of inception is his appearance on the BBC music show Top of the Pops in March 1971 wearing glitter and satins to perform what would be his second UK Top 10 hit and first UK Number 1 hit Hot Love From 1971 already a minor star David Bowie developed his Ziggy Stardust persona incorporating elements of professional make up mime and performance into his act These performers were soon followed in the style by acts including Roxy Music Sweet Slade Mott the Hoople Mud and Alvin Stardust While highly successful in the single charts in the United Kingdom very few of these musicians were able to make a serious impact in the United States Bowie was the major exception becoming an international superstar and prompting the adoption of glam styles among acts like Lou Reed Iggy Pop New York Dolls and Jobriath often known as glitter rock and with a darker lyrical content than their British counterparts In the UK the term glitter rock was most often used to refer to the extreme version of glam pursued by Gary Glitter and his support musicians the Glitter Band who between them achieved eighteen top ten singles in the UK between 1972 and 1976 A second wave of glam rock acts including Suzi Quatro Roy Wood s Wizzard and Sparks dominated the British single charts from about 1974 to 1976 Existing acts some not usually considered central to the genre also adopted glam styles including Rod Stewart Elton John Queen and for a time even the Rolling Stones It was also a direct influence on acts that rose to prominence later including Kiss and Adam Ant and less directly on the formation of gothic rock and glam metal as well as on punk rock which helped end the fashion for glam from about 1976 Glam has since enjoyed sporadic modest revivals through bands such as Chainsaw Kittens the Darkness and in R amp B crossover act Prince Chicano rock Carlos Santana performing New Year s Eve 1976 at the Cow Palace in San Francisco After the early successes of Latin rock in the 1960s Chicano musicians like Carlos Santana and Al Hurricane continued to have successful careers throughout the 1970s Santana opened the decade with success in his 1970 single Black Magic Woman on the Abraxas album His third album Santana III yielded the single No One to Depend On and his fourth album Caravanserai experimented with his sound to mixed reception He later released a series of four albums that all achieved gold status Welcome Borboletta Amigos and Festival Al Hurricane continued to mix his rock music with New Mexico music though he was also experimenting more heavily with Jazz music which led to several successful singles especially on his Vestido Mojado album including the eponymous Vestido Mojado as well as Por Una Mujer Casada and Puno de Tierra his brothers had successful New Mexico music singles in La Del Mono Colorado by Tiny Morrie and La Cumbia De San Antone by Baby Gaby Al Hurricane Jr also began his successful rock infused New Mexico music recording career in the 1970s with his 1976 rendition of Flor De Las Flores Los Lobos gained popularity at this time with their first album Los Lobos del Este de Los Angeles in 1977 Soft rock hard rock and early heavy metal A strange time 1971 although rock s balkanization into genres was well underway it was often hard to tell one catch phrase from the next Art rock could mean anything from the Velvets to the Moody Blues and although Led Zeppelin was launched and Black Sabbath celebrated heavy metal remained an amorphous concept Rock music critic Robert Christgau From the late 1960s it became common to divide mainstream rock music into soft and hard rock Soft rock was often derived from folk rock using acoustic instruments and putting more emphasis on melody and harmonies Major artists included Carole King Cat Stevens and James Taylor It reached its commercial peak in the mid to late 1970s with acts like Billy Joel America and the reformed Fleetwood Mac whose Rumours 1977 was the best selling album of the decade In contrast hard rock was more often derived from blues rock and was played louder and with more intensity It often emphasised the electric guitar both as a rhythm instrument using simple repetitive riffs and as a solo lead instrument and was more likely to be used with distortion and other effects Key acts included British Invasion bands like the Kinks as well as psychedelic era performers like Cream Jimi Hendrix and the Jeff Beck Group Hard rock influenced bands that enjoyed international success in the later 1970s included Queen Thin Lizzy Aerosmith AC DC and Van Halen Led Zeppelin performing at Chicago Stadium in January 1975 Also from the late 1960s the term heavy metal began to be used to describe some hard rock played with even more volume and intensity first as an adjective and by the early 1970s as a noun The term was first used in music in Steppenwolf s Born to Be Wild 1967 the term began to be associated with pioneer bands like San Francisco s Blue Cheer Cleveland s James Gang and Michigan s Grand Funk Railroad By 1970 three key British bands had developed the characteristic sounds and styles which would help shape the subgenre Led Zeppelin added elements of fantasy to their riff laden blues rock Deep Purple brought in symphonic and medieval interests from their progressive rock phase and Black Sabbath introduced facets of the gothic and modal harmony helping to produce a darker sound These elements were taken up by a second generation of heavy metal bands into the late 1970s including Judas Priest UFO Motorhead and Rainbow from Britain Kiss Ted Nugent and Blue Oyster Cult from the US Rush from Canada and Scorpions from Germany all marking the expansion in popularity of the subgenre Despite a lack of airplay and very little presence on the singles charts late 1970s heavy metal built a considerable following particularly among adolescent working class males in North America and Europe In the 1980s bands such as Bon Jovi Guns N Roses Skid Row and Def Leppard saw mainstream success with hard rock and a fusion of hard rock and heavy metal with pop During the 1990s hard rock saw a slight decline in popularity save for some major hits like Guns N Roses November Rain However in the early 2000s Bon Jovi s It s My Life saw a huge increase in popularity of rock and pop rock and helped introduce the genres to a newer fanbase Christian rock Switchfoot taking a bow at Buckhead Theatre following their Atlanta performance on their Fading West Tour in March 2014 Rock music mostly the heavy metal genre has sometimes been criticized by some Christian leaders who have condemned it as immoral anti Christian and even satanic However Christian rock began to develop in the late 1960s particularly out of the Jesus movement beginning in Southern California however it emerged as a subgenre in the 1970s with artists like Larry Norman usually seen as the first major star of Christian rock The genre was mostly a phenomenon in the United States Many Christian rock performers have ties to the contemporary Christian music scene Starting in the 1980s Christian pop performers have had some mainstream success While these artists were largely acceptable in Christian communities the adoption of heavy rock and glam metal styles by bands like Stryper who achieved considerable mainstream success in the 1980s was more controversial Starting in the 1990s there were increasing numbers of acts who attempted to avoid the Christian band label preferring to be seen as groups who were also Christians including P O D Heartland rock Bruce Springsteen performing in East Berlin in July 1988 American working class oriented heartland rock characterized by a straightforward musical style and a concern with the lives of ordinary blue collar American people developed in the second half of the 1970s The term heartland rock was first used to describe Midwestern arena rock groups like Kansas REO Speedwagon and Styx but which came to be associated with a more socially concerned form of roots rock more directly influenced by folk country and rock and roll It has been seen as an American Midwest and Rust Belt counterpart to West Coast country rock and the Southern rock of the American South Led by figures who had initially been identified with punk and New Wave it was most strongly influenced by acts such as Bob Dylan the Byrds Creedence Clearwater Revival and Van Morrison and the basic rock of 1960s garage and the Rolling Stones Exemplified by the commercial success of singer songwriters Bruce Springsteen Bob Seger and Tom Petty along with less widely known acts such as Southside Johnny and the Asbury Jukes and Joe Grushecky and the Houserockers it was partly a reaction to post industrial urban decline in the East and Mid West often dwelling on issues of social disintegration and isolation beside a form of good time rock and roll revivalism The genre reached its commercial artistic and influential peak in the mid 1980s with Springsteen s Born in the USA 1984 topping the charts worldwide and spawning a series of top ten singles together with the arrival of artists including John Mellencamp Steve Earle and more gentle singer songwriters such as Bruce Hornsby It can also be heard as an influence on artists as diverse as Billy Joel Kid Rock and the Killers Heartland rock faded away as a recognized genre by the early 1990s as rock music in general and blue collar and white working class themes in particular lost influence with younger audiences and as heartland s artists turned to more personal works Many heartland rock artists continued to record with critical and commercial success most notably Bruce Springsteen Tom Petty and John Mellencamp although their output became more personal and experimental no longer fitting a specific genre Punk rock Patti Smith performing in Copenhagen in October 1976 Punk rock was developed between 1974 and 1976 in the United States and the United Kingdom Rooted in garage rock and other forms of what is now known as protopunk music punk rock bands eschewed the perceived excesses of mainstream 1970s rock They created fast hard edged music typically with short songs stripped down instrumentation and often political anti establishment lyrics Punk embraces a DIY do it yourself ethic with many bands self producing their recordings and distributing them through informal channels Vocalist Johnny Rotten and guitarist Steve Jones of the Sex Pistols performing in Amsterdam in January 1977 By late 1976 acts such as the Ramones and Patti Smith in New York City and the Sex Pistols and the Clash in London were recognized as the vanguard of a new musical movement The following year saw punk rock spreading around the world Punk quickly became a major cultural phenomenon in the UK The Sex Pistols live TV skirmish with Bill Grundy on 1 December 1976 was the watershed moment in British punk s transformation into a major media phenomenon even as some stores refused to stock the records and radio airplay was hard to come by In May 1977 the Sex Pistols achieved new heights of controversy and number two on the singles chart with a song that referenced Queen Elizabeth II God Save the Queen during her Silver Jubilee For the most part punk took root in local scenes that tended to reject association with the mainstream An associated punk subculture emerged expressing youthful rebellion and characterized by distinctive clothing styles and a variety of anti authoritarian ideologies By the beginning of the 1980s faster more aggressive styles such as hardcore and Oi had become the predominant mode of punk rock This has resulted in several evolved strains of hardcore punk such as D beat a distortion heavy subgenre influenced by the UK band Discharge anarcho punk such as Crass grindcore such as Napalm Death and crust punk Musicians identifying with or inspired by punk also pursued a broad range of other variations giving rise to New wave post punk and the alternative rock movement New wave Debbie Harry lead singer of Blondie performing at Maple Leaf Gardens in Toronto in October 1977 Although punk rock was a significant social and musical phenomenon it achieved less in the way of record sales being distributed by small specialty labels such as Stiff Records or American radio airplay as the radio scene continued to be dominated by mainstream formats such as disco and album oriented rock Punk rock had attracted devotees from the art and collegiate world and soon bands sporting a more literate arty approach such as Talking Heads and Devo began to infiltrate the punk scene in some quarters the description new wave began to be used to differentiate these less overtly punk bands Record executives who had been mostly mystified by the punk movement recognized the potential of the more accessible new wave acts and began aggressively signing and marketing any band that could claim a remote connection to punk or new wave Many of these bands such as the Cars and the Go Go s can be seen as pop bands marketed as new wave other existing acts including the Police the Pretenders and Elvis Costello used the new wave movement as the springboard for relatively long and critically successful careers while skinny tie bands exemplified by the Knack or the photogenic Blondie began as punk acts and moved into more commercial territory Between 1979 and 1985 influenced by Kraftwerk Yellow Magic Orchestra David Bowie and Gary Numan British new wave went in the direction of such New Romantics as Spandau Ballet Ultravox Japan Duran Duran A Flock of Seagulls Culture Club Talk Talk and the Eurythmics sometimes using the synthesizer to replace all other instruments This period coincided with the rise of MTV and led to a great deal of exposure for this brand of synth pop creating what has been characterised as a second British Invasion Some more traditional rock bands adapted to the video age and profited from MTV s airplay most obviously Dire Straits whose Money for Nothing gently poked fun at the station despite the fact that it had helped make them international stars but in general guitar oriented rock was commercially eclipsed Post punk U2 performing on The Joshua Tree Tour in Brussels in August 2017 If hardcore most directly pursued the stripped down aesthetic of punk and new wave came to represent its commercial wing post punk emerged in the late 1970s and early 1980s as its more artistic and challenging side In addition to punk bands major influences included the Velvet Underground Frank Zappa Captain Beefheart and the New York based no wave scene including James Chance and the Contortions DNA and Sonic Youth Early contributors to the genre included U S bands Pere Ubu Devo the Residents and Talking Heads The first wave of British post punk included Gang of Four Siouxsie and the Banshees and Joy Division who placed less emphasis on art than their US counterparts and more on the dark emotional qualities of their music Bands like Siouxsie and the Banshees Bauhaus the Cure and the Sisters of Mercy moved increasingly in this direction to found Gothic rock which had become the basis of a major sub culture by the early 1980s Similar emotional territory was pursued by Australian acts like the Birthday Party and Nick Cave Members of Bauhaus and Joy Division explored new stylistic territory as Love and Rockets and New Order respectively Another early post punk movement was the industrial music developed by British bands Throbbing Gristle and Cabaret Voltaire and New York based Suicide using a variety of electronic and sampling techniques that emulated the sound of industrial production and which would develop into a variety of forms of post industrial music in the 1980s The second generation of British post punk bands that broke through in the early 1980s including the Fall the Pop Group the Mekons Echo and the Bunnymen and the Teardrop Explodes tended to move away from dark sonic landscapes Arguably the most successful band to emerge from post punk was Ireland s U2 who incorporated elements of religious imagery together with political commentary into their often anthemic music and by the late 1980s had become one of the biggest bands in the world Although many post punk bands continued to record and perform it declined as a movement in the mid 1980s as acts disbanded or moved off to explore other musical areas but it has continued to influence the development of rock music and has been seen as a major element in the creation of the alternative rock movement Emergence of alternative rock R E M a successful alternative rock band in the 1980s and 1990s performing in July 2003 The term alternative rock was coined in the early 1980s to describe rock artists who did not fit into the mainstream genres of the time Bands dubbed alternative had no unified style but were all seen as distinct from mainstream music Alternative bands were linked by their collective debt to punk rock through hardcore New Wave or the post punk movements Important alternative rock bands of the 1980s in the US included R E M Husker Du Jane s Addiction Sonic Youth and the Pixies in the UK popular bands the Cure New Order the Jesus and Mary Chain and the Smiths Artists were largely confined to independent record labels building an extensive underground music scene based on college radio fanzines touring and word of mouth They rejected the dominant synth pop of the early 1980s marking a return to group based guitar rock Few of these early bands achieved mainstream success although exceptions to this rule include R E M the Smiths and the Cure Despite a general lack of spectacular album sales the original alternative rock bands exerted a considerable influence on the generation of musicians who came of age in the 1980s and ended up breaking through to mainstream success in the 1990s Styles of alternative rock in the US during the 1980s included jangle pop associated with the early recordings of R E M which incorporated the ringing guitars of mid 1960s pop and rock and college rock used to describe alternative bands that began in the college circuit and college radio including acts such as 10 000 Maniacs and the Feelies In the UK Gothic rock was dominant in the early 1980s however by the end of the decade indie or dream pop like Primal Scream Bogshed Half Man Half Biscuit and the Wedding Present and what were dubbed shoegaze bands like My Bloody Valentine Slowdive Ride and Lush entered Particularly vibrant was the Madchester scene producing such bands as Happy Mondays Inspiral Carpets and the Stone Roses The next decade would see the success of grunge in the US and Britpop in the UK bringing alternative rock into the mainstream 1990s 2000s Rise of alternative cultureGrunge Grunge band Nirvana performing in September 1992 Disaffected by commercialized and highly produced pop and rock in the mid 1980s bands in Washington state particularly in the Seattle area formed a new style of rock which sharply contrasted with the mainstream music of the time The developing genre came to be known as grunge a term descriptive of the dirty sound of the music and the unkempt appearance of most musicians who actively rebelled against the over groomed images of other artists Grunge fused elements of hardcore punk and heavy metal into a single sound and made heavy use of guitar distortion fuzz and feedback The lyrics were typically apathetic and angst filled and often concerned themes such as social alienation and entrapment although it was also known for its dark humor and parodies of commercial rock Bands such as Green River Soundgarden Melvins and Skin Yard pioneered the genre with Mudhoney becoming the most successful by the end of the decade Grunge remained largely a local phenomenon until 1991 when Nirvana s album Nevermind became a huge success containing the anthemic song Smells Like Teen Spirit Nevermind was more melodic than its predecessors by signing to Geffen Records the band was one of the first to employ traditional corporate promotion and marketing mechanisms such as an MTV video in store displays and the use of radio consultants who promoted airplay at major mainstream rock stations During 1991 and 1992 other grunge albums such as Pearl Jam s Ten Soundgarden s Badmotorfinger and Alice in Chains Dirt along with the Temple of the Dog album featuring members of Pearl Jam and Soundgarden became among the 100 top selling albums Major record labels signed most of the remaining grunge bands in Seattle while a second influx of acts moved to the city in the hope of success However with the death of Kurt Cobain and the subsequent break up of Nirvana in 1994 touring problems for Pearl Jam and the departure of Alice in Chains lead singer Layne Staley in 1998 the genre began to decline partly to be overshadowed by Britpop and more commercial sounding post grunge Britpop Oasis performing in San Diego in September 2005 Britpop emerged from the British alternative rock scene of the early 1990s and was characterised by bands particularly influenced by British guitar music of the 1960s and 1970s The Smiths were a major influence as were bands of the Madchester scene which had dissolved in the early 1990s The movement has been seen partly as a reaction against various US based musical and cultural trends in the late 1980s and early 1990s particularly the grunge phenomenon and as a reassertion of a British rock identity Britpop was varied in style but often used catchy tunes and hooks beside lyrics with particularly British concerns and the adoption of the iconography of the 1960s British Invasion including the symbols of British identity previously used by the mods It was launched around 1993 with releases by groups such as Suede and Blur who were soon joined by others including Oasis Pulp Supergrass and Elastica who produced a series of successful albums and singles For a while the contest between Blur and Oasis was built by the popular press into the Battle of Britpop initially won by Blur but with Oasis achieving greater long term and international success directly influencing later Britpop bands such as Ocean Colour Scene and Kula Shaker Britpop groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement known as Cool Britannia Although its more popular bands particularly Blur and Oasis were able to spread their commercial success overseas especially to the United States the movement had largely fallen apart by the end of the decade Post grunge Foo Fighters performing an acoustic show in November 2007 The term post grunge was coined for the generation of bands that followed the emergence into the mainstream and subsequent hiatus of the Seattle grunge bands Post grunge bands emulated their attitudes and music but with a more radio friendly commercially oriented sound Often they worked through the major labels and came to incorporate diverse influences from jangle pop pop punk alternative metal or hard rock The term post grunge originally was meant to be pejorative suggesting that they were simply musically derivative or a cynical response to an authentic rock movement Originally grunge bands that emerged when grunge was mainstream and were suspected of emulating the grunge sound were pejoratively labelled as post grunge From 1994 former Nirvana drummer Dave Grohl s new band the Foo Fighters helped popularize the genre and define its parameters Some post grunge bands like Candlebox were from Seattle but the subgenre was marked by a broadening of the geographical base of grunge with bands like Los Angeles Audioslave and Georgia s Collective Soul and beyond the US to Australia s Silverchair and Britain s Bush who all cemented post grunge as one of the most commercially viable subgenres of the late 1990s Although male bands predominated post grunge female solo artist Alanis Morissette s 1995 album Jagged Little Pill labelled as post grunge also became a multi platinum hit Post grunge morphed during the late 1990s as post grunge bands like Creed and Nickelback emerged Bands like Creed and Nickelback took post grunge into the 21st century with considerable commercial success abandoning most of the angst and anger of the original movement for more conventional anthems narratives and romantic songs and were followed in this vein by newer acts including Shinedown Seether 3 Doors Down and Puddle of Mudd Pop punk Green Day performing in Rome in June 2013 The origins of 1990s pop punk can be seen in the more song oriented bands of the 1970s punk movement like Buzzcocks and the Clash commercially successful new wave acts such as the Jam and the Undertones and the more hardcore influenced elements of alternative rock in the 1980s Pop punk tends to use power pop melodies and chord changes with speedy punk tempos and loud guitars Punk music provided the inspiration for some California based bands on independent labels in the early 1990s including Rancid and Green Day In 1994 Green Day moved to a major label and produced the album Dookie which found a new largely teenage audience and proved a surprise diamond selling success leading to a series of hit singles including two number ones in the US They were soon followed by the eponymous debut from Weezer which spawned three top ten singles in the US This success opened the door for the multi platinum sales of metallic punk band the Offspring with Smash 1994 This first wave of pop punk reached its commercial peak with Green Day s Nimrod 1997 and the Offspring s Americana 1998 A second wave of pop punk was spearheaded by Blink 182 with their breakthrough album Enema of the State 1999 followed by bands such as Good Charlotte Simple Plan and Sum 41 who made use of humour in their videos and had a more radio friendly tone to their music while retaining the speed some of the attitude and even the look of 1970s punk Later pop punk bands including All Time Low the All American Rejects and Fall Out Boy had a sound that has been described as closer to 1980s hardcore while still achieving commercial success Indie rock Lo fi indie rock band Pavement In the 1980s the terms indie rock and alternative rock were used interchangeably By the mid 1990s as elements of the movement began to attract mainstream interest particularly grunge and then Britpop post grunge and pop punk the term alternative began to lose its meaning Those bands following the less commercial contours of the scene were increasingly referred to by the label indie They characteristically attempted to retain control of their careers by releasing albums on their own or small independent labels while relying on touring word of mouth and airplay on independent or college radio stations for promotion Linked by an ethos more than a musical approach the indie rock movement encompassed a wide range of styles from hard edged grunge influenced bands like the Cranberries and Superchunk through do it yourself experimental bands like Pavement to punk folk singers such as Ani DiFranco It has been noted that indie rock has a relatively high proportion of female artists compared with preceding rock genres a tendency exemplified by the development of feminist informed Riot grrrl music Many countries have developed an extensive local indie scene flourishing with bands with enough popularity to survive inside the respective country but virtually unknown outside them By the end of the 1990s many recognisable subgenres most with their origins in the late 1980s alternative movement were included under the umbrella of indie Lo fi eschewed polished recording techniques for a D I Y ethos and was spearheaded by Beck Sebadoh and Pavement The work of Talk Talk and Slint helped inspire both post rock an experimental style influenced by jazz and electronic music pioneered by Bark Psychosis and taken up by acts such as Tortoise Stereolab and Laika as well as leading to more dense and complex guitar based math rock developed by acts like Polvo and Chavez Space rock looked back to progressive roots with drone heavy and minimalist acts like Spacemen 3 the two bands created out of its split Spectrum and Spiritualized and later groups including Flying Saucer Attack Godspeed You Black Emperor and Quickspace In contrast Sadcore emphasised pain and suffering through melodic use of acoustic and electronic instrumentation in the music of bands like American Music Club and Red House Painters while the revival of baroque pop reacted against lo fi and experimental music by placing an emphasis on melody and classical instrumentation with artists like Arcade Fire Belle and Sebastian and Rufus Wainwright Alternative metal rap rock and nu metal Alternative metal emerged from the hardcore scene of alternative rock in the US in the later 1980s but gained a wider audience after grunge broke into the mainstream in the early 1990s Early alternative metal bands mixed a wide variety of genres with hardcore and heavy metal sensibilities with acts like Jane s Addiction and Primus using progressive rock Soundgarden and Corrosion of Conformity using garage punk the Jesus Lizard and Helmet mixing noise rock Ministry and Nine Inch Nails influenced by industrial music Monster Magnet moving into psychedelia Pantera Sepultura and White Zombie creating groove metal while Biohazard Limp Bizkit and Faith No More turned to hip hop and rap Linkin Park performing at Sonisphere Festival in Pori Finland in June 2009 Hip hop had gained attention from rock acts in the early 1980s including the Clash with The Magnificent Seven 1980 and Blondie with Rapture 1980 Early crossover acts included Run DMC and the Beastie Boys Detroit rapper Esham became known for his acid rap style which fused rapping with a sound that was often based in rock and heavy metal Rappers who sampled rock songs included Ice T the Fat Boys LL Cool J Public Enemy and Whodini The mixing of thrash metal and rap was pioneered by Anthrax on their 1987 comedy influenced single I m the Man In 1990 Faith No More broke into the mainstream with their single Epic often seen as the first truly successful combination of heavy metal with rap This paved the way for the success of existing bands like 24 7 Spyz and Living Colour and new acts including Rage Against the Machine and Red Hot Chili Peppers who all fused rock and hip hop among other influences Among the first wave of performers to gain mainstream success as rap rock were 311 Bloodhound Gang and Kid Rock A more metallic sound nu metal was pursued by bands including Limp Bizkit Korn and Slipknot Later in the decade this style which contained a mix of grunge punk metal rap and turntable scratching spawned a wave of successful bands like Linkin Park P O D and Staind who were often classified as rap metal or nu metal the first of which are the best selling band of the genre In 2001 nu metal reached its peak with albums like Staind s Break the Cycle P O D s Satellite Slipknot s Iowa and Linkin Park s Hybrid Theory New bands also emerged like Disturbed Godsmack and Papa Roach whose major label debut Infest became a platinum hit Korn s long awaited fifth album Untouchables and Papa Roach s second album Lovehatetragedy did not sell as well as their previous releases while nu metal bands were played more infrequently on rock radio stations and MTV began focusing on pop punk and emo Since then many bands have changed to a more conventional hard rock heavy metal or electronic music sound Post Britpop Travis in Los Angeles in November 2007 From about 1997 as dissatisfaction grew with the concept of Cool Britannia and Britpop as a movement began to dissolve emerging bands began to avoid the Britpop label while still producing music derived from it Many of these bands tended to mix elements of British traditional rock or British trad rock particularly the Beatles Rolling Stones and Small Faces with American influences including post grunge Drawn from across the United Kingdom with several important bands emerging from the north of England Scotland Wales and Northern Ireland the themes of their music tended to be less parochially centered on British English and London life and more introspective than had been the case with Britpop at its height This beside a greater willingness to engage with the American press and fans may have helped some of them in achieving international success Several alternative bands that had enjoyed some success during the mid 1990s but did not find major commercial success until the late 1990s included the Verve and Radiohead After the decline of Britpop they began to gain more critical and popular attention The Verve s album Urban Hymns 1997 was a worldwide hit and Radiohead achieved near universal critical acclaim with their experimental third album OK Computer 1997 as well as its follow up Kid A 2000 Post Britpop bands have been seen as presenting the image of the rock star as an ordinary person and their increasingly melodic music was criticised for being bland or derivative Post Britpop bands like Travis from The Man Who 1999 Stereophonics from Performance and Cocktails 1999 Feeder from Echo Park 2001 and particularly Coldplay from their debut album Parachutes 2000 achieved much wider international success than most of the Britpop groups that had preceded them and were some of the most commercially successful acts of the late 1990s and early 2000s arguably providing a launchpad for the subsequent garage rock revival and post punk revival which has also been seen as a reaction to their introspective brand of rock Post hardcore and emo Post hardcore developed in the US particularly in the Chicago and Washington DC areas in the early to mid 1980s with bands that were inspired by the do it yourself ethics and guitar heavy music of hardcore punk but influenced by post punk adopting longer song formats more complex musical structures and sometimes more melodic vocal styles Emo also emerged from the hardcore scene in 1980s Washington D C initially as emocore used as a term to describe bands who favored expressive vocals over the more common abrasive barking style The early emo scene operated as an underground with short lived bands releasing small run vinyl records on tiny independent labels Emo broke into mainstream culture in the early 2000s with the platinum selling success of Jimmy Eat World s Bleed American 2001 and Dashboard Confessional s The Places You Have Come to Fear the Most 2003 The new emo had a much more mainstream sound than in the 1990s and a far greater appeal amongst adolescents than its earlier incarnations At the same time use of the term emo expanded beyond the musical genre becoming associated with fashion a hairstyle and any music that expressed emotion By 2003 post hardcore bands had also caught the attention of major labels and began to enjoy mainstream success in the album charts citation needed A number of these bands were seen as a more aggressive offshoot of emo and given the often vague label of screamo Garage rock and post punk revivals The Strokes performing in March 2006 In the early 2000s a new group of bands that played a stripped down and back to basics version of guitar rock emerged into the mainstream They were variously characterised as part of a garage rock post punk or New Wave revival Because the bands came from across the globe cited diverse influences from traditional blues through New Wave to grunge and adopted differing styles of dress their unity as a genre has been disputed There had been attempts to revive garage rock and elements of punk in the 1980s and 1990s by 2000 scenes had grown up in several countries The commercial breakthrough from these scenes was led by four bands the Strokes who emerged from the New York club scene with their debut album Is This It 2001 the White Stripes from Detroit with their third album White Blood Cells 2001 the Hives from Sweden after their compilation album Your New Favourite Band 2001 and the Vines from Australia with Highly Evolved 2002 They were christened by the media as the The bands and dubbed The saviours of rock n roll leading to accusations of hype A second wave of bands that gained international recognition due to the movement included Black Rebel Motorcycle Club Yeah Yeah Yeahs the Killers Interpol and Kings of Leon from the US the Libertines Arctic Monkeys Bloc Party Editors Kaiser Chiefs and Franz Ferdinand from the UK Jet and Wolfmother from Australia and the Datsuns and the D4 from New Zealand Digital electronic rock In the 2000s as computer technology became more accessible and music software advanced it became possible to create high quality music using little more than a single laptop computer This resulted in a massive increase in the amount of home produced electronic music available to the general public via the expanding internet and new forms of performance such as laptronica and live coding These techniques also began to be used by existing bands and by developing genres that mixed rock with digital techniques and sounds including indie electronic electroclash dance punk and new rave citation needed 2010s present Commercial stagnation and revival scenesSwedish hard rock band Ghost performing in November 2015 During the 2010s rock music declined from its position as the major popular music genre now sharing with electronic dance and hip hop the latter of which had surpassed it as the most consumed musical genre in the United States by 2017 The rise of streaming and the advent of technology which changed approaches toward music creation were cited as major factors Ken Partridge of Genius suggested that hip hop became more popular because it is a more transformative genre and does not need to rely on past sounds and that there is a direct connection to the stagnation of rock music and changing social attitudes during the 2010s Bill Flanagan in a 2016 opinion piece for The New York Times compared the state of rock during this period to the state of jazz in the early 1980s slowing down and looking back The rock bands which had chart success in the 2010s were mostly associated with the trends that had been popular in the 2000s and earlier decades rather than reflecting new scenes and sounds Some pop rock and hard rock bands continued to see commercial success during this period including Ghost Maroon 5 Twenty One Pilots Fall Out Boy Imagine Dragons Halestorm Panic at the Disco Black Veil Brides Greta Van Fleet and The Black Keys Outside of the charts the commercialisation of rock festivals was a major theme of the decade with both global megafestivals such as Coachella Glastonbury and Roskilde and smaller scale local festivals expanding In 2020 the COVID 19 pandemic brought extreme changes to the rock scene worldwide Restrictions such as quarantine rules caused widespread cancellations and postponements of concerts tours festivals album releases award ceremonies and competitions Some artists resorted to giving online performances to keep their careers active Another scheme to circumvent the quarantine limitations was used at a concert of Danish rock musician Mads Langer the audience watched the performance from inside their cars much like in a drive in theater Musically the pandemic led to a surge in new releases from the slower less energetic and more acoustic subgenres of rock music The industry raised funds to help itself through efforts such as Crew Nation a relief fund for live music crews organised by Livenation Psychedelic and progressive revivals Australian neo prog musician Kevin Parker of Tame Impala performing in New York in 2013 Psychedelic and progressive styles in rock would see a major resurgence in popularity during the 2010s and 2020s Some of the most notable acts in neo psychedelia originated in Australia Kevin Parker s Tame Impala released the single Elephant in 2012 which became a hit on alternative radio in various countries and would be followed by the release of critically acclaimed albums by Parker such as Lonerism 2012 and Currents 2015 This new style of Australian psychedelic music not only built on the psychedelic and progressive rock acts of the 60s and 70s but also incorporated new and unique musical influences from various subgenres of rock heavy metal EDM and world music A 2014 article in The Guardian described Australia as a place where independently minded rock bands are free to develop at their own pace Other Australian psychedelic and progressive revival acts of the 2010s and 2020s include King Gizzard amp the Lizard Wizard Psychedelic Porn Crumpets Rolling Blackouts Coastal Fever Bananagun Jay Watson The Murlocs Stonefield and Tropical Fuck Storm Psychedelic trends in rock have also seen a revival in Europe with European and American stoner rock groups such as Uncle Acid amp the Deadbeats Graveyard Kadavar All Them Witches and True Widow performing a heavier more riff based version of neo psychedelia containing stronger blues and metal influences Europe has been described as really good for new psychedelic music with many American stoner rock bands choosing to tour in Europe as opposed to North America Pop punk and post punk revivals At the start of the 2020s recording artists in both pop and rap music released popular pop punk influenced recordings many of them produced or assisted by Blink 182 drummer Travis Barker Representing a commercial resurgence for the genre these acts included Machine Gun Kelly Willow Smith Trippie Redd Halsey Yungblud and Olivia Rodrigo The popularity of the social media platform TikTok helped spark nostalgia for the angst driven musical style among young listeners during the pandemic Among the most successful of these releases have been Machine Gun Kelly s 2020 album Tickets to My Downfall which topped the Billboard 200 and Rodrigo s number one hit single Good 4 U 2021 In the mid to late 2010s and early 2020s a new wave of post punk bands from Britain and Ireland emerged The groups in this scene have been described with the term Crank Wave by NME and The Quietus in 2019 and as Post Brexit New Wave by NPR writer Matthew Perpetua in 2021 Artists that have been identified as part of the style include Black Midi Wet Leg Squid Black Country New Road Dry Cleaning Shame Sleaford Mods Fontaines D C The Murder Capital Idles and Yard Act Post punk artists that attained prominence in the 2010s and early 2020s from other countries besides the UK included Parquet Courts Protomartyr and Geese United States Preoccupations Canada Iceage Denmark and Viagra Boys Sweden Classic rock revival During the mid to late 2010s some mainstream rock bands began to gain notoriety for performing in a back to basics style of rock music meant to emulate the sound of legacy acts popular on classic rock radio The release of albums such as the Struts Everybody Wants 2014 and Greta Van Fleet s Anthem of the Peaceful Army 2018 saw a renewed mainstream interest in earlier rock styles of the late 1960s and 1970s with Revolver describing this classic rock revival sound as hard hitting swaggering riff driven rock n roll built around a core vocal guitar bass drum configuration Other groups considered to be a part of this trend include Rival Sons Dirty Honey Crown Lands Larkin Poe and White Reaper Social impactWoodstock a three day music festival held in Bethel New York in August 1969 was seen as a celebration of the countercultural lifestyle Different subgenres of rock were adopted by and became central to the identity of a large number of sub cultures In the 1950s and 1960s respectively British youths adopted the Teddy Boy and Rocker subcultures which revolved around US rock and roll The counterculture of the 1960s was closely associated with psychedelic rock The mid to late 1970s punk subculture began in the US but it was given a distinctive look by British designer Vivienne Westwood a look which spread worldwide Out of the punk scene the Goth and Emo subcultures grew both of which presented distinctive visual styles When an international rock culture developed it supplanted cinema as the major sources of fashion influence Paradoxically followers of rock music have often mistrusted the world of fashion which has been seen as elevating image above substance Rock fashions have been seen as combining elements of different cultures and periods as well as expressing divergent views on sexuality and gender and rock music in general has been noted and criticised for facilitating greater sexual freedom Rock has also been associated with various forms of drug use including the amphetamines taken by mods in the early to mid 1960s through the LSD mescaline hashish and other hallucinogenic drugs linked with psychedelic rock in the mid to late 1960s and early 1970s and sometimes to cannabis cocaine and heroin all of which have been eulogised in song Rock has been credited with changing attitudes to race by opening up African American culture to white audiences but at the same time rock has been accused of appropriating and exploiting that culture While rock music has absorbed many influences and introduced Western audiences to different musical traditions the global spread of rock music has been interpreted as a form of cultural imperialism Rock music inherited the folk tradition of protest song making political statements on subjects such as war religion poverty civil rights justice and the environment Political activism reached a mainstream peak with the Do They Know It s Christmas single 1984 and Live Aid concert for Ethiopia in 1985 which while raising awareness of world poverty and funds for aid have also been criticised along with similar events for providing a stage for self aggrandisement and increased profits for the rock stars involved Since its early development rock music has been associated with rebellion against social and political norms most in early rock and roll s rejection of an adult dominated culture the counterculture s rejection of consumerism and conformity and punk s rejection of all forms of social convention however it can also be seen as providing a means of commercial exploitation of such ideas and of diverting youth away from political action Role of women Lzzy Hale lead singer and guitarist of hard rock band Halestorm performing in June 2023 Professional women instrumentalists are uncommon in rock genres such as heavy metal although bands such as Within Temptation have featured women as lead singers with men playing instruments According to Schaap and Berkers playing in a band is a male homosocial activity that is learning to play in a band is a peer based experience shaped by existing sex segregated friendship networks They note that rock music is often defined as a form of male rebellion vis a vis female bedroom culture The theory of bedroom culture argues that society influences girls to not engage in crime and deviance by virtually trapping them in their bedroom it was identified by a sociologist named Angela McRobbie In popular music there has been a gendered distinction between public male and private female participation in music Several scholars have argued that men exclude women from bands or from the bands rehearsals recordings performances and other social activities Women are regarded as passive and private consumers of slick prefabricated hence inferior pop music excluding them from participating as high status rock musicians One of the reasons that there are mixed gender bands is that bands operate as tight knit units in which homosocial solidarity social bonds between people of the same sex plays a crucial role In the 1960s rock music scene singing was sometimes an acceptable pastime for a girl but playing an instrument simply wasn t done The rebellion of rock music was a male rebellion the women often in the 1950s and 60s girls in their teens in rock sang songs as personae dependent on their macho boyfriends Philip Auslander says that Although there were many women in rock by the late 1960s most performed only as singers a feminine position in popular music Though some women played instruments in American all female garage rock bands none of these bands achieved more than regional success So they did not provide viable templates for women s on going participation in rock In relation to the gender composition of heavy metal bands it has been said that h eavy metal performers are almost exclusively male at least until the mid 1980s apart from exceptions such as Girlschool However now in the 2010s maybe more than ever strong metal women have put up their dukes and got down to it carv ing out a considerable place for them selves When Suzi Quatro emerged in 1973 no other prominent female musician worked in rock simultaneously as a singer instrumentalist songwriter and bandleader According to Auslander she was kicking down the male door in rock and roll and proving that a female musician and this is a point I am extremely concerned about could play as well if not better than the boys An all female band is a musical group in genres such as rock and blues which is composed of female musicians This is distinct from a girl group in which the female members are vocalists though this terminology is not universally followed See alsoRock music portalList of rock genres List of mainstream rock performers Rock Against Racism Rock Against Sexism Rock for the RainforestNotesHaving died down in the late 1950s doo wop enjoyed a revival in the same period with hits for acts like the Marcels the Capris Maurice Williams and the Zodiacs and Shep and the Limelights The rise of girl groups like the Chantels the Shirelles and the Crystals placed an emphasis on harmonies and polished production that was in contrast to earlier rock and roll Some of the most significant girl group hits were products of the Brill Building Sound named after the block in New York where many songwriters were based which included the number 1 hit for the Shirelles Will You Love Me Tomorrow in 1960 penned by the partnership of Gerry Goffin and Carole King Only the Beach Boys were able to sustain a creative career into the mid 1960s producing a string of hit singles and albums including the highly regarded Pet Sounds in 1966 which made them arguably the only American rock or pop act that could rival the Beatles In Detroit garage rock s legacy remained alive into the early 1970s with bands such as the MC5 and the Stooges who employed a much more aggressive approach to the form These bands began to be labelled punk rock and are now often seen as proto punk or proto hard rock References Power Pop Guide A Brief History of Power Pop MasterClass 4 March 2022 Archived from the original on 24 May 2022 Retrieved 23 May 2022 Azerrad Michael 16 April 1992 Grunge City The Seattle Scene Rolling Stone Archived from the original on 20 September 2023 Retrieved 2 November 2018 W E Studwell and D F Lonergan The Classic Rock and Roll Reader Rock Music from its Beginnings to the mid 1970s Abingdon Routledge 1999 ISBN 0 7890 0151 9 p xi Wyman Bill 20 December 2016 Chuck Berry Invented the Idea of Rock and Roll Vulture com New York Media LLC Archived from the original on 11 March 2021 Retrieved 19 March 2017 J M Curtis Rock Eras Interpretations of Music and Society 1954 1984 Madison WI Popular Press 1987 ISBN 0 87972 369 6 pp 68 73 Campbell Michael Brody James 2007 Rock and Roll An Introduction 2nd ed Belmont CA Thomson Schirmer pp 80 81 ISBN 978 0 534 64295 2 R C Brewer Bass Guitar in Shepherd 2003 p 56 R Mattingly Drum Set in Shepherd 2003 p 361 P Theberge Any Sound you can Imagine Making Music Consuming Technology Middletown CT Wesleyan University Press 1997 ISBN 0 8195 6309 9 pp 69 70 D Laing Quartet in Shepherd 2003 p 56 C Ammer The Facts on File Dictionary of Music New York Infobase 4th edn 2004 ISBN 0 8160 5266 2 pp 251 52 Campbell amp Brody 2007 p 117 J Covach From craft to art formal structure in the music of the Beatles in K Womack and Todd F Davis eds Reading the Beatles Cultural Studies Literary Criticism and the Fab Four New York SUNY Press 2006 ISBN 0 7914 6715 5 p 40 T Gracyk Rhythm and Noise an Aesthetics of Rock London I B Tauris 1996 ISBN 1 86064 090 7 p xi P Wicke Rock Music Culture Aesthetics and Sociology Cambridge Cambridge University Press 1990 ISBN 0 521 39914 9 p x Christgau Robert 1981 Genesis Selling England by the Pound Christgau s Record Guide Rock Albums of the Seventies Ticknor amp Fields ISBN 0 89919 025 1 Archived from the original on 6 April 2023 Retrieved 16 October 2021 via robertchristgau com Christgau Robert 1981 The Decade Christgau s Record Guide Rock Albums of the Seventies Ticknor amp Fields ISBN 0 89919 025 1 Archived from the original on 2 April 2019 Retrieved 6 April 2019 via robertchristgau com Farber Barry A 2007 Rock n roll Wisdom What Psychologically Astute Lyrics Teach About Life and Love Westport CT Praeger pp xxvi xxviii ISBN 978 0 275 99164 7 Christgau Robert et al 2000 McKeen William ed Rock amp Roll Is Here to Stay An Anthology W W Norton amp Company pp 564 65 567 ISBN 0 393 04700 8 McDonald Chris 2009 Rush Rock Music and the Middle Class Dreaming in Middletown Bloomington IN Indiana University Press pp 108 09 ISBN 978 0 253 35408 2 S Waksman Instruments of Desire the Electric Guitar and the Shaping of Musical Experience Cambridge MA Harvard University Press 2001 ISBN 0 674 00547 3 p 176 Frith Simon 2007 Taking Popular Music Seriously Selected Essays Aldershot England Ashgate Publishing pp 43 44 ISBN 978 0 7546 2679 4 Archived from the original on 6 April 2023 Retrieved 27 March 2023 Christgau Robert 11 June 1972 Tuning Out Tuning In Turning On Newsday Archived from the original on 20 September 2023 Retrieved 17 March 2017 T Warner Pop Music Technology and Creativity Trevor Horn and the Digital Revolution Aldershot Ashgate 2003 ISBN 0 7546 3132 X pp 3 4 R Beebe D Fulbrook and B Saunders Introduction in R Beebe D Fulbrook B Saunders eds Rock Over the Edge Transformations in Popular Music Culture Durham NC Duke University Press 2002 ISBN 0 8223 2900 X p 7 Christgau Robert 1990 Introduction Canons and Listening Lists Christgau s Record Guide The 80s Pantheon Books ISBN 0 679 73015 X Archived from the original on 9 July 2023 Retrieved 6 April 2019 R Unterberger Birth of Rock amp Roll in Bogdanov et al 2002 pp 1303 04 Wald Gayle 2007 Shout Sister Shout The Untold Story of Rock and Roll Trailblazer Sister Rosetta Tharpe Beacon Press p 68 ISBN 9780807009895 World s First Rock and Roll Song Identified Seeker 23 January 2021 Archived from the original on 23 January 2021 Retrieved 18 April 2024 The First Rock and Roll Song LiveAbout Archived from the original on 27 October 2022 Retrieved 11 November 2022 Will the creator of modern music please stand up Alexis Petridis The Guardian 16 April 2004 Robert Palmer Church of the Sonic Guitar pp 13 38 in Anthony DeCurtis Present Tense Duke University Press 1992 p 19 ISBN 0 8223 1265 4 Bill Dahl Jimmy Preston AllMusic archived from the original on 20 May 2016 retrieved 27 April 2012 Campbell Michael 2008 Popular Music in America The Beat Goes On 3rd ed Boston MA Cengage Learning pp 157 58 ISBN 978 0 495 50530 3 T E Scheurer American Popular Music The Age of Rock Madison WI Popular Press 1989 ISBN 0 87972 468 4 p 170 Gilliland 1969 show 55 track 2 P Browne The Guide to United States Popular Culture Madison WI Popular Press 2001 ISBN 0 87972 821 3 p 358 R S Denisoff W L Schurk Tarnished Gold the Record Industry Revisited New Brunswick NJ Transaction 3rd edn 1986 ISBN 0 88738 618 0 p 13 Rockabilly AllMusic archived from the original on 11 February 2011 Lucero Mario J 3 January 2020 The problem with how the music streaming industry handles data Quartz Archived from the original on 31 March 2023 Retrieved 14 February 2020 J M Curtis Rock Eras Interpretations of Music and Society 1954 1984 Madison WI Popular Press 1987 ISBN 0 87972 369 6 p 73 Davis Lance 8 March 2011 Get It Low The Dirty Guitar of Junior Barnard The Adios Lounge Archived from the original on 12 July 2018 Retrieved 11 November 2022 Collis John 2002 Chuck Berry The Biography Aurum p 38 ISBN 978 1 85410 873 9 Archived from the original on 8 February 2023 Retrieved 17 October 2015 Hicks Michael 2000 Sixties Rock Garage Psychedelic and Other Satisfactions University of Illinois Press p 17 ISBN 0 252 06915 3 Campbell 2008 p 99 Horn Adrian 2009 Juke Box Britain Americanisation and Youth Culture 1945 60 Manchester Manchester University Press ISBN 978 0719083662 D Hatch and S Millward 1987 From Blues to Rock An Analytical History of Pop Music Manchester Manchester University Press p 78 ISBN 0 7190 1489 1 Mitchell G A M 2011 A Very British Introduction to Rock n Roll Tommy Steele and the Advent of Rock n Roll Music in Britain 1956 1960 Contemporary British History 25 2 205 225 Meyers J P 2015 The Beatles in Buenos Aires Muse in Mexico City Tribute Bands and the Global Consumption of Rock Music Ethnomusicology Forum Vol 24 No 3 pp 329 348 Routledge Smith Barnaby 30 September 2014 The Wild One by Johnny O Keefe Australia s first rock n roll hit The Guardian ISSN 0261 3077 Retrieved 18 April 2024 Vuletic D 2008 Generation Number One Politics and Popular Music in Yugoslavia in the 1950s Nationalities Papers 36 5 861 879 Rauth R 1982 Back in the USSR Rock and roll in the Soviet Union Popular Music amp Society 8 3 4 3 12 Schwartz Roberta F 2007 How Britain Got the Blues The Transmission and Reception of American Blues Style in the United Kingdom Aldershot England Ashgate Publishing p 22 ISBN 978 0 7546 5580 0 Roberts J 2001 The Beatles Mineappolis MN Lerner Publications p 13 ISBN 0 8225 4998 0 Eder B British Blues in V Bogdanov C Woodstra S T Erlewine eds All Music Guide to the Blues The Definitive Guide to the Blues Milwaukee WI Backbeat Books 3rd ed 2003 p 700 ISBN 0 87930 736 6 Gilliland 1969 shows 20 21 B Bradby Do talk don t talk the division of the subject in girl group music in S Frith and A Goodwin eds On Record Rock Pop and the Written Word Abingdon Routledge 1990 ISBN 0 415 05306 4 p 341 K Keightley Reconsidering rock in S Frith W Straw and J Street eds The Cambridge Companion to Pop and Rock Cambridge Cambridge University Press 2001 ISBN 0 521 55660 0 p 116 R Unterberger Doo Wop in Bogdanov et al 2002 pp 1306 07 R Dale Education and the State Politics Patriarchy and Practice London Taylor amp Francis 1981 ISBN 0 905273 17 6 p 106 R Unterberger Brill Building Sound in Bogdanov et al 2002 pp 1311 12 J Blair The Illustrated Discography of Surf Music 1961 1965 Ypsilanti MI Pierian Press 2nd edn 1985 ISBN 0 87650 174 9 p 2 J Blair The Illustrated Discography of Surf Music 1961 1965 Ypsilanti MI Pierian Press 2nd edn 1985 ISBN 0 87650 174 9 p 75 Throwback tune of the day Nowhere to Go The Four Freshmen Buzz ie Archived from the original on 8 March 2021 Retrieved 25 February 2021 W Ruhlman et al Beach Boys in Bogdanov et al 2002 pp 71 75 Surf Music Nostalgia Central 3 July 2014 Archived from the original on 23 July 2019 Retrieved 29 July 2019 R Stakes Those boys the rise of Mersey beat in S Wade ed Gladsongs and Gatherings Poetry and its Social Context in Liverpool Since the 1960s Liverpool Liverpool University Press 2001 ISBN 0 85323 727 1 pp 157 66 I Chambers Urban Rhythms Pop Music and Popular Culture Basingstoke Macmillan 1985 ISBN 0 333 34011 6 p 75 J R Covach and G MacDonald Boone Understanding Rock Essays in Musical Analysis Oxford Oxford University Press 1997 ISBN 0 19 510005 0 p 60 R Unterberger British Invasion in Bogdanov et al 2002 pp 1316 17 R Unterberger British R amp B in Bogdanov et al 2002 pp 1315 16 Gilliland 1969 show 28 I A Robbins British Invasion Encyclopaedia Britannica archived from the original on 21 December 2010 H Bill The Book Of Beatle Lists Poole Dorset Javelin 1985 ISBN 0 7137 1521 9 p 66 Gilliland 1969 show 29 Gilliland 1969 show 30 Gilliland 1969 show 48 T Leopold 5 February 2004 When the Beatles hit America CNN February 10 2004 CNN archived from the original on 11 April 2010 British Invasion AllMusic archived from the original on 11 February 2011 Britpop AllMusic archived from the original on 12 February 2011 K Keightley Reconsidering rock in S Frith W Straw and J Street eds The Cambridge Companion to Pop and Rock Cambridge Cambridge University Press 2001 ISBN 0 521 55660 0 p 117 F W Hoffmann British Invasion in F W Hoffmann and H Ferstler eds Encyclopedia of Recorded Sound Volume 1 New York CRC Press 2nd edn 2004 ISBN 0 415 93835 X p 132 R Shuker Popular Music the Key Concepts Abingdon Routledge 2nd edn 2005 ISBN 0 415 34770 X p 35 Simonelli David 2013 Working Class Heroes Rock Music and British Society in the 1960s and 1970s Lanham MD Lexington Books pp 96 97 ISBN 978 0 7391 7051 9 Archived from the original on 16 November 2023 Retrieved 4 June 2021 H S Macpherson Britain and the Americas Culture Politics and History Oxford ABC CLIO 2005 ISBN 1 85109 431 8 p 626 V Coelho The Cambridge Companion to the Guitar Cambridge Cambridge University Press 2003 ISBN 0 521 00040 8 p 104 R Uterberger Blues Rock in V Bogdanov C Woodstra S T Erlewine eds All Music Guide to the Blues The Definitive Guide to the Blues Milwaukee WI Backbeat Books 3rd edn 2003 ISBN 0 87930 736 6 pp 701 02 T Rawlings A Neill C Charlesworth and C White Then Now and Rare British Beat 1960 1969 London Omnibus Press 2002 ISBN 0 7119 9094 8 p 130 P Prown H P Newquist and J F Eiche Legends of Rock Guitar the Essential Reference of Rock s Greatest Guitarists Milwaukee WI Hal Leonard Corporation 1997 ISBN 0 7935 4042 9 p 25 R Unterberger Southern Rock in Bogdanov et al 2002 pp 1332 33 Blues rock AllMusic archived from the original on 12 February 2011 P Prown H P Newquist and J F Eiche Legends of Rock Guitar the Essential Reference of Rock s Greatest Guitarists Milwaukee WI Hal Leonard Corporation 1997 ISBN 0 7935 4042 9 p 113 R Shuker Popular Music the Key Concepts Abingdon Routledge 2nd edn 2005 ISBN 0 415 34770 X p 140 E J Abbey Garage Rock and its Roots Musical Rebels and the Drive for Individuality Jefferson NC McFarland 2006 ISBN 0 7864 2564 4 pp 74 76 R Unterberger Garage Rock in Bogdanov et al 2002 pp 1320 21 N Campbell American Youth Cultures Edinburgh Edinburgh University Press 2nd edn 2004 ISBN 0 7486 1933 X p 213 Otfinoski Steven The Golden Age of Rock Instrumentals Billboard Books 1997 p 36 ISBN 0 8230 7639 3 W E Studwell and D F Lonergan The Classic Rock and Roll Reader Rock Music from its Beginnings to the mid 1970s Abingdon Routledge 1999 ISBN 0 7890 0151 9 p 213 J Austen TV a Go Go Rock on TV from American Bandstand to American Idol Chicago IL Chicago Review Press 2005 ISBN 1 55652 572 9 p 19 Waksman Steve 2009 This Ain t the Summer of Love Conflict and Crossover in Heavy Metal and Punk Berkeley CA University of California Press p 116 ISBN 978 0 520 25310 0 F W Hoffmann Garage Rock Punk in F W Hoffman and H Ferstler Encyclopedia of Recorded Sound Volume 1 New York CRC Press 2nd edn 2004 ISBN 0 415 93835 X p 873 Thompson Graham 2007 American Culture in the 1980s Edinburgh UK Edinburgh University Press p 134 ISBN 978 0 7486 1910 8 Mitchell Gillian 2007 The North American Folk Music Revival Nation and Identity in the United States and Canada 1945 1980 Aldershot England Ashgate Publishing p 95 ISBN 978 0 7546 5756 9 Mitchell 2007 p 72 J E Perone Music of the Counterculture Era American History Through Music Westwood CT Greenwood 2004 ISBN 0 313 32689 4 p 37 R Unterberger Folk Rock in Bogdanov et al 2002 pp 1308 09 Perone James E 2009 Mods Rockers and the Music of the British Invasion Westport CT Praeger Publishers p 128 ISBN 978 0 275 99860 8 R Unterberger The Beatles I m a Loser AllMusic archived from the original on 12 February 2011 Unterberger Richie 31 December 2018 2018 Folkrocks Archived from the original on 20 September 2023 Retrieved 3 June 2021 M Brocken The British Folk Revival 1944 2002 Ashgate Aldershot 2003 ISBN 0 7546 3282 2 p 97 C Larkin The Guinness Encyclopedia of Popular Music London Guinness 1992 ISBN 1 882267 04 4 p 869 G W Haslam A H Russell and R Chon Workin Man Blues Country Music in California Berkeley CA Heyday Books 2005 ISBN 0 520 21800 0 p 201 K Keightley Reconsidering rock in S Frith W Straw and J Street eds The Cambridge Companion to Pop and Rock Cambridge Cambridge University Press 2001 ISBN 0 521 55660 0 p 121 M Hicks Sixties Rock Garage Psychedelic and Other Satisfactions Chicago IL University of Illinois Press 2000 ISBN 0 252 06915 3 pp 59 60 R Unterberger Psychedelic Rock in Bogdanov et al 2002 pp 1322 23 Gilliland 1969 shows 41 42 DeRogatis Jim Kot Greg 2010 The Beatles vs The Rolling Stones Sound Opinions on the Great Rock n Roll Rivalry Voyageur Press pp 70 75 ISBN 978 1610605137 Whitburn Joel 2003 Joel Whitburn s Top Pop Singles 1955 2002 Record Research p xxiii ISBN 9780898201550 Pareles Jon 5 January 1997 All That Music and Nothing to Listen To The New York Times Archived from the original on 27 December 2017 Retrieved 10 March 2020 R Unterberger Progressive Rock in Bogdanov et al 2002 pp 1330 31 J S Harrington Sonic Cool the Life amp Death of Rock n Roll Milwaukee WI Hal Leonard Corporation 2003 ISBN 0 634 02861 8 p 191 E Macan Rocking the Classics English Progressive Rock and the Counterculture Oxford Oxford University Press 1997 ISBN 0 19 509887 0 pp 34 35 E Macan Rocking the Classics English Progressive Rock and the Counterculture Oxford Oxford University Press 1997 ISBN 0 19 509887 0 p 64 Prog rock AllMusic archived from the original on 12 February 2011 E Macan Rocking the Classics English Progressive Rock and the Counterculture Oxford Oxford University Press 1997 ISBN 0 19 509887 0 p 129 Jeff Wagner 2010 Mean Deviation Four Decades of Progressive Heavy Metal Bazillion Points Books p 242 ISBN 978 0 9796163 3 4 R Reising Speak to Me The Legacy of Pink Floyd s The Dark Side of the Moon Aldershot Ashgate 2005 ISBN 0 7546 4019 1 M Brocken The British Folk Revival 1944 2002 Aldershot Ashgate 2003 ISBN 0 7546 3282 2 p 96 B Eder Renaissance AllMusic archived from the original on 12 February 2011 K Holm Hudson Progressive Rock Reconsidered London Taylor amp Francis 2002 ISBN 0 8153 3715 9 p 9 N E Tawa Supremely American Popular Song in the 20th Century Styles and Singers and What They Said About America Lanham MA Scarecrow Press 2005 ISBN 0 8108 5295 0 pp 249 50 P Bussy Kraftwerk Man Machine and Music London SAF 3rd end 2004 ISBN 0 946719 70 5 pp 15 17 K Holm Hudson Progressive Rock Reconsidered London Taylor amp Francis 2002 ISBN 0 8153 3715 9 p 92 Knight Brian L Rock in the Name of Progress Part VI Thelonius Punk The Vermont Review archived from the original on 17 July 2011 T Udo Did Punk kill prog Classic Rock Magazine vol 97 September 2006 Jazz Rock Music Genre Overview AllMusic archived from the original on 16 February 2011 R Unterberger Jazz Rock in Bogdanov et al 2002 pp 1328 30 I Carr D Fairweather and B Priestley The Rough Guide to Jazz London Rough Guides 3rd edn 2004 ISBN 1 84353 256 5 p iii Auslander Philip 2008 Liveness Performance in a Mediatized Culture 2nd ed Abingdon England Routledge p 83 ISBN 978 0 415 77353 9 K Wolff and O Duane Country Music The Rough Guide London Rough Guides 2000 ISBN 1 85828 534 8 p 392 R Unterberger The Band and S T Erlewine Creedence Clearwater Revival in Bogdanov et al 2002 pp 61 62 265 66 Hoskyns Barney 2007 Hotel California The True Life Adventures of Crosby Stills Nash Young Mitchell Taylor Browne Ronstadt Geffen the Eagles and Their Many Friends Hoboken NJ John Wiley amp Sons pp 87 90 ISBN 978 0 470 12777 3 Christgau Robert 18 June 1970 Consumer Guide 11 The Village Voice Archived from the original on 6 April 2023 Retrieved 18 February 2020 via robertchristgau com R Unterberger Country Rock in Bogdanov et al 2002 p 1327 B Hinton The Nitty Gritty Dirt Band in P Buckley ed Rock The Rough Guide London Rough Guides 1st edn 1996 ISBN 1 85828 201 2 pp 612 13 N E Tawa Supremely American Popular Song in the 20th Century Styles and Singers and What They Said About America Lanham MA Scarecrow Press 2005 ISBN 0 8108 5295 0 p 227 28 R Shuker Popular Music the Key Concepts Abingdon Routledge 2nd edn 2005 ISBN 0 415 34770 X pp 124 25 P Auslander Performing Glam Rock Gender and Theatricality in Popular Music Ann Arbor MI University of Michigan Press 2006 ISBN 0 7546 4057 4 pp 57 63 87 and 141 Glam rock AllMusic archived from the original on 12 February 2011 P Auslander Performing Glam Rock Gender and Theatricality in Popular Music Ann Arbor MI University of Michigan Press 2006 ISBN 0 472 06868 7 p 34 Mark Paytress Bolan The Rise And Fall of a 20th Century Superstar Omnibus Press 2002 ISBN 0 7119 9293 2 pp 180 181 P Auslander Watch that man David Bowie Hammersmith Odeon London July 3 1973 in I Inglis ed Performance and Popular Music History Place and Time Aldershot Ashgate 2006 ISBN 0 7546 4057 4 p 72 P Auslander Watch that man David Bowie Hammersmith Odeon London July 3 1973 in Ian Inglis ed Performance and Popular Music History Place and Time Aldershot Ashgate 2006 ISBN 0 7546 4057 4 p 80 D Thompson Glitter Band and S Huey Gary Glitter in Bogdanov et al 2002 p 466 R Huq Beyond Subculture Pop Youth and Identity in a Postcolonial World Abingdon Routledge 2006 ISBN 0 415 27815 5 p 161 P Auslander Performing Glam Rock Gender and Theatricality in Popular Music Ann Arbor MI University of Michigan Press 2006 ISBN 0 7546 4057 4 p 227 Billboard 27 June 1970 https books google com books id eikEAAAAMBAJ amp q pacific high recording studioas amp pg PA55 Retrieved 24 August 2015 a href wiki Template Cite magazine title Template Cite magazine cite magazine a Missing or empty title help referred to as career suicide as recalled in a 2013 interview by drummer and album co producer Michael Shrieve Gleason Ralph J 8 December 1976 Santana Caravanserai Music Reviews Rolling Stone Rolling Stone Archived from the original on 5 June 2017 Retrieved 14 April 2012 La Herencia Del Norte in Spanish Gran Via 1998 Retrieved 14 February 2020 Koskoff E 2017 The Garland Encyclopedia of World Music The United States and Canada Taylor amp Francis p 1253 ISBN 978 1 351 54414 6 Archived from the original on 10 June 2024 Retrieved 14 February 2020 Hurricane Al Jr Flor De Las Flores Frontera Project Archived from the original on 20 September 2023 Retrieved 14 February 2020 Christgau Robert 1995 The Move Great Move The Best of the Move Details Archived from the original on 9 July 2023 Retrieved 10 September 2018 J M Curtis Rock Eras Interpretations of Music and Society 1954 1984 Madison WI Popular Press 1987 ISBN 0 87972 369 6 p 236 J Kennaugh Fleetwood Mac in P Buckley ed Rock The Rough Guide London Rough Guides 1st edn 1996 ISBN 1 85828 201 2 pp 323 24 Hard Rock AllMusic archived from the original on 12 February 2011 S T Erlewine Queen AllMusic archived from the original on 12 February 2011 J Dougan Thin Lizzy AllMusic archived from the original on 12 February 2011 R Walser Running With the Devil Power Gender and Madness in Heavy Metal Music Middletown CT Wesleyan University Press 1993 ISBN 0 8195 6260 2 p 7 R Walser Running With the Devil Power Gender and Madness in Heavy Metal Music Middletown CT Wesleyan University Press 1993 ISBN 0 8195 6260 2 p 9 R Walser Running With the Devil Power Gender and Madness in Heavy Metal Music Middletown CT Wesleyan University Press 1993 ISBN 0 8195 6260 2 p 10 R Walser Running With the Devil Power Gender and Madness in Heavy Metal Music Middletown CT Wesleyan University Press 1993 ISBN 0 8195 6260 2 p 3 J J Thompson Raised by Wolves the Story of Christian Rock amp Roll Toronto ECW Press 2000 ISBN 1 55022 421 2 pp 30 31 J R Howard and J M Streck Apostles of Rock The Splintered World of Contemporary Christian Music Lexington KY University Press of Kentucky 2004 ISBN 0 8131 9086 X p 30 J R Howard and J M Streck Apostles of Rock The Splintered World of Contemporary Christian Music Lexington KY University Press of Kentucky 2004 ISBN 0 8131 9086 X pp 43 44 J J Thompson Raised by Wolves the Story of Christian Rock amp Roll Toronto ECW Press 2000 ISBN 1 55022 421 2 pp 66 67 and 159 161 M B Wagner God s Schools Choice and Compromise in American Society Rutgers University Press 1990 ISBN 0 8135 1607 2 p 134 J J Thompson Raised by Wolves the Story of Christian Rock amp Roll Toronto ECW Press 2000 ISBN 1 55022 421 2 pp 206 07 Kirkpatrick Rob 2007 The Words and Music of Bruce Springsteen Westport CT Praeger p 51 ISBN 978 0 275 98938 5 Thompson 2007 p 138 Heartland Rock AllMusic archived from the original on 13 February 2011 J A Peraino 30 August 1987 Heartland rock Bruce s Children The New York Times archived from the original on 12 May 2011 A DeCurtis 18 October 2007 Kid Rock Rock n Roll Jesus Rolling Stone archived from the original on 14 May 2011 S T Erlewine The Killers Sam s Town Rolling Stone archived from the original on 29 April 2011 S Peake Heartland Rock About com archived from the original on 12 May 2011 J Dougan Punk Music in Bogdanov et al 2002 pp 1335 36 A Rodel Extreme Noise Terror Punk Rock and the Aesthetics of Badness in C Washburne and M Derno eds Bad Music The Music We Love to Hate New York Routledge ISBN 0 415 94365 5 pp 235 56 Savage 1992 pp 260 263 67 277 79 Laing 1985 pp 35 37 38 Young Charles M 20 October 1977 Rock Is Sick and Living in London Rolling Stone Archived from the original on 14 September 2006 Retrieved 10 October 2006 R Sabin Rethingking punk and racism in R Sabin ed Punk Rock So What the Cultural Legacy of Punk Abingdon Routledge 1999 ISBN 0 415 17029 X p 206 Skott Myhre Hans A 2009 Youth and Subculture as Creative Force Creating New Spaces for Radical Youth Work Toronto Canada University of Toronto Press p xi ISBN 978 1 4426 0992 1 T Gosling Not for sale The Underground network of Anarcho punk in A Bennett and R A Peterson eds Music Scenes Local Translocal and Virtual Nashville TN Vanderbilt University Press 2004 ISBN 0 8265 1451 0 pp 168 86 Waksman 2009 p 157 E Koskoff Music Cultures in the United States an Introduction Abingdon Routledge 2005 ISBN 0 415 96589 6 p 358 Campbell 2008 pp 273 74 R Shuker Popular Music the Key Concepts Abingdon Routledge 2nd edn 2005 ISBN 0 415 34770 X pp 185 86 M Janosik ed The Greenwood Encyclopedia of Rock History The Video Generation 1981 1990 London Greenwood 2006 ISBN 0 313 32943 5 p 75 M K Hall Crossroads American Popular Culture and the Vietnam Generation Rowman amp Littlefield 2005 ISBN 0 7425 4444 3 p 174 Borack John M 2007 Shake Some Action The Ultimate Power Pop Guide Not Lame Recordings p 27 ISBN 978 0 9797714 0 8 S T Erlewine New Wave in Bogdanov et al 2002 pp 1337 38 S Borthwick and R Moy 2004 Popular Music Genres an Introduction Edinburgh Edinburgh University Press pp 121 23 ISBN 0 7486 1745 0 archived from the original on 10 June 2024 retrieved 19 November 2020 S Reynolds Rip It Up and Start Again Postpunk 1978 1984 London Penguin Books 2006 ISBN 0 14 303672 6 pp 340 342 43 M Haig Brand Royalty How the World s Top 100 Brands Thrive amp Survive London Kogan Page Publishers 2006 ISBN 0 7494 4826 1 p 54 Young Jon 2007 Roll over guitar heroes synthesizers are here In Cateforis Theo ed The Rock History Reader 1st ed London UK Routledge pp 21 38 ISBN 978 0 415 97501 8 S T Erlewine Post Punk in Bogdanov et al 2002 pp 1337 8 Goodlad amp Bibby 2007 p 239 C Gere Digital Culture London Reaktion Books 2002 ISBN 1 86189 143 1 p 172 Industrial rock AllMusic archived from the original on 1 January 2011 F W Hoffmann and H Ferstler Encyclopedia of Recorded Sound Volume 1 New York CRC Press 2nd edn 2004 ISBN 0 415 93835 X p 1135 D Hesmondhaigh Indie the institutional political and aesthetics of a popular music genre in Cultural Studies 13 2002 p 46 S T Erlewine American Alternative Rock Post Punk in V Bogdanov C Woodstra and S T Erlewine All Music Guide to Rock the Definitive Guide to Rock Pop and Soul Milwaukee WI Backbeat Books 3rd edn 2002 ISBN 0 87930 653 X pp 1344 6 S T Erlewine British Alternative Rock in V Bogdanov C Woodstra and S T Erlewine All Music Guide to Rock the Definitive Guide to Rock Pop and Soul Milwaukee WI Backbeat Books 3rd edn 2002 ISBN 0 87930 653 X pp 1346 47 T Frank Alternative to what in C L Harrington and D D Bielby eds Popular Culture Production and Consumption Oxford Wiley Blackwell 2001 ISBN 0 631 21710 X pp 94 105 S T Erlewine The Smiths AllMusic archived from the original on 16 July 2011 S T Erlewine R E M AllMusic archived from the original on 28 June 2011 College rock AllMusic archived from the original on 29 December 2010 N Abebe 24 October 2005 Twee as Fuck The Story of Indie Pop Pitchfork Media archived from the original on 3 February 2011 Shoegaze AllMusic archived from the original on 24 February 2011 R Shuker Popular Music the Key Concepts Abingdon Routledge 2nd edn 2005 ISBN 0 415 34770 X p 7 Grunge AllMusic archived from the original on 13 February 2011 E Olsen 4 September 2004 10 years later Cobain continues to live on through his music MSNBC archived from the original on 11 March 2011 J Lyons Selling Seattle Representing Contemporary Urban America London Wallflower 2004 ISBN 1 903364 96 5 p 136 M Azerrad Our Band Could Be Your Life Scenes from the American Indie Underground 1981 1991 Boston MA Little Brown and Company 2001 ISBN 0 316 78753 1 pp 452 53 Post grunge AllMusic archived from the original on 13 February 2011 H Jenkins T McPherson and J Shattuc Hop on Pop the Politics and Pleasures of Popular Culture Durham NC Duke University Press 2002 ISBN 0 8223 2737 6 p 541 E Kessler Noelrock NME 8 June 1996 W Osgerby Youth Media Abingdon Routledge 2004 ISBN 0 415 23808 0 pp 92 96 T Grierson Post Grunge A History of Post Grunge Rock About com archived from the original on 14 May 2011 S T Erlewine Foo Fighters in Bogdanov et al 2002 p 423 S T Erlewine Alanis Morissette in Bogdanov et al 2002 p 761 W Lamb Punk Pop About com archived from the original on 16 May 2011 Punk Pop AllMusic archived from the original on 17 February 2011 S T Erlewine Weezer AllMusic archived from the original on 13 February 2011 S T Erlewine Green Day and Offspring in Bogdanov et al 2002 pp 484 85 816 Indie rock AllMusic archived from the original on 5 January 2011 Leonard Marion 2007 Gender in the Music Industry Rock Discourse and Girl Power Aldershot England Ashgate Publishing p 2 ISBN 978 0 7546 3862 9 J Connell and C Gibson Sound Tracks Popular Music Identity and Place Abingdon Routledge 2003 ISBN 0 415 17028 1 pp 101 03 S Taylor A to X of Alternative Music London Continuum 2006 ISBN 0 8264 8217 1 pp 154 55 Post rock AllMusic archived from the original on 14 February 2011 Math rock AllMusic archived from the original on 14 February 2011 Space rock AllMusic archived from the original on 12 June 2022 Sadcore AllMusic archived from the original on 14 February 2011 Chamber pop AllMusic archived from the original on 14 February 2011 Alternative Metal AllMusic archived from the original on 14 February 2011 W Ruhlmann Blondie AllMusic archived from the original on 15 January 2011 D A Guarisco The Clash The Magnificent Seven AllMusic archived from the original on 14 February 2011 K Sanneh 3 December 2000 Rappers Who Definitely Know How to Rock The New York Times archived from the original on 14 July 2012 C L Keyes Rap Music and Street Consciousness Chicago IL University of Illinois Press 2002 ISBN 0 252 07201 4 p 108 W E Ketchum III 15 October 2008 Mayor Esham What Metro Times archived from the original on 4 May 2011 Rap Metal AllMusic 15 October 2008 archived from the original on 2 April 2012
