Rock music is a genre of popular music that originated as "rock and roll" in t

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he United States in the 1950s, and developed into a range of different styles in the 1960s and later, partic larly in the United !ingdo" and the United States.#1$#%$#&$ 't has its roots in 19(0s) and 1950s) roc* and roll, itself heavily infl enced +y rhyth" and +l es and co ntry " sic. ,oc* " sic also dre- strongly on a n "+er of other genres s ch as +l es and fol*, and incorporated infl ences fro" .a//, classical and other " sical so rces. 0 sically, roc* has centered on the electric g itar, s ally as part of a roc* gro p -ith +ass g itar and dr "s. 1ypically, roc* is song-+ased " sic s ally -ith a (2( ti"e signat re tili/ing a verse-chor s for", + t the genre has +eco"e e3tre"ely diverse and co""on " sical characteristics are diffic lt to define. 4i*e pop " sic, lyrics often stress ro"antic love + t also address a -ide variety of other the"es that are fre5 ently social or political in e"phasis. 1he do"inance of roc* +y -hite, "ale " sicians has +een seen as one of the *ey factors shaping the the"es e3plored in roc* " sic. ,oc* places a higher degree of e"phasis on " sicianship, live perfor"ance, and an ideology of a thenticity than pop " sic. 6y the late 1960s, referred to as the 7golden age7#1$ or 7classic roc*7#%$ period, a n "+er of distinct roc* " sic s +-genres had e"erged, incl ding hy+rids li*e +l es roc*, fol* roc*, co ntry roc*, and .a//-roc* f sion, "any of -hich contri+ ted to the develop"ent of psychedelic roc*, -hich -as infl enced +y the co nter-c lt ral psychedelic scene. 8egenres that e"erged fro" this scene incl ded progressive roc*, -hich e3tended the artistic ele"ents9 gla" roc*, -hich highlighted sho-"anship and vis al style9 and the diverse and end ring "a.or s +-genre of heavy "etal, -hich e"phasi/ed vol "e, po-er, and speed. 'n the second half of the 19:0s, p n* roc* +oth intensified and reacted against so"e of these trends to prod ce a ra-, energetic for" of " sic characteri/ed +y overt political and social criti5 es. ; n* -as an infl ence into the 19<0s on the s +se5 ent develop"ent of other s +-genres, incl ding ne- -ave, post-p n* and event ally the alternative roc* "ove"ent. =ro" the 1990s alternative roc* +egan to do"inate roc* " sic and +rea* thro gh into the "ainstrea" in the for" of gr nge, 6ritpop, and indie

roc*. = rther f sion s +-genres have since e"erged, incl ding pop p n*, rap roc*, and rap "etal, as -ell as conscio s atte"pts to revisit roc*)s history, incl ding the garage roc*2post-p n* and synthpop revivals at the +eginning of the ne- "illenni ". ,oc* " sic has also e"+odied and served as the vehicle for c lt ral and social "ove"ents, leading to "a.or s +-c lt res incl ding "ods and roc*ers in the U! and the hippie co nterc lt re that spread o t fro" San =rancisco in the US in the 1960s. Si"ilarly, 19:0s p n* c lt re spa-ned the vis ally distinctive goth and e"o s +c lt res. 'nheriting the fol* tradition of the protest song, roc* " sic has +een associated -ith political activis" as -ell as changes in social attit des to race, se3 and dr g se, and is often seen as an e3pression of yo th revolt against ad lt cons "eris" and confor"ity.

Contents

1 >haracteristics % ?rigins o %.1 ,oc* and roll o %.% 7'n-+et-een years7 o %.& S rf " sic & @olden age o &.1 6ritish 'nvasion o &.% @arage roc* o &.& ;op roc* o &.( 6l es roc* o &.5 =ol* roc* o &.6 ;sychedelic roc* ( ;rogression o (.1 ,oots roc* o (.% ;rogressive roc* o (.& Aa// roc* o (.( @la" roc* o (.5 Soft roc*, hard roc* and early heavy "etal o (.6 >hristian roc* 5 ; n* o 5.1 ; n* roc* o 5.% 8e- -ave o 5.& ;ost-p n* o 5.( 8e- -aves and genres in heavy "etal o 5.5 Beartland roc* o 5.6 C"ergence of alternative roc* 6 Dlternative o 6.1 @r nge o 6.% 6ritpop o 6.& ;ost-gr nge o 6.( ;op p n*

6.5 'ndie roc* 6.6 Dlternative "etal, rap roc* and n "etal 6.: ;ost-6ritpop : %000s o :.1 ;ost-hardcore and e"o o :.% @arage roc*2post-p n* revival o :.& >onte"porary heavy "etal, "etalcore and retro-"etal o :.( Eigital electronic roc* < Social i"pact 9 See also 10 ,eferences 11 = rther reading 1% C3ternal lin*s
o o o

Characteristics

,ed Bot >hili ;eppers in %006, sho-ing a 5 artet line p for a roc* +and of a lead vocalist, g itarist, +assist, and dr ""er 1he so nd of roc* is traditionally centered on the electric g itar, -hich e"erged in its "odern for" in the 1950s -ith the pop lari/ation of roc* and roll.#($ 1he so nd of an electric g itar in roc* " sic is typically s pported +y an electric +ass g itar pioneered in .a// " sic in the sa"e era,#5$ and perc ssion prod ced fro" a dr " *it that co"+ines dr "s and cy"+als.#6$ 1his trio of instr "ents has often +een co"ple"ented +y the incl sion of others, partic larly *ey+oards s ch as the piano, Ba""ond organ and synthesi/ers.#:$ D gro p of " sicians perfor"ing roc* " sic is ter"ed a roc* +and or roc* gro p and typically consists of +et-een t-o and five "e"+ers. >lassically, a roc* +and ta*es the for" of a 5 artet -hose "e"+ers cover one or "ore roles, incl ding vocalist, lead g itarist, rhyth" g itarist, +ass g itarist, dr ""er and occasionally that of *ey+oard player or other instr "entalist.#<$ ,oc* " sic is traditionally + ilt on a fo ndation of si"ple nsyncopated rhyth"s in a (2( "eter, -ith a repetitive snare dr " +ac* +eat on +eats t-o and fo r.#9$ 0elodies are often derived fro" older " sical "odes, incl ding the Eorian and 0i3olydian, as -ell as "a.or and "inor "odes. Bar"onies range fro" the co""on triad to parallel fo rths and

fifths and dissonant har"onic progressions.#9$ ,oc* songs fro" the "id-1960s on-ards often sed the verse-chor s str ct re derived fro" +l es and fol* " sic, + t there has +een considera+le variation fro" this "odel.#10$ >ritics have stressed the eclecticis" and stylistic diversity of roc*.#11$ 6eca se of its co"ple3 history and tendency to +orro- fro" other " sical and c lt ral for"s, it has +een arg ed that 7it is i"possi+le to +ind roc* " sic to a rigidly delineated " sical definition.7#1%$

D si"ple (2( dr " pattern co""on in roc* " sic

;lay (helpFinfo)

Unli*e "any earlier styles of pop lar " sic, roc* lyrics have dealt -ith a -ide range of the"es in addition to ro"antic love: incl ding se3, re+ellion against 71he Csta+lish"ent7, social concerns and life styles.#9$ 1hese the"es -ere inherited fro" a variety of so rces, incl ding the 1in ;an Dlley pop tradition, fol* " sic and rhyth" and +l es.#1&$ 0 sic .o rnalist ,o+ert >hristga characteri/es roc* lyrics as a 7cool "edi "7 -ith si"ple diction and repeated refrains, and asserts that roc*)s pri"ary 7f nction7 7pertains to " sic, or, "ore generally, noise.7#1($ 1he predo"inance of -hite, "ale and often "iddle class " sicians in roc* " sic has often +een noted#15$ and roc* has +een seen as an appropriation of +lac* " sical for"s for a yo ng, -hite and largely "ale a dience.#16$ Ds a res lt it has +een seen as artic lating the concerns of this gro p in +oth style and lyrics.#1:$ Since the ter" roc* +egan to +e sed in preference to roc* and roll fro" the "id-1960s, it has often +een contrasted -ith pop " sic, -ith -hich it has shared "any characteristics, + t fro" -hich it is often distanced +y an e"phasis on " sicianship, live perfor"ance and a foc s on serio s and progressive the"es as part of an ideology of a thenticity that is fre5 ently co"+ined -ith an a-areness of the genre)s history and develop"ent.#1<$ Dccording to Si"on =rith 7roc* -as so"ething "ore than pop, so"ething "ore than roc* and roll. ,oc* " sicians co"+ined an e"phasis on s*ill and techni5 e -ith the ro"antic concept of art as artistic e3pression, original and sincere7.#1<$ 'n the ne- "illenni " the ter" rock has so"eti"es +een sed as a +lan*et ter" incl ding for"s s ch as pop " sic, reggae " sic, so l " sic, and even hip hop, -ith -hich it has +een infl enced + t often contrasted thro gh " ch of its history.#19$

Origins
Rock and roll
0ain article: ,oc* and roll See also: ?rigins of roc* and roll and ,oc*a+illy 1he fo ndations of roc* " sic are in roc* and roll, -hich originated in the United States d ring the late 19(0s and early 1950s, and 5 ic*ly spread to " ch of the rest of the

-orld. 'ts i""ediate origins lay in a "elding of vario s +lac* " sical genres of the ti"e, incl ding rhyth" and +l es and gospel " sic, -ith co ntry and -estern.#%0$ 'n 1951, >leveland, ?hio disc .oc*ey Dlan =reed +egan playing rhyth" and +l es " sic for a " lti-racial a dience, and is credited -ith first sing the phrase 7roc* and roll7 to descri+e the " sic.#%1$

Clvis ;resley in a pro"otion shot for Jailhouse Rock in 195: Ee+ate s rro nds -hich record sho ld +e considered the first roc* and roll record. >ontenders incl de @oree >arter)s 7,oc* D-hile7 (19(9)9#%%$ Ai""y ;reston)s 7,oc* the Aoint7 (19(9), -hich -as later covered +y 6ill Baley G Bis >o"ets in 195%9#%&$ and 7,oc*et <<7 +y Aac*ie 6renston and his Eelta >ats (in fact, '*e 1 rner and his +and 1he !ings of ,hyth"), recorded +y Sa" ;hillips for S n ,ecords in 1951.#%($ =o r years later, 6ill Baley)s 7,oc* Dro nd the >loc*7 (1955) +eca"e the first roc* and roll song to top Billboard "aga/ine)s "ain sales and airplay charts, and opened the door -orld-ide for this ne- -ave of pop lar c lt re.#%5$ 't has +een arg ed that 71hat)s Dll ,ight (0a"a)7 (195(), Clvis ;resley)s first single for S n ,ecords in 0e"phis, -as the first roc* and roll record,#%6$ + t, at the sa"e ti"e, 6ig Aoe 1 rner)s 7Sha*e, ,attle G ,oll7, later covered +y Baley, -as already at the top of the 6ill+oard ,G6 charts. ?ther artists -ith early roc* and roll hits incl ded >h c* 6erry, 6o Eiddley, =ats Eo"ino, 4ittle ,ichard, Aerry 4ee 4e-is, and @ene Hincent.#%($ Soon roc* and roll -as the "a.or force in D"erican record sales and crooners, s ch as Cddie =isher, ;erry >o"o, and ;atti ;age, -ho had do"inated the previo s decade of pop lar " sic, fo nd their access to the pop charts significantly c rtailed.#%:$ ,oc* and roll has +een seen as leading to a n "+er of distinct s +-genres, incl ding roc*a+illy, co"+ining roc* and roll -ith 7hill+illy7 co ntry " sic, -hich -as s ally played and recorded in the "id-1950s +y -hite singers s ch as >arl ;er*ins, Aerry 4ee 4e-is, 6 ddy Bolly and -ith the greatest co""ercial s ccess, Clvis ;resley.#%<$ 'n contrast doo -op placed an e"phasis on " lti-part vocal har"onies and "eaningless +ac*ing lyrics (fro" -hich the genre later gained its na"e), -hich -ere s ally s pported -ith light instr "entation and had its origins in 19&0s and )(0s Dfrican D"erican vocal gro ps.#%9$ Dcts li*e 1he >ro-s, 1he ;eng ins, 1he Cl Eorados and 1he

1 r+ans all scored "a.or hits, and gro ps li*e 1he ;latters, -ith songs incl ding 71he @reat ;retender7 (1955), and 1he >oasters -ith h "oro s songs li*e 7Ia*ety Ia*7 (195<), ran*ed a"ong the "ost s ccessf l roc* and roll acts of the period.#&0$ 1he era also sa- the gro-th in pop larity of the electric g itar, and the develop"ent of a specifically roc* and roll style of playing thro gh s ch e3ponents as >h c* 6erry, 4in* Jray, and Scotty 0oore.#&1$ 1he se of distortion, pioneered +y electric +l es g itarists s ch as @ itar Sli",#&%$ Jillie Aohnson and ;at Bare in the early 1950s,#&&$ -as pop lari/ed +y >h c* 6erry in the "id-1950s.#&($ 1he se of po-er chords, pioneered +y Jillie Aohnson and ;at Bare in the early 1950s,#&&$ -as pop lari/ed +y 4in* Jray in the late 1950s.#&5$ 'n the United !ingdo", the trad .a// and fol* "ove"ents +ro ght visiting +l es " sic artists to 6ritain.#&6$ 4onnie Eonegan)s 1955 hit 7,oc* 'sland 4ine7 -as a "a.or infl ence and helped to develop the trend of s*iffle " sic gro ps thro gho t the co ntry, "any of -hich, incl ding Aohn 4ennon)s 1he K arry"en, "oved on to play roc* and roll.#&:$ >o""entators have traditionally perceived a decline of roc* and roll in the late 1950s and early 1960s. 6y 1959, the death of 6 ddy Bolly, 1he 6ig 6opper and ,ichie Halens in a plane crash, the depart re of Clvis for the ar"y, the retire"ent of 4ittle ,ichard to +eco"e a preacher, prosec tions of Aerry 4ee 4e-is and >h c* 6erry and the +rea*ing of the payola scandal (-hich i"plicated "a.or fig res, incl ding Dlan =reed, in +ri+ery and corr ption in pro"oting individ al acts or songs), gave a sense that the roc* and roll era esta+lished p to that point had co"e to an end.#%($

"In-between years"
0ain article: ,oc* and roll See also: Eoo Jop, 6ritish roc* and roll, and So l " sic

>h ++y >hec*er in %005 1he period of the later 1950s and early 1960s, +et-een the end of the initial period of innovation and -hat +eca"e *no-n in the US as the 76ritish 'nvasion7, has traditionally +een seen as an era of hiat s for roc* and roll. 0ore recently so"e a thors have

e"phasised i"portant innovations and trends in this period -itho t -hich f t re develop"ents -o ld not have +een possi+le.#&<$#&9$ Jhile early roc* and roll, partic larly thro gh the advent of roc*a+illy, sa- the greatest co""ercial s ccess for "ale and -hite perfor"ers, in this era the genre -as do"inated +y +lac* and fe"ale artists. ,oc* and roll had not disappeared at the end of the 1950s and so"e of its energy can +e seen in the 1-ist dance cra/e of the early )60s, "ainly +enefiting the career of >h ++y >hec*er.#&9$ Baving died do-n in the late 1950s, doo -op en.oyed a revival in the sa"e period, -ith hits for acts li*e 1he 0arcels, 1he >apris, 0a rice Jillia"s and Shep and the 4i"elights.#&0$ 1he rise of girl gro ps li*e 1he >hantels, 1he Shirelles and 1he >rystals placed an e"phasis on har"onies and polished prod ction that -as in contrast to earlier roc* and roll.#(0$ So"e of the "ost significant girl gro p hits -ere prod cts of the 6rill 6 ilding So nd, na"ed after the +loc* in 8e- Ior* -here "any song-riters -ere +ased, -hich incl ded the n "+er 1 hit for the Shirelles 7Jill Io 4ove 0e 1o"orro-7 in 1960, penned +y the partnership of @erry @offin and >arole !ing.#(1$ >liff ,ichard had the first 6ritish roc* and roll hit -ith 70ove 't7, effectively shering in the so nd of 6ritish roc*.#(%$ Dt the start of the 1960s, his +ac*ing gro p 1he Shado-s -as the "ost s ccessf l gro p recording instr "entals.#(&$ Jhile roc* )n) roll -as fading into light-eight pop and +allads, 6ritish roc* gro ps at cl +s and local dances, heavily infl enced +y +l es-roc* pioneers li*e Dle3is !orner, -ere starting to play -ith an intensity and drive seldo" fo nd in -hite D"erican acts.#(($ Dlso significant -as the advent of so l " sic as a "a.or co""ercial force. Eeveloping o t of rhyth" and +l es -ith a re-in.ection of gospel " sic and pop, led +y pioneers li*e ,ay >harles and Sa" >oo*e fro" the "id-1950s, +y the early )60s fig res li*e 0arvin @aye, Aa"es 6ro-n, Dretha =ran*lin, > rtis 0ayfield and Stevie Jonder -ere do"inating the ,G6 charts and +rea*ing thro gh into the "ain pop charts, helping to accelerate their desegregation, -hile 0oto-n and Sta32Holt ,ecords -ere +eco"ing "a.or forces in the record ind stry.#(5$ Dll of these ele"ents, incl ding the close har"onies of doo -op and girl gro ps, the caref lly crafted song--riting of the 6rill 6 ilding So nd and the polished prod ction val es of so l, have +een seen as infl encing the 0ersey+eat so nd, partic larly the early -or* of 1he 6eatles, and thro gh the" the for" of later roc* " sic.#(6$ So"e historians of " sic have also pointed to i"portant and innovative technical develop"ents that + ilt on roc* and roll in this period, incl ding the electronic treat"ent of so nd +y s ch innovators as Aoe 0ee*, and the ela+orate prod ction "ethods of the Jall of So nd p rs ed +y ;hil Spector.#&9$

Surf music
0ain article: S rf " sic 1he instr "ental roc* and roll pioneered +y perfor"ers s ch as E ane Cddy, 4in* Jray, and 1he Hent res -as developed +y Eic* Eale -ho added distinctive 7-et7 rever+, rapid alternate pic*ing, as -ell as 0iddle Castern and 0e3ican infl ences, prod cing the regional hit 74et)s @o 1rippin)7 in 1961 and la nching the s rf " sic cra/e, follo-ing p -ith songs li*e 70isirlo 7 (196%).#(:$#(<$ 4i*e Eale and his Eel-1ones, "ost early s rf

+ands -ere for"ed in So thern >alifornia, incl ding the 6el-Dirs, the >hallengers, and Cddie G the Sho-"en.#(<$ 1he >hantays scored a top ten national hit -ith 7;ipeline7 in 196& and pro+a+ly the +est *no-n s rf t ne -as 196&)s 7Jipe ? t7, +y the S rfaris, -hich hit n "+er % and n "+er 10 on the 6ill+oard charts in 1965.#(9$

1he 6each 6oys perfor"ing in 196( @ro ps -hich crossed over to this genre incl ded 1he Dstrona ts, fro" 6o lder, >olorado, 1he 1rash"en, fro" 0inneapolis, 0innesota, -ho had a n "+er ( hit -ith 7S rfin 6ird7 in 196( and 1he ,ivieras fro" So th 6end, 'ndiana, -ho reached n "+er 5 in 196( -ith 7>alifornia S n7.#(:$ 1he Dtlantics, fro" Sydney, 8e- So th Jales, "ade a significant contri+ tion to the genre, -ith their hit 76o"+ora7 (196&).#(:$ C ropean instr "ental +ands aro nd this ti"e generally foc sed "ore on the "ore roc* and roll style played +y 1he Shado-s, + t 1he Ea*otas, -ho -ere the 6ritish +ac*ing +and for 0ersey+eat singer 6illy A. !ra"er, gained so"e attention as s rf " sicians -ith 7>r el Sea7 (196&), -hich -as later covered +y D"erican instr "ental s rf +ands, incl ding 1he Hent res.#50$ S rf " sic achieved its greatest co""ercial s ccess as vocal " sic, partic larly the -or* of the 6each 6oys, for"ed in 1961 in So thern >alifornia. 1heir early al+ "s incl ded +oth instr "ental s rf roc* (a"ong the" covers of " sic +y Eic* Eale) and vocal songs, dra-ing on roc* and roll and doo -op and the close har"onies of vocal pop acts li*e the =o r =resh"en.#(:$ 1heir first chart hit, 7S rfin)7 in 196% reached the 6ill+oard top 100 and helped "a*e the s rf " sic cra/e a national pheno"enon.#51$ =ro" 196& the gro p +egan to leave s rfing +ehind as s +.ect "atter as 6rian Jilson +eca"e their "a.or co"poser and prod cer, "oving on to the "ore general the"es of "ale adolescence incl ding cars and girls in songs li*e 7= n, = n, = n7 (196() and 7>alifornia @irls7 (1965).#51$ ?ther vocal s rf acts follo-ed, incl ding one-hit -onders li*e ,onny G the Eaytonas -ith 7@. 1. ?.7 (196() and ,ip >hords -ith 7Bey 4ittle >o+ra7, -hich +oth reached the top ten, + t the only other act to achieve s stained s ccess -ith the for" la -ere Aan G Eean, -ho had a n "+er 1 hit -ith 7S rf >ity7 (co--ritten -ith 6rian Jilson) in 196&.#(:$ 1he s rf " sic cra/e and the careers of al"ost all s rf acts -as effectively ended +y the arrival of the 6ritish 'nvasion fro" 196(.#(:$ ?nly the 6each 6oys -ere a+le to s stain a creative career into the "id-1960s, prod cing a string of hit singles and al+ "s, incl ding the highly regarded Pet Sounds in 1966, -hich "ade the", arg a+ly, the only D"erican roc* or pop act that co ld rival 1he 6eatles.#51$

Golden age
British Invasion
0ain article: 6ritish 'nvasion See also: 6eat " sic, 6ritish rhyth" and +l es, and 6ritish roc*

1he 6eatles arriving in 8e- Ior* in Aan ary 196( at the +eginning of the 6ritish 'nvasion 6y the end of 196%, -hat -o ld +eco"e the 6ritish roc* scene had started -ith +eat gro ps li*e 1he 6eatles, @erry G 1he ;ace"a*ers and 1he Searchers fro" 4iverpool and =reddie and the Erea"ers, Ber"an)s Ber"its and 1he Bollies fro" 0anchester. 1hey dre- on a -ide range of D"erican infl ences incl ding so l, rhyth" and +l es and s rf " sic,#5%$ initially reinterpreting standard D"erican t nes and playing for dancers. 6ands li*e 1he Dni"als fro" 8e-castle and 1he" fro" 6elfast,#5&$ and partic larly those fro" 4ondon li*e 1he ,olling Stones and 1he Iard+irds, -ere " ch "ore directly infl enced +y rhyth" and +l es and later +l es " sic.#5($ Soon these gro ps -ere co"posing their o-n "aterial, co"+ining US for"s of " sic and inf sing it -ith a high energy +eat. 6eat +ands tended to-ards 7+o ncy, irresisti+le "elodies7, -hile early 6ritish rhyth" and +l es acts tended to-ards less se3 ally innocent, "ore aggressive songs, often adopting an anti-esta+lish"ent stance. 1here -as, ho-ever, partic larly in the early stages, considera+le " sical crossover +et-een the t-o tendencies.#55$ 6y 196&, led +y the 6eatles, +eat gro ps had +eg n to achieve national s ccess in 6ritain, soon to +e follo-ed into the charts +y the "ore rhyth" and +l es foc sed acts.#56$ 7' Jant to Bold Io r Band7 -as the 6eatles) first n "+er 1 hit on the Billboard Bot 100, spending : -ee*s at the top and a total of 15 -ee*s on the chart.#5:$#5<$ 1heir first appearance on The Ed Sullivan Show on 9 =e+r ary, dra-ing an esti"ated :& "illion vie-ers (at the ti"e a record for an D"erican television progra") is often considered a "ilestone in D"erican pop c lt re. 1he 6eatles -ent on to +eco"e the +iggest selling roc* +and of all ti"e and they -ere follo-ed into the US charts +y n "ero s 6ritish +ands.#55$ E ring the ne3t t-o years 6ritish acts do"inated their o-n and the US charts -ith ;eter and @ordon, 1he Dni"als, 0anfred 0ann, ;et la >lar*, =reddie and the Erea"ers, Jayne =ontana and the 0ind+enders, Ber"an)s Ber"its, 1he ,olling Stones, 1he 1roggs, and Eonovan all having one or "ore n "+er 1 singles.#5:$ ?ther "a.or acts that -ere part of the invasion incl ded 1he !in*s and 1he Eave >lar* =ive.#59$#60$

1he 6ritish 'nvasion helped internationali/e the prod ction of roc* and roll, opening the door for s +se5 ent 6ritish (and 'rish) perfor"ers to achieve international s ccess.#61$ 'n D"erica it arg a+ly spelled the end of instr "ental s rf " sic, vocal girl gro ps and (for a ti"e) the teen idols, that had do"inated the D"erican charts in the late 1950s and )60s. #6%$ 't dented the careers of esta+lished ,G6 acts li*e =ats Eo"ino and >h ++y >hec*er and even te"porarily derailed the chart s ccess of s rviving roc* and roll acts, incl ding Clvis.#6&$ 1he 6ritish 'nvasion also played a "a.or part in the rise of a distinct genre of roc* " sic, and ce"ented the pri"acy of the roc* gro p, +ased on g itars and dr "s and prod cing their o-n "aterial as singer-song-riters.#%9$