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Rock music
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Main page For the original 1950s style of rock music, see Rock and roll. For other uses, see Rock music (disambiguation).
Contents Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, and developed into a range of different
Featured content Rock music
styles in the 1960s and later, particularly in the United Kingdom and in the United States.[1][2] It has its roots in 1940s and 1950s rock and roll, a style which drew
Current events Stylistic Rock and roll · rockabilly · blues ·
heavily on the genres of blues, rhythm and blues, and from country music. Rock music also drew strongly on a number of other genres such as electric blues and
Random article origins electric blues · folk · country ·
Donate to Wikipedia folk, and incorporated influences from jazz, classical and other musical styles. Musically, rock has centered on the electric guitar, usually as part of a rock group with
rhythm and blues · soul · jazz
Wikipedia store electric bass, drums, and one or more singers. Usually, rock is song-based music usually with a 4/4 time signature using a verse–chorus form, but the genre has
Cultural 1950s and 1960s, United States
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. origins and United Kingdom
Interaction
By the late 1960s "classic rock"[1] period, a number of distinct rock music subgenres had emerged, including hybrids like blues rock, folk rock, country rock, southern Typical Electric guitar · bass guitar · drums
Help
rock, raga rock, and jazz-rock, many of which contributed to the development of psychedelic rock, which was influenced by the countercultural psychedelic and instruments · vocals · keyboards
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Community portal hippie scene. New genres that emerged included progressive rock, which extended the artistic elements; glam rock, which highlighted showmanship and visual Derivative New-age music · synth-pop ·
forms orchestral pop · post-progressive ·
Recent changes style; and the diverse and enduring subgenre of heavy metal, which emphasized volume, power, and speed. In the second half of the 1970s, punk rock reacted by
progressive pop
Contact page 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
Subgenres
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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
Acid rock · alternative rock · art rock · beat ·
have since emerged, including pop punk, electronic rock, rap rock, and rap metal, as well as conscious attempts to revisit rock's history, including the garage
What links here Christian rock · experimental rock · garage rock
Related changes rock/post-punk and techno-pop revivals at the beginning of the 2000s. · glam rock · hard rock · heartland rock ·
Upload file Rock music has also embodied and served as the vehicle for cultural and social movements, leading to major subcultures including mods and rockers in the UK and heavy metal (subgenres) · indie rock · new wave
Special pages · occult rock · post-punk · post-rock ·
the hippie counterculture that spread out from San Francisco in the US in the 1960s. Similarly, 1970s punk culture spawned the goth, punk, and emo subcultures.
Permanent link progressive rock · psychedelic rock · punk rock
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 (subgenres) · roots rock · soft rock · surf
Page information
Wikidata item use, and is often seen as an expression of youth revolt against adult consumerism and conformity. Fusion genres
Cite this page Baroque pop · blues rock · country rock ·
Contents [hide]
dance-rock · electronic rock · folk rock ·
In other projects 1 Characteristics funk rock · industrial rock · jazz fusion ·
Wikimedia Commons 2 1950s: Rock and roll Latin rock · noise rock · pop rock · raga rock ·
Wikiquote 3 Early 1960s rap rock · reggae rock · samba rock · sufi rock
Wikivoyage 3.1 Pop rock and instrumental rock Regional scenes
3.2 Surf music Argentina · Armenia · Australia · Bangladesh ·
Print/export
3.3 British Invasion Belarus · Belgium · Bosnia and Herzegovina ·
Create a book Brazil · Canada · Chile · China · Colombia ·
3.4 Garage rock
Download as PDF Cuba · Croatia · Denmark · Dominican Republic
4 Psychedelia and progressivism
Printable version · Ecuador · Estonia · Finland · France · Greece ·
4.1 Blues and folk fusions
Germany · Guatemala · Haiti · Hungary · Iceland
Languages 4.2 Psychedelic rock
· India · Indonesia · Iran · Ireland · Israel · Italy ·
Afrikaans 4.3 Progressive rock Japan · Latvia · Lithuania · Malaysia · Mexico ·
Alemannisch Nepal · New Zealand · Norway · Pakistan · Peru
4.4 Jazz rock
‫ا ﻟ ﻌ ﺮﺑ ﻴ ﺔ‬ · Philippines · Poland · Portugal · Russia ·
5 Early 1970s Serbia · Slovenia · South Korea · Spain ·
Aragonés
5.1 Roots rock Spanish-speaking world · Sweden · Switzerland
Asturianu
Azərbaycanca 5.2 Glam rock · Taiwan · Tatar · Thailand · Turkey · Ukraine ·
5.3 Soft rock, hard rock, and early heavy metal United Kingdom · United States (Southern US) ·
5.4 Christian rock Uruguay · Venezuela · Yugoslavia · Zambia
Башҡортса
Беларуская 6 Punk era Local scenes
Беларуская 6.1 Punk rock Madchester · Palm Desert Scene · Trøndelag
(тарашкевіца)​
6.2 New wave Other topics
Български
6.3 Post-punk Backbeat · Distortion · Hall of Fame · pop ·
Boarisch
Bosanski 6.4 Heartland rock progressive music · relationship with electronics
6.5 Emergence of alternative rock · rock band · rock music terms · rock opera ·
Brezhoneg
rockism · social impact
Català 7 Alternative
Čeština 7.1 Grunge
2019 in rock music
Cymraeg 7.2 Britpop
Dansk 7.3 Post-grunge
Deutsch
7.4 Pop punk
Eesti
7.5 Indie rock
Ελληνικά
7.6 Alternative metal, rap rock and nu metal
Español
7.7 Post-Britpop
Esperanto
Estremeñu 8 2000s–present
Euskara 8.1 Post-hardcore and emo
‫ﻓﺎر ﺳ ﯽ‬ 8.2 Garage rock/post-punk revival
Français 8.3 Digital electronic rock
Frysk 9 Social impact
Gaeilge 9.1 Role of women
Gàidhlig 10 See also
Galego
11 Notes
12 References
13 Further reading and listening
Հայերեն
Hrvatski 14 External links
Ido
Bahasa Indonesia
Íslenska Characteristics [edit]
Italiano
‫ע ב רי ת‬
“ 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.”
Kabɩyɛ —Bill Wyman in Vulture (2016)[3]
ქართული
Қазақша
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. [4] Also, it
Kiswahili
was influenced by the sounds of electric blues guitarists.[5] The sound of an electric guitar in rock music is typically supported by an electric bass guitar, which
Kurdî
Кыргызча pioneered in jazz music in the same era,[6] and percussion produced from a drum kit that combines drums and cymbals.[7] This trio of instruments has often been
Latina complemented by the inclusion of other instruments, particularly keyboards such as the piano, the Hammond organ, and the synthesizer.[8] The basic rock
Latviešu instrumentation was derived from the basic blues band instrumentation (prominent lead guitar, second chordal instrument, bass, and drums).[5] A group of musicians
Lëtzebuergesch 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
Lietuvių
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
Lingua Franca Nova
keyboard player or other instrumentalist.[9]
Lumbaart
Magyar Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum
Red Hot Chili Peppers in 2006, showing a
Македонски back beat on beats two and four. [10] Melodies often originate from older musical modes such as the Dorian and Mixolydian,
quartet lineup for a rock band (from left to
right: bassist, lead vocalist, drummer, and as well as major and minor modes. Harmonies range from the common triad to parallel perfect fourths and fifths and
guitarist). dissonant harmonic progressions.[10] Since the late 1950s [11] and particularly from the mid 1960s onwards, rock music often
მარგალური A simple 4/4 drum pattern common
Bahasa Melayu used the verse-chorus structure derived from blues and folk music, but there has been considerable variation from this in rock music Play (help·info)
Mirandés model.[12] Critics have stressed the eclecticism and stylistic diversity of rock.[13] Because of its complex history and its
Монгол 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."[14]
Nāhuatl
Nederlands “ Rock and roll was conceived as an outlet for adolescent yearnings ... To make rock and roll is also an ideal way to exploreintersections of sex, love, violence, and fun, to broadcast the delights and limitations ofthe regional, and to deal with
the depradations and benefits of mass culture itself. ”

—Robert Christgau in Christgau's Record Guide (1981)[15]

Norsk
Norsk nynorsk
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. [10] These
Occitan themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, and rhythm and blues.[16] Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with
Oʻzbekcha/ўзбекча simple diction and repeated refrains, and asserts that rock's primary "function" "pertains to music, or, more generally, noise."[17] The predominance of white, male, and often middle class musicians in rock music
has often been noted,[18] and rock has been seen as an appropriation of black musical forms for a young, white and largely male audience. [19] As a result, it has also been seen to articulate the concerns of this
‫ﭘ ﻨ ﺠ ﺎﺑ ﯽ‬
group in both style and lyrics.[20] Christgau, writing in 1972, said in spite of some exceptions, "rock and roll usually implies an identification of male sexuality and aggression". [21]
Patois
Picard 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, but from which it is often
Plattdüütsch distanced by 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
Polski history and development.[22] 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
Português
romantic concept of art as artistic expression, original and sincere".[22]
Română
Runa Simi 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
Русиньскый contrasted through much of its history.[23] Christgau has used the term broadly to refer to popular and semipopular music that cater to his sensibility as "a rock-and-roller", including a fondness for a good beat, a
Русский 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
Саха тыла
'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
Scots
in the music of Chuck Berry, the Ramones, and the Replacements.[24]
Seeltersk
Shqip
Sicilianu 1950s: Rock and roll [edit]

Main article: Rock and roll

Simple English
See also: Origins of rock and roll and Rockabilly
Slovenčina
Slovenščina The foundations of rock music are in rock and roll, which originated in the United States during the late 1940s and early 1950s, and quickly spread to much of the rest of the world. Its immediate origins lay in a
Ślůnski melding of various black musical genres of the time, including rhythm and blues and gospel music, with country and western.[25] In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues
‫ﮐ ﻮرد ی‬
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. [26]
Српски / srpski
Srpskohrvatski / Debate surrounds which record should be considered the first rock and roll record. Contenders include Goree Carter's "Rock Awhile" (1949);[27] Jimmy Preston's "Rock the Joint" (1949), which was later covered
српскохрватски
by Bill Haley & His Comets in 1952;[28] 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 Sun Records in 1951.[29] Four
Suomi
years later, Bill Haley's "Rock Around the Clock" (1955) 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
Svenska
Tagalog culture.[30][31]

It also has been argued that " That's All Right (Mama)" (1954), Elvis Presley's first single for Sun Records in Memphis, could be the first rock and roll record, [32] but, at the same
Татарча/tatarça
time, Big Joe Turner's "Shake, Rattle & Roll", later covered by Haley, was already at the top of the Billboard R&B charts. Other artists with early rock and roll hits included Chuck
Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis, and Gene Vincent.[29] Soon rock and roll was the major force in American record sales and crooners, such as
Türkçe
Українська 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. [33]
‫اردو‬ 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
Vèneto
recorded in the mid-1950s by white singers such as Carl Perkins, Jerry Lee Lewis, Buddy Holly and with the greatest commercial success, Elvis Presley. [34] In contrast doo wop
Tiếng Việt
placed an emphasis on multi-part vocal harmonies and meaningless backing lyrics (from which the genre later gained its name), which were usually supported with light
Võro
Walon instrumentation and had its origins in 1930s and 1940s African American vocal groups.[35] Acts like the Crows, the Penguins, the El Dorados and the Turbans all scored major
Winaray hits, and groups like the Platters, with songs including "The Great Pretender" (1955),[36] and the Coasters with humorous songs like "Yakety Yak" (1958),[37] ranked among the
most successful rock and roll acts of the period.[38]
‫ייִ די ש‬
Elvis Presley in a promotion The era also 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
shot for Jailhouse Rock in
Žemaitėška Wray, and Scotty Moore.[39] The use of distortion, pioneered by electric blues guitarists such as Guitar Slim,[40] Willie Johnson and Pat Hare in the early 1950s,[41] was
1957
popularized by Chuck Berry in the mid-1950s.[42] The use of power chords, pioneered by Willie Johnson and Pat Hare in the early 1950s,[41] was popularized by Link Wray in the
Edit links late 1950s.[43]

In the United Kingdom, the trad jazz and folk movements brought visiting blues music artists to Britain. [44] 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, moved on to play rock and roll. [45]

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.[46]

Early 1960s [edit]

Pop rock and instrumental rock [edit]

Main articles: Pop rock and Instrumental rock
See also: Doo Wop, British rock and roll, and Soul music

The term pop has been used since the early 20th century to refer to popular music in general, but from the mid-1950s it began to be used for a distinct genre, aimed at a
youth market, often characterized as a softer alternative to rock and roll. [47][48] From about 1967, it was increasingly used in opposition to the term rock music, to describe
a form that was more commercial, ephemeral and accessible.[22] In contrast rock music was seen as focusing on extended works, particularly albums, was often
associated with particular sub-cultures (like the counterculture of the 1960s), placed an emphasis on artistic values and "authenticity", stressed live performance and
instrumental or vocal virtuosity and was often seen as encapsulating progressive developments rather than simply reflecting existing trends.[22][47][48][49] Nevertheless,
much pop and rock music has been very similar in sound, instrumentation and even lyrical content.[nb 1]

The period of the later 1950s and early 1960s has traditionally been seen as an era of hiatus for rock and roll. [53] More recently some authors [weasel words] have
emphasised important innovations and trends in this period without which future developments would not have been possible.[54][55] 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. The Everly Brothers in 2006
Rock and roll had not disappeared at the end of the 1950s and some of its energy can be seen in the Twist dance craze of the early 1960s, mainly benefiting the career of
Chubby Checker.[55][nb 2]

Cliff Richard had the first British rock and roll hit with "Move It", effectively ushering in the sound of British rock.[58] At the start of the 1960s, his backing group the Shadows was the
most successful group recording instrumentals.[59] While rock 'n' roll was fading into lightweight pop and ballads, British rock groups at clubs and local dances, heavily influenced by
blues-rock pioneers like Alexis Korner, were starting to play with an intensity and drive seldom found in white American acts. [60]

Also significant was the advent of soul music as a major commercial force. Developing out of rhythm and blues with a re-injection of gospel music and pop, led by pioneers like Ray
Charles and Sam Cooke from the mid-1950s,[61] by the early 1960s figures like Marvin Gaye, James Brown, Aretha Franklin, Curtis Mayfield and Stevie Wonder were dominating the
R&B charts and breaking through into the main pop charts, helping to accelerate their desegregation, while Motown and Stax/Volt Records were becoming major forces in the record
industry.[62][nb 3] Some historians of music [weasel words] 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.[55]

Surf music [edit]

The Shirelles in 1962.
Main article: Surf music Clockwise from top:
Addie "Micki" Harris,
The instrumental rock and roll of performers such as Duane Eddy, Link Wray and the Ventures was developed by Dick Dale, who added
Shirley Owens, Beverly
distinctive "wet" reverb, rapid alternate picking, and Middle Eastern and Mexican influences. He produced the regional hit "Let's Go Trippin'" in Lee, and Doris Coley.
1961 and launched the surf music craze, following up with songs like "Misirlou" (1962).[64] 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.[64] 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.[65]

Surf music achieved its greatest commercial success as vocal music, particularly the work of the Beach Boys, formed in 1961 in Southern California. Their early albums
included both instrumental surf rock (among them covers of music by Dick Dale) and vocal songs, drawing on rock and roll and doo wop and the close harmonies of vocal
The Beach Boys performing in 1964 pop acts like the Four Freshmen.[citation needed] Their first chart hit, " Surfin'" in 1962 reached the Billboard top 100 and helped make the surf music craze a national
phenomenon. [66] The surf music craze and the careers of almost all surf acts was effectively ended by the arrival of the British Invasion from 1964. [citation needed][nb 4]

British Invasion [edit]

Main article: British Invasion
See also: Beat music, British blues, and British rock

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,[67] initially reinterpreting standard American tunes and playing for dancers. Bands like the Animals from Newcastle and Them from
Belfast,[68] 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.[69] 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.[70] 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. [71]
The Beatles arriving in New York in
"I Want to Hold Your Hand " was the Beatles' first number 1 hit on the Billboard Hot 100,[72] spending 7 weeks at the top and a total of 15 weeks on the chart. [73][74] Their January 1964 at the beginning of the
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 often British Invasion

considered a milestone in American pop culture. During the week of 4 April 1964, the Beatles held twelve 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.[70] During the
next two years British acts dominated their own and the US charts with Peter and Gordon, the Animals,[75] Manfred Mann, Petula Clark,[75] Freddie and the Dreamers, Wayne
Fontana and the Mindbenders, Herman's Hermits, the Rolling Stones,[76] the Troggs, and Donovan[77] all having one or more number one singles.[73] Other major acts that
were part of the invasion included the Kinks and the Dave Clark Five.[78][79]

The British Invasion helped internationalize the production of rock and roll, opening the door for subsequent British (and Irish) performers to achieve international success. [80]
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.[81] 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. [82] 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.[35]
The Rolling Stones arriving at
Garage rock [edit] Amsterdam in August 1964

Main article: 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. [83][84] Garage
rock songs often revolved around the traumas of high school life, with songs about "lying girls" being particularly common.[85] 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. [83] 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. [85] The Pacific Northwest states of Washington and
Oregon had perhaps [according to whom?] the most defined regional sound.[86]

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.[87] By 1963, garage band singles were creeping into the national charts in greater numbers, including Paul Revere and the
Raiders (Boise),[88] the Trashmen (Minneapolis)[89] and the Rivieras (South Bend, Indiana).[90] Other influential garage bands, such as the Sonics (Tacoma, Washington),
never reached the Billboard Hot 100.[91]

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.[85] Thousands of garage bands were extant in the US and Canada during the era and hundreds produced regional hits.[85]
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.[85] By 1968 the style largely disappeared from the national charts and at the local level as amateur musicians faced college, work or the
draft.[85] New styles had evolved to replace garage rock. [85][nb 5] The D-Men (later The Fifth Estate) in
1964

Psychedelia and progressivism [edit]

Blues and folk fusions [edit]

Blues rock [edit]

Main article: Blues rock
See also: British blues

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.[93] 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.[94] 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.[95] 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.[60]

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.[96] 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.[95] 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. [95] 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.[95] 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. [95]

Eric Clapton performing in Barcelona

In America, blues rock had been pioneered in the early 1960s by guitarist Lonnie Mack,[97] but the genre began to take off in the mid-1960s as acts developed a sound
in 1974 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.[95] 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.[98]

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.[99] 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",[99] as bands began recording rock-style albums. [99] The genre was continued in the 1970s by figures such as George Thorogood and Pat Travers,[95] 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. [100]

Folk rock [edit]

Main article: Folk rock

By the 1960s, the scene that had developed out of the American folk music revival had grown to a major movement, utilising traditional music and new compositions in a
traditional style, usually on acoustic instruments.[101] In America the genre was pioneered by figures such as Woody Guthrie and Pete Seeger and often identified with
progressive or labor politics.[101] In the early sixties figures such as Joan Baez and Bob Dylan had come to the fore in this movement as singer-songwriters. [102] 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,[103]
but, although beginning to influence each other, rock and folk music had remained largely separate genres, often with mutually exclusive audiences.[104]

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 [105] and the Beatles "I'm a Loser" (1964), arguably the first Beatles song to be influenced directly by Dylan. [106] 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. [104] With members who had Joan Baez and Bob Dylan in 1963
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.[104] 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.[104] 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. [104]

These acts directly influenced British performers like Donovan and Fairport Convention.[104] In 1969 Fairport Convention abandoned their mixture of American covers and Dylan-influenced songs to play
traditional English folk music on electric instruments.[107] 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.[108]

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.[109] 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".[104][110]

Psychedelic rock [edit]

Main article: Psychedelic rock
See also: Raga rock

Psychedelic music's LSD-inspired vibe began in the folk scene. [111] The first group to advertise themselves as psychedelic rock were the 13th Floor Elevators from Texas.[111] 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.[112] Psychedelic rock particularly took off in California's emerging
music scene as groups followed the Byrds's shift from folk to folk rock from 1965.[112] The psychedelic lifestyle, which revolved around hallucinogenic drugs, had already developed in San Francisco and
particularly prominent products of the scene were the Grateful Dead and Jefferson Airplane.[112][113] The Jimi Hendrix Experience's lead guitarist, Jimi Hendrix did extended distorted, feedback-filled jams which
became a key feature of psychedelia.[112] 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,[112] and the Pink Floyd debuted with The Piper at
the Gates of Dawn. Key recordings included Jefferson Airplane's Surrealistic Pillow and the Doors' Strange Days.[114] These trends peaked in the 1969 Woodstock festival, which saw performances by most of
the major psychedelic acts.[112]

Progressive rock [edit]

Main article: Progressive rock
See also: Art rock and Experimental rock
 See also: Art rock and Experimental rock
Further information: Progressive music

Progressive rock, a term sometimes used interchangeably with art rock, moved beyond established musical formulas by experimenting with different instruments, song types, and
forms.[115] 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.[116] The
Moody Blues used a full orchestra on their album Days of Future Passed (1967) and subsequently created orchestral sounds with synthesizers.[115] Classical orchestration,
keyboards, and synthesizers were a frequent addition to the established rock format of guitars, bass, and drums in subsequent progressive rock.[117]

Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy and science fiction.[118] The Pretty Things' SF Sorrow (1968), and
the Kinks' Arthur (Or the Decline and Fall of the British Empire) (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.[119] 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.[115] 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.[120]

Jimi Hendrix performing on
Dutch TV in 1967
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.[121] 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. [115] Jethro Tull and Genesis both pursued very different, but distinctly English, brands of music. [122] 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.[123] 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.[124] The
American brand of progressive rock varied from the eclectic and innovative Frank Zappa, Captain Beefheart and Blood, Sweat & Tears,[125] to more pop rock
orientated bands like Boston, Foreigner, Kansas, Journey, and Styx.[115] 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,
Prog-rock band Yes performing in concert which became a mainstay of the genre.[115] Instrumental rock was particularly significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream,
in Indianapolis in 1977 Can, and Faust to circumvent the language barrier. [126] 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.[115] With the advent of punk rock and technological changes in the late 1970s, progressive
rock was increasingly dismissed as pretentious and overblown. [127][128] Many bands broke up, but some, including Genesis, ELP, Yes, and Pink Floyd, regularly
scored top ten albums with successful accompanying worldwide tours.[92] 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.[129]

Jazz rock [edit]

Main article: 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.[130] 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.[131]

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 [132] 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,
Jaco Pastorius of
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, Weather Report in 1980
Chick Corea and Weather Report.[131] The genre began to fade in the late 1970s, as a mellower form of fusion began to take its audience, [130] but acts like Steely Dan,[130] 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. [131]

Early 1970s [edit]

Reflecting on developments in rock music at the start of the 1970s, Robert Christgau later 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.[15]

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."[15]

Roots rock [edit]

Main article: Roots rock
See also: Country rock and Southern 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 country and folk music, leading to the creation of country rock and Southern rock.[133] In 1966 Bob Dylan went to Nashville to record the album Blonde on Blonde .[134] This, and subsequent more
clearly country-influenced albums, have been seen as creating the genre of country folk, a route pursued by a number of largely acoustic folk musicians. [134] 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.[135] The same movement saw the beginning of the recording careers of Californian solo artists like Ry Cooder, Bonnie Raitt and Lowell George,[136] and influenced the work of
established performers such as the Rolling Stones' Beggar's Banquet (1968) and the Beatles' Let It Be (1970).[112]

In 1968, Gram Parsons recorded Safe at Home with the International Submarine Band, arguably the first true country rock album.[137] Later that year he joined the Byrds
for Sweetheart of the Rodeo (1968), generally considered one of the most influential recordings in the genre.[137] 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.[137] Bands in California that adopted country rock included Hearts and Flowers, Poco, New Riders of the Purple Sage,[137] the
Beau Brummels,[137] and the Nitty Gritty Dirt Band.[138] 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.[137] The
Dillards were, unusually, a country act, who moved towards rock music. [137] 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 The Eagles during their 2008–2009
most successful rock acts of all time, producing albums that included Hotel California (1976).[139] Long Road out of Eden Tour

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. [98] 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.[98] Their successors included the fusion/progressive instrumentalists Dixie Dregs, the more country-influenced Outlaws, jazz-leaning Wet Willie and (incorporating elements of R&B and
gospel) the Ozark Mountain Daredevils.[98] 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.[98]

Glam rock [edit]

Main article: Glam rock

Glam rock emerged from the English psychedelic and art rock scenes of the late 1960s and can be seen as both an extension of and reaction against those trends. [140] 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. [140] 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.[141] Glam is most noted for its sexual and gender ambiguity and representations of androgyny, beside extensive use of
theatrics.[142] It was prefigured by the showmanship and gender-identity manipulation of American acts such as the Cockettes and Alice Cooper.[143]

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 UK TV programme Top of the Pops in December 1970 wearing glitter, to perform what would be his first number 1 single " Ride a White Swan".[144] 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. [145] These performers were soon followed in the style by acts including Roxy
 Music, Sweet, Slade, Mott the Hoople, Mud and Alvin Stardust.[145] While highly successful in the single charts in the UK, 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. [146] 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.[147] 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.[145] 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.[145] 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.[146] Glam has since enjoyed sporadic modest revivals through bands such as Chainsaw Kittens, the
Darkness[148] and in R n' B crossover act Prince.[149]

David Bowie during the

Ziggy Stardust and the Spiders
Tour in 1972

Soft rock, hard rock, and early heavy metal [edit]

Main articles: Soft rock, Hard rock, and Heavy metal music
See also: List of soft rock artists and songs

“ 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. A" rt-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. ”

—Robert Christgau[150]

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.[151] Major artists included Carole King, Cat Stevens and James Taylor.[151] 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. [152] In contrast, hard rock was more often derived from blues-rock and was played louder and with more intensity. [153] 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.[153] Key acts included British Invasion bands
like the Kinks, as well as psychedelic era performers like Cream, Jimi Hendrix and the Jeff Beck Group.[153] Hard rock-influenced bands that enjoyed international success in the later 1970s included Queen, [154]
Thin Lizzy,[155] Aerosmith, AC/DC,[153] and Van Halen.

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. [156] The term was first used in music in Steppenwolf's "Born to Be Wild" (1967) and began to be associated with pioneer bands like San
Francisco's Blue Cheer, Cleveland's James Gang and Michigan's Grand Funk Railroad.[157] 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. [158] 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. [158] 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 Led Zeppelin live at Chicago Stadium
America and Europe.[159] in January 1975

Christian rock [edit]

Main article: Christian rock

Stryper on stage in 1986
Rock, mostly the heavy metal genre, has been criticized by some Christian leaders, who have condemned it as immoral, anti-Christian and even demonic. [160] However,
Christian rock began to develop in the late 1960s, particularly out of the Jesus movement beginning in Southern California, and emerged as a subgenre in the 1970s with
artists like Larry Norman, usually seen as the first major "star" of Christian rock. [161] The genre has been particularly popular in the United States. [162] Many Christian rock
performers have ties to the contemporary Christian music scene, while other bands and artists are closely linked to independent music. Since the 1980s Christian rock
performers have gained mainstream success, including figures such as the American gospel-to-pop crossover artist Amy Grant and the British singer Cliff Richard.[163]
While these artists were largely acceptable in Christian communities the adoption of heavy rock and glam metal styles by bands like Petra and Stryper, who achieved
considerable mainstream success in the 1980s, was more controversial.[164][165] From 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 and Collective Soul.[166]

Punk era [edit]

Punk rock [edit]

Main article: Punk rock
See also: Protopunk and Hardcore punk

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.[167] 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.[168]

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.[167] The following year saw punk rock spreading around the world. Punk quickly, though briefly, became a major cultural phenomenon in the United Kingdom. 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.[169]

By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant mode of punk rock.[170] 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.[171] 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 Patti Smith, performing in
movement.[167] 1976

New wave [edit]

Main articles: New wave music and Synth-pop
See also: New Romantic and Electronic rock

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), [172] or American radio airplay (as the radio scene continued to be dominated by mainstream formats such as disco and album-oriented rock). [173] 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.[174] 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.[175] Many of these bands, such as the Cars and the Go-Go's can be seen as pop bands marketed as new wave; [176] 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, [177] while "skinny tie" bands exemplified by the Knack,[178] or the photogenic Blondie, began as punk acts and moved into more commercial territory. [179]

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.[180] 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.[181] 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,[182] but in general, guitar-oriented rock was commercially
eclipsed.[183]

Deborah Harry from the band Post-punk [edit]

Blondie, performing at Maple Leaf Main article: Post-punk
Gardens in Toronto in 1977
See also: Gothic rock and Industrial music

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 later 1970s and
early 1980s as its more artistic and challenging side. Major influences beside punk bands were the Velvet Underground, Frank Zappa and Captain Beefheart, and the New York-based no wave scene which
placed an emphasis on performance, including bands such as James Chance and the Contortions, DNA and Sonic Youth.[184] Early contributors to the genre included the US bands Pere Ubu, Devo, the
Residents and Talking Heads.[184]

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. [184] 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.[185] Similar emotional territory was pursued by Australian acts like the Birthday Party and Nick Cave.[184] Members of Bauhaus and Joy Division
explored new stylistic territory as Love and Rockets and New Order respectively.[184] Another early post-punk movement was the industrial music[186] 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.[187]

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. [184] 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 U2 performing on the Joshua Tree
bands in the world.[188] 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 Tour 2017

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.[189]

Heartland rock [edit]

Main article: 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.[190] 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. [191] 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.[192]

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.[192] 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.[192] It can also be heard as an influence on artists as diverse as Billy Joel,[193] Kid Rock[194] and the Killers.[195]

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.[192] Many heartland rock artists continue to record today with critical and commercial success, most
notably Bruce Springsteen, Tom Petty, and John Mellencamp, although their works have become more personal and experimental and no longer fit easily into a single genre. Bruce Springsteen in East
Newer artists whose music would perhaps have been labeled heartland rock had it been released in the 1970s or 1980s, such as Missouri's Bottle Rockets and Illinois' Uncle Berlin in 1988

Tupelo, often find themselves labeled alt-country.[196]

Emergence of alternative rock [edit]

Main article: Alternative rock
See also: Jangle pop, college rock, indie pop, dream pop, and shoegazing

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. [197] Important alternative rock bands of the 1980s in the US included R.E.M., Hüsker Dü, Jane's Addiction, Sonic Youth, and the Pixies,[197] and in
the UK the Cure, New Order, the Jesus and Mary Chain, and the Smiths.[198] Artists were largely confined to independent record labels, building an extensive
underground music scene based on college radio, fanzines, touring, and word-of-mouth. [199] They rejected the dominant synth-pop of the early 1980s, marking a return to
group-based guitar rock.[200][201][202]

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
R.E.M. was a successful alternative through to mainstream success in the 1990s. Styles of alternative rock in the U.S. during the 1980s included jangle pop, associated with the early recordings of R.E.M.,
rock band in the 1980s/90s
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.[197] In the UK Gothic rock was dominant in the early 1980s, but by the end of the decade indie or dream pop[203]
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.[204] Particularly vibrant was the
Madchester scene, produced such bands as Happy Mondays, Inspiral Carpets and the Stone Roses.[198][205] The next decade would see the success of grunge in the United States and Britpop in the United
Kingdom, bringing alternative rock into the mainstream.

Alternative [edit]

Main article: Alternative rock

Grunge [edit]
Main article: 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.[206] 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.[206] Grunge fused elements of hardcore
punk and heavy metal into a single sound, and made heavy use of guitar distortion, fuzz and feedback.[206] 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.[206]

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".[207]
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
Nirvana in 1992
Pearl Jam and Soundgarden, became among the 100 top-selling albums.[208] 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.[209] 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.[210]

Britpop [edit]
Main article: Britpop

Oasis performing in 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.[198] The Smiths were a major influence, as were bands of the Madchester scene, which had dissolved in the early 1990s.[80] The movement has been seen partly
as a reaction against various U.S.-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.[198] 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 utilised by the mods.[211] It was launched around 1992 with releases by
groups such as Suede and Blur, who were soon joined by others including Oasis, Pulp and Supergrass, who produced a series of top ten albums and singles.[198] 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.[212] Britpop groups brought British alternative rock into the
mainstream and formed the backbone of a larger British cultural movement known as Cool Britannia.[213] 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.[198]

Post-grunge [edit]
Main article: 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.[210] Often they worked through the major labels and came to
incorporate diverse influences from jangle pop, pop-punk, alternative metal or hard rock.[210] 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.[214] Originally, grunge bands that emerged when grunge was mainstream
and were suspected of emulating the grunge sound were pejoratively labelled as post-grunge.[214] From 1994, former Nirvana drummer Dave Grohl's new band, the Foo
Fighters, helped popularize the genre and define its parameters. [215]

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 Foo Fighters performing an acoustic
show in 2007
commercially viable subgenres of the late 1990s.[197][210] 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. [216] Post-grunge morphed during the late 1990s as post-grunge bands like Creed and Nickelback
emerged.[214] 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.[214]

Pop punk [edit]

 Main article: Pop punk

Green Day performing in 2013
look of 1970s punk.[217] Later pop-punk bands, including All Time Low, 5 Seconds Of Summer, 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.[217]
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. [217] Pop-punk tends to use power-pop
melodies and chord changes with speedy punk tempos and loud guitars.[218] Punk music provided the inspiration for some California-based bands on independent labels
in the early 1990s, including Rancid, Pennywise, Weezer and Green Day.[217] 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.[197] They were
soon followed by the eponymous debut from Weezer, which spawned three top ten singles in the US. [219] This success opened the door for the multi-platinum sales of
metallic punk band the Offspring with Smash (1994).[197] This first wave of pop punk reached its commercial peak with Green Day's Nimrod (1997) and The Offspring's
Americana (1998).[220]
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

Indie rock [edit]

Main article: Indie rock
See also: Riot Grrrl, Lo-fi music, Post rock, Math rock, Space rock, Sadcore, and Baroque pop

In the 1980s the terms indie rock and alternative rock were used interchangeably.[221] 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.[221] Those bands following the less commercial
contours of the scene were increasingly referred to by the label indie.[221] 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.[221] 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.[197][198] 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.[222] 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 Lo-fi indie rock band Pavement
them.[223]

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.[197] 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,[224][225] as well as leading to more dense and complex, guitar-based math
rock, developed by acts like Polvo and Chavez.[226] 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.[227] 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,[228] 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.[229]

Alternative metal, rap rock and nu metal [edit]

Main article: Heavy metal music
See also: New Wave of American Heavy Metal, Alternative metal, Rap rock, Rap metal, 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. [230] Early alternative
metal bands mixed a wide variety of genres with hardcore and heavy metal sensibilities, with acts like Jane's Addiction and Primus utilizing 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 and Faith No More turned to hip hop and rap.[230]

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).[231][232] Early crossover acts included Run DMC and the Beastie Boys.[233] 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.[234][235] Rappers who sampled rock songs included Ice-T, The Fat Boys, LL Cool J, Public
Enemy and Whodini.[236] The mixing of thrash metal and rap was pioneered by Anthrax on their 1987 comedy-influenced single " I'm the Man".[236]

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.[237] 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
Linkin Park performing in 2009 Peppers, who all fused rock and hip hop among other influences. [236][238] Among the first wave of performers to gain mainstream success as rap rock were
311,[239] Bloodhound Gang,[240] and Kid Rock.[241] A more metallic sound – nu metal – was pursued by bands including Limp Bizkit, Korn and Slipknot.[236] 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. [242]

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. [243] 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.[244] Since then, many bands have changed to a more conventional hard
rock, heavy metal, or electronic music sound.[244]

Post-Britpop [edit]
Main article: 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. [245][246] Many of these bands tended to mix elements of British traditional rock (or British trad rock), [247] particularly the
Beatles, Rolling Stones and Small Faces,[248] with American influences, including post-grunge.[249][250] 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.[251][252] This, beside a greater willingness to engage with the American press
and fans, may have helped some of them in achieving international success.[253]

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.[254] 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 Travis in 2007

were some of the most commercially successful acts of the late 1990s and early 2000s, arguably providing a launchpad for the subsequent garage rock or post-punk
revival, which has also been seen as a reaction to their introspective brand of rock. [250][255][256][257]

2000s–present [edit]

Post-hardcore and emo [edit]

Main articles: Post-hardcore and Emo
See also: Screamo

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.[258]

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.[259] The early emo scene operated as an underground, with short-lived bands releasing small-run vinyl records on tiny independent labels. [259] 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).[260] The new emo had a much more mainstream
sound than in the 1990s and a far greater appeal amongst adolescents than its earlier incarnations.[260] 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.[261] 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.[262]

Garage rock/post-punk revival [edit]

Main articles: Garage rock revival and Post-punk revival

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.[263][264][265][266] 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. [267] There had
been attempts to revive garage rock and elements of punk in the 1980s and 1990s and by 2000 scenes had grown up in several countries.[268]

The commercial breakthrough from these scenes was led by four bands: the Strokes, who emerged from the New York club scene with their début album Is This
The Strokes performing in 2006
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).[269] They were christened by the media as the "The" bands, and dubbed "The
saviours of rock 'n' roll", leading to accusations of hype.[270] A second wave of bands that gained international recognition due to the movement included Black Rebel Motorcycle Club, the Killers, Interpol and
Kings of Leon from the US,[271] the Libertines, Arctic Monkeys, Bloc Party, Kaiser Chiefs and Franz Ferdinand from the UK,[272] Jet from Australia,[273] and the Datsuns and the D4 from New Zealand.[274]
Digital electronic rock [edit]
Main article: Electronic rock
See also: Laptronica, Indietronica, Electroclash, Dance-punk, New rave, and Synth-pop

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.[275] This resulted in
a massive increase in the amount of home-produced electronic music available to the general public via the expanding internet,[276] and new forms of performance such as laptronica [275] and live coding.[277]
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]

Social impact [edit]

Main article: Social effects of rock music

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. [278] The counterculture of the 1960s was closely associated with psychedelic rock.[278] The mid-1970s punk subculture began in the US, but it was given a
distinctive look by British designer Vivienne Westwood, a look which spread worldwide. [279] Out of the punk scene, the Goth and Emo subcultures grew, both of which presented distinctive visual styles. [280]

When an international rock culture developed, it supplanted cinema as the major sources of fashion influence. [281] Paradoxically, followers of rock music have often
mistrusted the world of fashion, which has been seen as elevating image above substance.[281] 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.[281][282] 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 late 1960s and early 1970s; and sometimes to cannabis, cocaine and heroin, all of
which have been eulogised in song.[283][284]

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
The 1969 Woodstock Festival was appropriating and exploiting that culture.[285][286] While rock music has absorbed many influences and introduced Western audiences to different musical traditions, [287] the
seen as a celebration of the global spread of rock music has been interpreted as a form of cultural imperialism.[288] Rock music inherited the folk tradition of protest song, making political statements
countercultural lifestyle.
on subjects such as war, religion, poverty, civil rights, justice and the environment.[289] 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 successfully 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.[290]

Since its early development rock music has been associated with rebellion against social and political norms, most obviously 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,[291] however, it can also be seen as providing a means of commercial exploitation of such ideas and of diverting
youth away from political action.[292]

Role of women [edit]

Main article: Women in music § Popular music

Professional women instrumentalists are uncommon in rock genres such as heavy metal. According to Schaap and Berkers, "playing in a band is largely a male homosocial
activity, that is, learning to play in a band is largely a peer-based ... experience, shaped by existing sex-segregated friendship networks.[293] They note that rock music "is often
defined as a form of male rebellion vis-à-vis female bedroom culture."[294] (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 developed by a sociologist named Angela McRobbie.) In popular music, there has been a gendered "distinction
between public (male) and private (female) participation" in music.[294] "several scholars have argued that men exclude women from bands or from the bands' rehearsals,
recordings, performances, and other social activities".[295] "Women are mainly regarded as passive and private consumers of allegedly slick, prefabricated – hence, inferior – pop
music ..., excluding them from participating as high status rock musicians".[295] One of the reasons that there are rarely 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".[295] In the 1960s rock music scene, "singing was sometimes an
acceptable pastime for a girl, but playing an instrument ... simply wasn't done".[296]

"The rebellion of rock music was largely a male rebellion; the women – often, in the 1950s and '60s, girls in their teens – in rock usually sang songs as personæ utterly 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 traditionally 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 Suzi Quatro is a singer,
they "did not provide viable templates for women's on-going participation in rock".[297] In relation to the gender composition of heavy metal bands, it has been said that "[h]eavy bassist and bandleader. When
metal performers are almost exclusively male" [298] "...at least until the mid-1980s" [299] apart from "...exceptions such as Girlschool".[298] However, "...now [in the 2010s] maybe she launched her career in
1973, she was one of the few
more than ever–strong metal women have put up their dukes and got down to it",[300] "carv[ing] out a considerable place for [them]selves."[301] When Suzi Quatro emerged in prominent women
1973, "no other prominent female musician worked in rock simultaneously as a singer, instrumentalist, songwriter, and bandleader".[297] According to Auslander, she was "kicking instrumentalists and
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". [297] bandleaders.

An all-female band is a musical group in genres such as rock and blues which is exclusively composed of female musicians. This is distinct from a girl group, in which the female
members are solely vocalists, though this terminology is not universally followed.[302]

See also [edit]

Acoustics Sound
Rock music
Blues portal

Communication
Country (music)
Entertainment
Guitar
Grunge (music)
Metal (music)
Music
Performing arts
Popular culture
Rock music and Theosophy

Rock music – Wikipedia book

Notes [edit]
[50]
1. ^ The terms "pop-rock" and "power pop" have been used to describe more commercially successful music that uses elements from, or the form of, rock music. Pop-rock has been defined as an "upbeat variety of rock
music represented by artists such as Elton John, Paul McCartney, the Everly Brothers, Rod Stewart, Chicago, and Peter Frampton."[51] The term power pop was coined by Pete Townshend of the Who in 1966, but not
[52]
much used until it was applied to bands like Badfinger in the 1970s, who proved some of the most commercially successful of the period.
2. ^ 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. [38] 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. [56] 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. [57]
3. ^ All of these elements, including the close harmonies of doo wop and girl groups, the carefully crafted song-writing of the Brill Building Sound and the polished production values of soul, have been seen as influencing
[63]
the Merseybeat sound, particularly the early work of The Beatles, and through them the form of later rock music.
4. ^ 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.[66]
5. ^ 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. [92]

References [edit]
a b
1. ^ 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
2. ^ Pop/Rock at AllMusic
3. ^ Wyman, Bill (20 December 2016). "Chuck Berry Invented the Idea of Rock and Roll" . Vulture.com. New York Media, LLC.
4. ^ 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.
a b
5. ^ Michael Campbell & James Brody, Rock and Roll: An Introduction , pp. 80–81
6. ^ R.C. Brewer, "Bass Guitar", in Shepherd, 2003, p. 56.
7. ^ R. Mattingly, "Drum Set", in Shepherd, 2003, p. 361.
8. ^ 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.
9. ^ D. Laing, "Quartet", in Shepherd, 2003, p. 56.
a bc
10. ^ C. Ammer, The Facts on File Dictionary of Music (New York: Infobase, 4th edn., 2004), ISBN 0-8160-5266-2, pp. 251–52.
11. ^ Michael Campbell & James Brody (2007), Rock and Roll: An Introduction , p. 117
12. ^ 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.
 2006), ISBN 0-7914-6715-5, p. 40.
13. ^ T. Gracyk, Rhythm and Noise: an Aesthetics of Rock , (London: I.B. Tauris, 1996), ISBN 1-86064-090-7, p. xi.
14. ^ P. Wicke, Rock Music: Culture, Aesthetics and Sociology (Cambridge: Cambridge University Press, 1990), ISBN 0-521-39914-9, p. x.
a bc
15. ^ Christgau, Robert (1981). "The Decade" . Christgau's Record Guide: Rock Albums of the Seventies . Ticknor & Fields . ISBN 0899190251. Retrieved 6 April 2019 – via robertchristgau.com.
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Further reading and listening [edit]

Bogdanov, V.; Woodstra, C.; Erlewine, S.T., eds. (2002). All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (3rd ed.). Milwaukee, WI: Backbeat Books. ISBN 0-87930-653-X.
Christgau, Robert (1992). "B.E.: A Dozen Moments in the Prehistory of Rock and Roll" . Details.
Gilliland, John (1969). "Crammer: A lively cram course on the history of rock and some other things" (audio). Pop Chronicles. University of North Texas Libraries.
Robinson, Richard. Pop, Rock, and Soul. New York: Pyramid Books, 1972. Without ISBN
Shepherd, J., ed. (2003). Continuum Encyclopedia of Popular Music of the World: Volume II: Performance and Production. New York: Continuum. ISBN 0-8264-6322-3.
Szatmary, David P. Rockin' in Time: a Social History of Rock-and-Roll . Third ed. Upper Saddle River NJ: Prentice-Hall, 1996. xvi, 320 p., ill., mostly with b&w photos. ISBN 0-13-440678-8

External links [edit]

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V· T · E Rock music
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