Rock music

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 styles in
Rock music
the 1960s and later, particularly in the United Kingdom and in the United Stylistic Rock and roll
States.[1][2] It has its roots in 1940s and 1950s rock and roll, a style which drew origins rockabilly blues
heavily on the African-American genres of blues and rhythm and blues, and from electric blues folk
country music. Rock music also drew strongly on a number of other genres such as country
electric blues and folk, and incorporated influences from jazz, classical and other rhythm and blues
musical styles. Musically, rock has centered on the electric guitar, usually as part of Cultural 1950s and 1960s,
a rock group with electric bass and drums and one or more singers. Typically, rock is origins United Kingdom and
song-based music usually with a 4/4 time signature using a versechorus form, but United States
the genre has become extremely diverse. Likepop music, lyrics often stress romantic
Typical Electric guitar
love but also address a wide variety of other themes that are frequently social or
instruments bass guitar drums
political.
vocals keyboards
By the late 1960s "classic rock"[1] period, a number of distinct rock music subgenres Derivative New-age
had emerged, including hybrids like blues rock, folk rock, country rock, raga rock, forms
and jazz-rock, many of which contributed to the development of psychedelic rock,
Subgenres
which was influenced by the countercultural psychedelic and hippie scene. New
Alternative rock art rock beat
genres that emerged included progressive rock, which extended the artistic elements;
experimental rock garage rock
glam rock, which highlighted showmanship and visual style; and the diverse and
glam rock hard rock heartland rock
enduring subgenre of heavy metal, which emphasized volume, power, and speed. In
heavy metal indie rock new wave
the second half of the 1970s, punk rock reacted by producing stripped-down,
post-punk post-rock progressive rock
energetic social and political critiques. Punk was an influence in the 1980s on new
psychedelic rock punk rock
wave, post-punk and eventually alternative rock. From the 1990s alternative rock
roots rock soft rock surf
began to dominate rock music and break into the mainstream in the form of grunge,
Britpop, and indie rock. Further fusion subgenres have since emerged, including pop Fusion genres
punk, rap rock, and rap metal, as well as conscious attempts to revisit rock's history, Baroque pop blues rock country rock
including the garage rock/post-punk and synth-pop revivals at the beginning of the dance-rock folk rock funk rock
2000s (decade). industrial rock jazz fusion Latin rock
noise rock pop rock raga rock
Rock music has also embodied and served as the vehicle for cultural and social
rap rock reggae rock samba rock
movements, leading to major subcultures including mods and rockers in the UK and
sufi rock
the hippie counterculture that spread out from San Francisco in the US in the 1960s.
Regional scenes
Similarly, 1970s punk culture spawned the goth and emo subcultures. Inheriting the
folk tradition of the protest song, rock music has been associated with political Argentina Armenia Australia
activism as well as changes in social attitudes to race, sex and drug use, and is often Bangladesh Belarus Belgium
seen as an expression of youth revolt against adultconsumerism and conformity. Bosnia and Herzegovina Brazil
Canada Chile China Colombia
Cuba Croatia Denmark
Dominican Republic Ecuador
Contents Estonia Finland France Greece
1 Characteristics Germany Guatemala Hungary
2 1950s: Rock and roll Iceland India Indonesia Iran
3 Early 1960s Ireland Israel Italy Japan Latvia
3.1 Pop rock and instrumental rock Lithuania Malaysia Mexico Nepal
3.2 Surf music New Zealand Norway Pakistan
 3.3 British Invasion Peru Philippines Poland Portugal
3.4 Garage rock Russia Serbia Slovenia
4 Psychedelia and progressivism South Korea Spain
4.1 Blues and folk fusions Spanish-speaking world Sweden
4.2 Psychedelic rock Switzerland Taiwan Tatar Thailand
4.3 Progressive rock
Turkey Ukraine United Kingdom
4.4 Jazz rock
United States (Southern United States)
5 Early 1970s Uruguay Venezuela
5.1 Roots rock
SFR Yugoslavia Zambia
5.2 Glam rock
5.3 Soft rock, hard rock and early heavy metal Local scenes
5.4 Christian rock Madchester Palm Desert Scene
6 Punk era Other topics
6.1 Punk rock
6.2 New wave Backbeat Distortion Hall of Fame
6.3 Post-punk pop progressive music
6.4 Heartland rock relationship with electronics rock band
6.5 Emergence of alternative rock rock music terms rock opera
7 Alternative rockism social impact
7.1 Grunge
7.2 Britpop 2017 in rock music
7.3 Post-grunge
7.4 Pop punk
7.5 Indie rock
7.6 Alternative metal, rap rock and nu metal
7.7 Post-Britpop
8 2000spresent
8.1 Post-hardcore and emo
8.2 Garage rock/post-punk revival
8.3 Digital electronic rock
9 Social impact
9.1 Role of women
10 See also
11 Notes
12 References
13 Further reading and listening
14 External links

Characteristics
The sound of rock is traditionally centered on the amplified electric guitar, which
A good definition
emerged in its modern form in the 1950s with the popularization of rock and roll,[4] and
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 pioneered in
of rock, in fact, is
that it's popular
music that to a

jazz music in the same era,[6] and percussion produced from a drum kit that combines certain degree
doesn't care if it's
drums and cymbals.[7] This trio of instruments has often been complemented by the
popular.
inclusion of other instruments, particularly keyboards such as the piano, Hammond
organ and synthesizers.[8] The basic rock instrumentation was adapted from the basic Vulture.com[3]
blues band instrumentation (prominent lead guitar, second chordal instrument, bass, and
drums).[5] A group of musicians performing rock music is termed a rock band or rock group and typically consists of between three
 the power trioand five members. Classically, a rock band takes the form of a
quartet whose members cover one or more roles, including vocalist, lead
guitarist, rhythm guitarist, bass guitarist, drummer and often that of keyboard
player or other instrumentalist.[9]

Rock music is traditionally built on a foundation of simple unsyncopated

Red Hot Chili Peppers in 2006, showing a
quartet lineup for a rock band (from left to
right: bassist, lead vocalist, drummer, and
guitarist).
musical and cultural forms, it has been argued that "it is impossible to bind rock music to a rigidly delineated musical definition."
rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two
and four.[10] Melodies are often derived from older musical modes, including
the Dorian and Mixolydian, as well as major and minor modes. Harmonies
range from the common triad to parallel fourths and fifths and dissonant
harmonic progressions.[10] Rock songs, since the late 1950s[11] and
particularly from the mid-1960s onwards, often used theverse-chorus structure
derived from blues and folk music, but there has been considerable variation
from this model.[12] Critics have stressed the eclecticism and stylistic diversity
of rock.[13] Because of its complex history and tendency to borrow from other
[14]

Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range
of themes in addition to romantic love: including sex, rebellion against "The
Establishment", social concerns and life styles.[10] These themes were inherited
from a variety of sources, including the Tin Pan Alley pop tradition, folk music and
A simple 4/4 drum pattern common
rhythm and blues.[15] Music journalist Robert Christgau characterizes rock lyrics as
in rock music Play
a "cool medium" with simple diction and repeated refrains, and asserts that rock's
primary "function" "pertains to music, or, more generally, noise."[16] The
predominance of white, male and often middle class musicians in rock music has often been noted[17] and rock has been seen as an
appropriation of black musical forms for a young, white and largely male audience.[18] As a result, it has been seen as articulating the
concerns of this group in both style and lyrics.[19] Christgau, writing in 1972, said in spite of some exceptions, "rock and roll usually
[20]
implies an identification of male sexuality and aggression".

Since the term rock began to be used in preference to rock and roll from the late-1960s, it has often been contrasted with pop music,
with which it has shared many characteristics, but from which it is often 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 history and development.[21] According to Simon Frith "rock was something more than pop, something more than rock
and roll. Rock musicians combined an emphasis on skill and technique with the romantic concept of art as artistic expression, original
and sincere".[21] In the new millennium the term rock has sometimes been used as a blanket term including forms such as pop music,
.[22]
reggae music, soul music, and even hip hop, with which it has been influenced but often contrasted through much of its history

1950s: Rock and roll

The foundations of rock music are in rock and roll, which originated in the United States during the late 1940s and early 1950s, and
quickly spread to much of the rest of the world. Its immediate origins lay in a melding of various black musical genres of the time,
including rhythm and blues and gospel music, with country and western.[23] In 1951, Cleveland, Ohio disc jockey Alan Freed began
playing rhythm and blues music (then termed "race music") for a multi-racial audience, and is credited with first using the phrase
"rock and roll" to describe the music.[24]

Debate surrounds which record should be considered the first rock and roll record. Contenders include Goree Carter's "Rock Awhile"
(1949);[25] Jimmy Preston's "Rock the Joint" (1949), which was later covered by Bill Haley & His Comets in 1952;[26] 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.[27] Four years later, Bill Haley's "Rock Around the Clock" (1955) became the first rock and roll song to top
[28][29]
Billboard magazine's main sales and airplay charts, and opened the door worldwide for this new wave of popular culture.
 It has also 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,[30] but, at the same 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.[27] Soon rock and
roll was the major force in American record sales and crooners, such as Eddie Fisher, Perry
Como, and Patti Page, who had dominated the previous decade of popular music, found their
access to the pop charts significantly curtailed.[31]

Rock and roll has been seen as leading to a number of distinct subgenres, including rockabilly,
combining rock and roll with "hillbilly" country music, which was usually played and
recorded in the mid-1950s by white singers such as Carl Perkins, Jerry Lee Lewis, Buddy
Elvis Presley in a promotion
Holly and with the greatest commercial success, Elvis Presley.[32] In contrast doo wop placed
shot for Jailhouse Rock in
1957 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 instrumentation and had
its origins in 1930s and 1940s African American vocal groups.[33] Acts like the Crows, the
Penguins, the El Dorados and the Turbans all scored major hits, and groups like the Platters, with songs including "The Great
Pretender" (1955),[34] and the Coasters with humorous songs like "Yakety Yak" (1958),[35] ranked among the most successful rock
and roll acts of the period.[36]

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 Wray, and Scotty Moore.[37] The use of distortion, pioneered by electric blues
guitarists such as Guitar Slim,[38] Willie Johnson and Pat Hare in the early 1950s,[39] was popularized by Chuck Berry in the mid-
1950s.[40] The use of power chords, pioneered by Willie Johnson and Pat Hare in the early 1950s,[39] was popularized by Link Wray
in the late 1950s.[41]

In the United Kingdom, the trad jazz and folk movements brought visiting blues music artists to Britain.[42] Lonnie Donegan's 1955
hit "Rock Island Line" was a major influence and helped to develop the trend ofskiffle music groups throughout the country, many of
which, including John Lennon's Quarrymen, moved on to play rock and roll.[43]

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 thepayola 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.[44]

Early 1960s

Pop rock and instrumental rock

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.[45][46] 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.[21] 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.[21][45][46][47] 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.[51] More recently some authors have emphasised important
innovations and trends in this period without which future developments would not
have been possible.[52][53] While early rock and roll, particularly through the advent
of rockabilly, saw the greatest commercial success for male and white performers, in
this era the genre was dominated by black and female artists. Rock and roll had not
disappeared 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.[53][nb 2]
The Everly Brothers in 2006
Cliff Richard had the first British rock and roll hit with "Move It", effectively
ushering in the sound ofBritish rock.[56] At the start of the 1960s, his backing group
the Shadows was the most successful group recording instrumentals.[57] 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.[58]

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,[59] 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.[60][nb 3] Some historians of
music have also pointed to important and innovative technical developments that built on rock and
The Shirelles in 1962.
roll in this period, including the electronic treatment of sound by such innovators as Joe Meek, and Clockwise from top:
the elaborate production methods of theWall of Sound pursued by Phil Spector.[53] Addie "Micki" Harris,
Shirley Owens, Beverly
Lee, and Doris Coley.
Surf music
The instrumental rock and roll of performers such
as Duane Eddy, Link Wray and the Ventures was developed by Dick Dale, who
added distinctive "wet" reverb, rapid alternate picking, and Middle Eastern and
Mexican influences. He produced the regional hit "Let's Go Trippin'" in 1961 and
launched the surf music craze, following up with songs like "Misirlou" (1962).[62]
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.[62]
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
The Beach Boys performing in 1964 and number 10 on theBillboard charts in 1965.[63]

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 pop
acts like the Four Freshmen. Their first chart hit, "Surfin'" in 1962 reached the Billboard top 100 and helped make the surf music
craze a national phenomenon.[64] The surf music craze and the careers of almost all surf acts was effectively ended by the arrival of
the British Invasion from 1964.[nb 4]

British Invasion
By the end of 1962, what would become the British rock scene had started with beat
groups like the Beatles, Gerry & the Pacemakers and the Searchers from Liverpool
and Freddie and the Dreamers, Herman's Hermits and the Hollies from Manchester.
They drew on a wide range of American influences including soul, rhythm and blues
and surf music,[65] initially reinterpreting standard American tunes and playing for
dancers. Bands like the Animals from Newcastle and Them from Belfast,[66] 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.[67] Soon
these groups were composing their own material, combining US forms of music and The Beatles arriving in New York in
infusing it with a high energy beat. Beat bands tended towards "bouncy, irresistible January 1964 at the beginning of the
melodies", while earlyBritish blues acts tended towards less sexually innocent, more British Invasion
aggressive songs, often adopting an anti-establishment stance. There was, however,
particularly in the early stages, considerable musical crossover between the two
tendencies.[68] 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.[69]

"I Want to Hold Your Hand" was the Beatles' first number 1 hit on the Billboard Hot 100,[70] spending 7 weeks at the top and a total
of 15 weeks on the chart.[71][72] Their first appearance on The Ed Sullivan Show on 9 February 1964, drawing an estimated 73
million viewers (at the time a record for an American television program) is often 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.[68] During the next two years British acts dominated their own and the US charts with Peter and Gordon, the
Animals,[73] Manfred Mann, Petula Clark,[73] Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman's Hermits,
the Rolling Stones,[74] the Troggs, and Donovan[75] all having one or more number one singles.[71] Other major acts that were part of
the invasion included the Kinks and the Dave Clark Five.[76][77]

The British Invasion helped internationalize the production of rock and roll, opening the door for subsequent British (and Irish)
performers to achieve international success.[78] 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.[79] 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.[80] The British Invasion also played a major part in the rise of a distinct genre of rock music, and cemented
singer-songwriters.[33]
the primacy of the rock group, based on guitars and drums and producing their own material as

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.[81][82] Garage rock songs often revolved around the traumas of high
school life, with songs about "lying girls" being particularly common.[83] 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.[81] 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.[83] The
Pacific Northwest states of Washington and Oregon had perhapsthe most defined regional sound.[84]

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.[85] By 1963, garage band singles were creeping into
the national charts in greater numbers, including Paul Revere and the Raiders (Boise),[86] the Trashmen (Minneapolis)[87] and the
Rivieras (South Bend, Indiana).[88] Other influential garage bands, such as the Sonics (Tacoma, Washington), never reached the
Billboard Hot 100.[89]
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.[83] Thousands of garage bands were
extant in the US and Canada during the era and hundreds produced regional hits.[83]
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.[83] By 1968 the style largely disappeared
from the national charts and at the local level as amateur musicians faced college,
work or the draft.[83] New styles had evolved to replace garage rock.[83][nb 5]
the D-Men (later The Fifth Estate) in
1964

Psychedelia and progressivism

Blues and folk fusions

Blues rock
Although the first impact of the British Invasion on American popular music was through beat and R&B based acts, the impetus was
soon taken up by a second wave of bands that drew their inspiration more directly from American blues, including the Rolling Stones
and the Yardbirds.[91] 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.[92] 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.[93] The band
involved and inspired many of the figures of the subsequentBritish blues boom, including members of the Rolling Stones andCream,
[58]
combining blues standards and forms with rock instrumentation and emphasis.

The other key focus for British blues was John Mayall; his band, the Bluesbreakers,
included Eric Clapton (after his 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.[94] 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.[93] Green, along with the Bluesbreaker's rhythm section Mick
Fleetwood and John McVie, formed Peter Green's Fleetwood Mac, who enjoyed
Eric Clapton performing in Barcelona some of the greatest commercial success in the genre.[93] In the late 1960s Jeff
in 1974 Beck, also an alumnus of the Yardbirds, moved blues rock in the direction of heavy
rock with his band, the Jeff Beck Group.[93] The last Yardbirds guitarist was Jimmy
Page, who went on to form The New Yardbirds which rapidly became Led Zeppelin.
[93]
Many of the songs on their first three albums, and occasionally later in their careers, were expansions on traditional blues songs.

In America, blues rock had been pioneered in the early 1960s by guitarist Lonnie Mack,[95] but the genre began to take off in the
mid-1960s as acts developed a sound similar to British blues musicians. Key acts included Paul Butterfield (whose band acted like
Mayall's Bluesbreakers in Britain as a starting point for many successful musicians), Canned Heat, the early Jefferson Airplane, Janis
Joplin, Johnny Winter, the J. Geils Band and Jimi Hendrix with his power trios, the Jimi Hendrix Experience and Band of Gypsys,
whose guitar virtuosity and showmanship would be among the most emulated of the decade.[93] 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
distinctive Southern rock.[96]

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.[97] 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",[97] as bands began recording rock-
style albums.[97] The genre was continued in the 1970s by figures such as George Thorogood and Pat Travers,[93] 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
[98]
and repetitive boogie rock), bands became focused onheavy metal innovation, and blues rock began to slip out of the mainstream.

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.[99] In America the genre was
pioneered by figures such as Woody Guthrie and Pete Seeger and often identified
with progressive or labor politics.[99] In the early sixties figures such as Joan Baez
and Bob Dylan had come to the fore in this movement as singer-songwriters.[100]
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,[101] but, although beginning to influence each other, rock and folk Joan Baez and Bob Dylan in 1963
music had remained largely separate genres, often with mutually exclusive
audiences.[102]

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[103] and the Beatles "I'm a Loser" (1964),
arguably the first Beatles song to be influenced directly by Dylan.[104] 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.[102] With members who had been part
of the cafe-based folk scene in Los Angeles, the Byrds adopted rock instrumentation, including drums and 12-string Rickenbacker
[102] Later that year Dylan adopted electric instruments, much to the
guitars, which became a major element in the sound of the genre.
outrage of many folk purists, with his "Like a Rolling Stone" becoming a US hit single.[102] Folk rock particularly took off in
California, where it led acts like the Mamas & the Papasand 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
[102]
of Silence" (1965) being remixed with rock instruments to be the first of many hits.

These acts directly influenced British performers like Donovan and Fairport Convention.[102] In 1969 Fairport Convention
abandoned their mixture of American covers and Dylan-influenced songs to play traditional English folk music on electric
instruments.[105] 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 ofCeltic rock in the early 1970s.[106]

Folk rock reached its peak of commercial popularity in the period 196768, before many acts moved off in a variety of directions,
including Dylan and the Byrds, who began to develop country rock.[107] 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".[102][108]

Psychedelic rock
 Psychedelic music's LSD-inspired vibe began in the folk scene.[109] The first group to
advertise themselves as psychedelic rock were the 13th Floor Elevators from Texas.[109] 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.[110]
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.[110] The psychedelic life style,
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.[110][111] The Jimi Hendrix Experience's lead guitarist, Jimi Hendrix did extended
distorted, feedback-filled jams which became a key feature of psychedelia.[110] 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,[110] and the Pink Floyd debuted with The Piper at
the Gates of Dawn. Key recordings included Jefferson Airplane's Surrealistic Pillow and the

Jimi Hendrix performing on Doors' Strange Days.[112] These trends climaxed in the 1969 Woodstock festival, which saw
[110]
performances by most of the major psychedelic acts.
Dutch TV in 1967

Progressive rock
Progressive rock, a term sometimes used interchangeably with art rock, moved beyond established musical formulas by
experimenting with different instruments, song types, and forms.[113] 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.[114] The Moody Blues used a full orchestra on their album Days of Future Passed (1967) and subsequently created
orchestral sounds with synthesisers.[113] Classical orchestration, keyboards and synthesisers were a frequent addition to the
[115]
established rock format of guitars, bass and drums in subsequent progressive rock.

Instrumentals were common, while songs with lyrics were sometimes

Prog-rock band Yes performing in concert
in Indianapolis in 1977
including Caravan, Hatfield and the North, Gong, and National Health.[118]
conceptual, abstract, or based in fantasy and science fiction.[116] 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.[117] King Crimson's 1969 dbut 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.[113]
The vibrant Canterbury scene saw acts following Soft Machine from
psychedelia, through jazz influences, toward more expansive hard rock,

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.[119] 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.[113] Jethro Tull and Genesis both pursued very different, but distinctly English, brands of music.[120]
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.[121] 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.[122] The American
brand of progressive rock varied from the eclectic and innovative Frank Zappa, Captain Beefheart and Blood, Sweat & Tears,[123] to
more pop rock orientated bands like Boston, Foreigner, Kansas, Journey and Styx.[113] 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, issuing in
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 economicalrock festivals as major live venues in the 1990s.

The instrumental strand of the genre resulted in albums like Mike Oldfield's Tubular Bells (1973), the first record, and worldwide hit,
for the Virgin Records label, which became a mainstay of the genre.[113] Instrumental rock was particularly significant in continental
Europe, allowing bands like Kraftwerk, Tangerine Dream, Can, and Faust to circumvent the language barrier.[124] 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.[113] With the advent of punk rock and technological changes in the late 1970s, progressive rock was
increasingly dismissed as pretentious and overblown.[125][126] Many bands broke up, but some, including Genesis, ELP, Yes, and
Pink Floyd, regularly scored top ten albums with successful accompanying worldwide tours.[90] 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
[127]
well as their more usually recognized punk influences.

Jazz rock
In the late 1960s jazz rock emerged as a distinct subgenre out of the blues rock, psychedelic and
progressive rock scenes, mixing the power of rock with the musical complexity and
improvisational elements of jazz. AllMusic states that the term jazz-rock "may refer to the
loudest, wildest, most electrified fusion bands from the jazz camp, but most often it describes
performers coming from the rock side of the equation." Jazz rock "...generally grew out of the
most artistically ambitious rock subgenres of the late '60s and early '70s", including the singer-
songwriter movement.[128] 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 Jaco Pastorius of
rock bands that made use of jazzy horn sections, like Electric Flag, Blood, Sweat & Tears and Weather Report in 1980
Chicago, to become some of the most commercially successful acts of the later 1960s and early
1970s.[129]

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[130] and the Graham Bond and John Mayall spin-off Colosseum. From the psychedelic rock and the Canterbury scenes came
Soft Machine, who, it has been suggested, produced one of the artistically successfully fusions of the two genres. Perhaps the most
critically acclaimed fusion came from the jazz side of the equation, with Miles Davis, particularly influenced by the work of Hendrix,
incorporating rock instrumentation into his sound for the album Bitches Brew (1970). It was a major influence on subsequent rock-
influenced jazz artists, including Herbie Hancock, Chick Corea and Weather Report.[129] The genre began to fade in the late 1970s,
as a mellower form of fusion began to take its audience,[131] but acts like Steely Dan,[131] Frank Zappa and Joni Mitchell recorded
[129]
significant jazz-influenced albums in this period, and it has continued to be a major influence on rock music.

Early 1970s

Roots rock
Roots rock is the term now used to describe a move away from what some saw as the excesses of the psychedelic scene, to a more
basic form of rock and roll that incorporated its original influences, particularly country and folk music, leading to the creation of
country rock and Southern rock.[132] In 1966 Bob Dylan went to Nashville to record the album Blonde on Blonde.[133] 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.[133] 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.[134] The same movement saw the beginning of the recording
careers of Californian solo artists like Ry Cooder, Bonnie Raitt and Lowell George,[135] and influenced the work of established
performers such as the Rolling Stones'Beggar's Banquet (1968) and the Beatles'Let It Be (1970).[110]

In 1968, Gram Parsons recorded Safe at Home with the International Submarine
Band, arguably the first true country rock album.[136] Later that year he joined the
Byrds for Sweetheart of the Rodeo (1968), generally considered one of the most
influential recordings in the genre.[136] 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.[136] Bands in California
that adopted country rock included Hearts and Flowers, Poco, New Riders of the
The Eagles during their 20082009
Purple Sage,[136] the Beau Brummels,[136] and the Nitty Gritty Dirt Band.[137]
Long Road out of Eden Tour
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.[136] The Dillards
were, unusually, a country act, who moved towards rock music.[136] The greatest commercial success for country rock came in the
1970s, with artists including the Doobie Brothers, Emmylou Harris, Linda Ronstadt and the Eagles (made up of members of the
Burritos, Poco, and Stone Canyon Band), who emerged as one of the most successful rock acts of all time, producing albums that
included Hotel California (1976).[138]

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

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.[139] 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.[139] 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.[140] Glam is most
noted for its sexual and gender ambiguity and representations of androgyny, beside extensive
use of theatrics.[141] It was prefigured by the showmanship and gender-identity manipulation
of American acts such asthe Cockettes and Alice Cooper.[142]

David Bowie during the
Ziggy Stardust and the
Spiders Tour in 1972
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".[143]
From 1971, already a minor star, David Bowie developed his Ziggy Stardust persona,
 [144] These performers were soon followed in the
incorporating elements of professional make up, mime and performance into his act.
style by acts including Roxy Music, Sweet, Slade, Mott the Hoople, Mud and Alvin Stardust.[144] 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.[145] 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.[146] 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.[144] 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.[144] 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.[145] Glam has since enjoyed sporadic modest revivals through bands such as
Chainsaw Kittens, the Darkness[147] and in R n' B crossover actPrince.[148]

Soft rock, hard rock and early heavy metal

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.[149] Major artists
included Carole King, Cat Stevens and James Taylor.[149] 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.[150] In contrast, hard rock was more often derived from blues-rock and was
played louder and with more intensity.[151] It often emphasised the electric guitar,
Led Zeppelin live at Chicago Stadium
both as a rhythm instrument using simple repetitive riffs and as a solo lead
in January 1975
instrument, and was more likely to be used with distortion and other effects.[151]
Key acts included British Invasion bands like the Kinks, as well as psychedelic era
performers like Cream, Jimi Hendrix and the Jeff Beck Group.[151] Hard rock-influenced bands that enjoyed international success in
the later 1970s included Queen,[152] Thin Lizzy,[153] Aerosmith, AC/DC.[151] 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.[154] 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.[155] 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.[156] These elements were taken up by a "second generation" of heavy metal bands
into the late 1970s, including: Judas Priest, UFO, Motrhead and Rainbow from Britain; Kiss, Ted Nugent, and Blue yster Cult
from the US; Rush from Canada and Scorpions from Germany, all marking the expansion in popularity of the subgenre.[156] Despite
a lack of airplay and very little presence on the singles charts, late-1970s heavy metal built a considerable following, particularly
[157]
among adolescent working-class males in North America and Europe.

Christian rock
Rock, mostly the heavy metal genre, has been criticized by some Christian leaders, who have condemned it as immoral, anti-
Christian and even demonic.[158] 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.[159] The genre has been particularly popular in the United States.
[160] Many Christian rock performers

have ties to the contemporary Christian musicscene, 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
[161]
 artist Amy Grant and the British singer Cliff Richard.[161] 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.[162][163] 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.[164]

Stryper on stage in 1986

Punk era

Punk rock
Punk rock was developed between 1974 and 1976 in the United States and the United
Kingdom. Rooted in garage rock and other forms of what is now known as protopunk music,
punk rock bands eschewed the perceived excesses of mainstream 1970s rock.[165] 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.[166]

By late 1976, acts such as theRamones 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.[165]
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
Patti Smith, performing in
root in local scenes that tended to reject association with the mainstream. An associated punk
1976
subculture emerged, expressing youthful rebellion and characterized by distinctive clothing
styles and a variety of anti-authoritarian ideologies.[167]

By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant mode of punk
rock.[168] 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.[169] Musicians
identifying with or inspired by punk also pursued a broad range of other variations, giving rise to New wave, post-punk and the
alternative rock movement.[165]

New wave
Although punk rock was a significant social and musical phenomenon, it achieved less in the way of record sales (being distributed
by small specialty labels such as Stiff Records),[170] or American radio airplay (as the radio scene continued to be dominated by
mainstream formats such as disco and album-oriented rock).[171] 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.[172] 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.[173] Many of these bands, such as the
Cars and the Go-Go's can be seen as pop bands marketed as new wave;[174] 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,[175] while
"skinny tie" bands exemplified by the Knack,[176] or the photogenic Blondie, began as punk acts and moved into more commercial
territory.[177]

Deborah Harry from the band
Blondie, performing at Maple Leaf
Gardens in Toronto in 1977
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.[178] 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.[179] 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,[180] but in general, guitar-oriented
rock was commercially eclipsed.[181]

Post-punk
If hardcore most directly pursued the stripped down aesthetic of punk, and new wave
came to represent its commercial wing, post-punk emerged in the 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.[182] Early contributors to the genre included the US bands Pere Ubu, Devo,
the Residents and Talking Heads.[182] U2 performing on the Joshua Tree
Tour 2017
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.[182] 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.[183] Similar emotional territory was pursued by Australian acts like the Birthday Party and Nick
Cave.[182] Members of Bauhaus and Joy Division explored new stylistic territory as Love and Rockets and New Order
respectively.[182] Another early post-punk movement was the industrial music
[184] developed by British bandsThrobbing 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 ofpost-industrial music in the 1980s.[185]

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.[182] Arguably the
most successful band to emerge from post-punk was Ireland's U2, who incorporated elements of religious imagery together with
political commentary into their often anthemic music, and by the late 1980s had become one of the biggest bands in the world.[186]
Although many post-punk bands continued to record and perform, it declined as a movement in the mid-1980s as acts disbanded or
moved off to explore other musical areas, but it has continued to influence the development of rock music and has been seen as a
[187]
major element in the creation of the alternative rock movement.

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.[188] 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.[189] 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,
[190]
Creedence Clearwater Revival andVan Morrison, and the basic rock of 1960s garage and the Rolling Stones.
Exemplified by the commercial success of singer songwriters Bruce Springsteen, Bob Seger,
and Tom Petty, along with less widely known acts such as Southside Johnny and the Asbury
Jukes and Joe Grushecky and the Houserockers, it was partly a reaction to post-industrial
urban decline in the East and Mid-West, often dwelling on issues of social disintegration and
isolation, beside a form of good-time rock and roll revivalism.[190] 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.[190] It can also be heard as an influence on artists as
diverse as Billy Joel,[191] Kid Rock[192] and the Killers.[193]

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.[190] Many heartland rock
artists continue to record today with critical and commercial success, most notably Bruce Bruce Springsteen in East
Springsteen, Tom Petty and John Mellencamp, although their works have become more Berlin in 1988

personal and experimental and no longer fit easily into a single genre. Newer artists whose
music would perhaps have been labelled heartland rock had it been released in the 1970s or
1980s, such as Missouri'sBottle Rockets and Illinois' Uncle Tupelo, often find themselves labeledalt-country.[194]

Emergence of alternative rock

The term alternative rock was coined in the early 1980s to describe rock artists who
did not fit into the mainstream genres of the time. Bands dubbed "alternative" had no
unified style, but were all seen as distinct from mainstream music. Alternative bands
were linked by their collective debt to punk rock, through hardcore, New Wave or
the post-punk movements.[195] Important alternative rock bands of the 1980s in the
US included R.E.M., Hsker D, Jane's Addiction, Sonic Youth, and the Pixies,[195]
and in the UK the Cure, New Order, the Jesus and Mary Chain, and the Smiths.[196]
Artists were largely confined to independent record labels, building an extensive

R.E.M. was a successful alternative underground music scene based on college radio, fanzines, touring, and word-of-
rock band in the 1980s mouth.[197] They rejected the dominant synth-pop of the early 1980s, marking a
return to group-based guitar rock.[198][199][200]

Few of these early bands achieved mainstream success, although exceptions to this rule include R.E.M., the Smiths, and the Cure.
Despite a general lack of spectacular album sales, the original alternative rock bands exerted a considerable influence on the
generation of musicians who came of age in the 1980s and ended up breaking through to mainstream success in the 1990s. Styles of
alternative rock in the U.S. during the 1980s included jangle pop, associated with the early recordings of R.E.M., which incorporated
the ringing guitars of mid-1960s pop and rock, and college rock, used to describe alternative bands that began in the college circuit
and college radio, including acts such as 10,000 Maniacs and the Feelies.[195] In the UK Gothic rock was dominant in the early
1980s, but by the end of the decade indie or dream pop[201] like Primal Scream, Bogshed, Half Man Half Biscuit and the Wedding
Present, and what were dubbed shoegaze bands like My Bloody Valentine, Ride, Lush, Chapterhouse, and the Boo Radleys.[202]
Particularly vibrant was the Madchester scene, produced such bands as Happy Mondays, the Inspiral Carpets, and Stone
Roses.[196][203] 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

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.[204] 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.[204] Grunge fused
elements of hardcore punk and heavy metal into a single sound, and made heavy use
of guitar distortion, fuzz and feedback.[204] The lyrics were typically apathetic and
angst-filled, and often concerned themes such as social alienation and entrapment,
[204]
although it was also known for its dark humor and parodies of commercial rock.

Bands such as Green River, Soundgarden, Melvins and Skin Yard pioneered the Nirvana in 1992
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".[205] Nevermind was more melodic than
its predecessors, by signing to Geffen Records the band was one of the first to employ traditional corporate promotion and marketing
mechanisms such as an MTV video, in store displays and the use of radio "consultants" who promoted airplay at major mainstream
rock stations. During 1991 and 1992, other grunge albums such as Pearl Jam's Ten, Soundgarden's Badmotorfinger and Alice in
Chains' Dirt, along with the Temple of the Dog album featuring members of Pearl Jam and Soundgarden, became among the 100 top-
selling albums.[206] 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.[207] 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 1996, the genre began to decline, partly to
be overshadowed by Britpop and more commercial soundingpost-grunge.[208]

Britpop
Britpop emerged from the British alternative rock scene of the early 1990s and was
characterised by bands particularly influenced by British guitar music of the 1960s
and 1970s.[196] The Smiths were a major influence, as were bands of the
Madchester scene, which had dissolved in the early 1990s.[78] 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.[196] Britpop was varied in style, but often used
catchy tunes and hooks, beside lyrics with particularly British concerns and the
Oasis performing in 2005
adoption of the iconography of the 1960s British Invasion, including the symbols of
British identity previously utilised by the mods.[209] It was launched around 1992
with releases by groups such as Suede and Blur, who were soon joined by others including Oasis, Pulp, Supergrass and Elastica, who
produced a series of top ten albums and singles.[196] 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 a third generation of Britpop bands, including The Boo Radleys, Ocean Colour Scene and Cast.[210] Britpop groups
brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement known as Cool
Britannia.[211] Although its more popular bands, particularly Blur and Oasis, were able to spread their commercial success overseas,
gely fallen apart by the end of the decade.[196]
especially to the United States, the movement had lar

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.[208] Often they worked through the major labels and came to incorporate diverse influences from jangle pop, pop-
punk, alternative metal or hard rock.[208] 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.[212] Originally, grunge bands that emerged when grunge was
mainstream and were suspected of emulating the grunge sound were pejoratively
labelled as post-grunge.[212] From 1994, former Nirvana drummer Dave Grohl's
new band, the Foo Fighters, helped popularize the genre and define its
parameters.[213]

Although male bands predominated post-grunge, female solo artist Alanis

Morissette's 1995 album Jagged Little Pill, labelled as post-grunge, also became a Foo Fighters performing an acoustic
multi-platinum hit.[214] Post-grunge morphed during the late 1990s as post-grunge show in 2007
bands like Creed and Nickelback emerged.[212] 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 includingShinedown, Seether, 3 Doors Down and Puddle of Mudd.[212]

Pop punk
The origins of 1990s pop punk can be seen in the more song-oriented bands of the
1970s punk movement like the 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.[215] Pop-punk tends to use
power-pop melodies and chord changes with speedy punk tempos and loud
guitars.[216] Punk music provided the inspiration for some California-based bands
on independent labels in the early 1990s, including Rancid, Pennywise, Weezer and
Green Day.[215] In 1994 Green Day moved to a major label and produced the album

Green Day performing in 2013 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.[195] They were soon followed by the eponymous dbut from
Weezer, which spawned three top ten singles in the US.[217] This success opened the door for the multi-platinum sales of metallic
punk band the Offspring with Smash (1994).[195] This first wave of pop punk reached its commercial peak with Green Day's Nimrod
(1997) and The Offspring's Americana (1998).[218]

A second wave of pop punk was spearheaded by Blink-182, with their breakthrough album Enema of the State (1999), followed by
bands such as Good Charlotte, Simple Plan and Sum 41, who made use of humour in their videos and had a more radio-friendly tone
to their music, while retaining the speed, some of the attitude and even the look of 1970s punk.[215] 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
[215]
1980s hardcore, while still achieving commercial success.

Indie rock
In the 1980s the terms indie rock and alternative rock were used
interchangeably.[219] 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.[219] Those bands
following the less commercial contours of the scene were increasingly referred to by
the label indie.[219] 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
Lo-fi indie rock band Pavement
promotion.[219] 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.[195][196] 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.[220] Many countries have developed
an extensive local indie scene, flourishing with bands with enough popularity to survive inside the respective country, but virtually
unknown outside them.[221]

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.[195] 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,[222][223] as well as
leading to more dense and complex, guitar-based math rock, developed by acts like Polvo and Chavez.[224] 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.[225] In contrast,
Sadcore emphasised pain and suffering through melodic use of acoustic and electronic instrumentation in the music of bands like
American Music Cluband Red House Painters,[226] 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.[227]

Alternative metal, rap rock and nu metal

Alternative metal emerged from the hardcore scene of alternative rock in the US in the later 1980s, but gained a wider audience after
grunge broke into the mainstream in the early 1990s.[228] 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.[228]

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).[229][230] Early crossover acts included Run DMC and
the Beastie Boys.[231] 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.[232][233] Rappers who sampled rock songs included Ice-
T, The Fat Boys, LL Cool J, Public Enemy and Whodini.[234] The mixing
Linkin Park performing in 2009
of thrash metal and rap was pioneered by Anthrax on their 1987 comedy-
influenced single "I'm the Man".[234]

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.[235] This paved the way for the success of existing bands like 24-7 Spyz and Living Colour, and new acts
including Rage Against the Machine and Red Hot Chili Peppers, who all fused rock and hip hop among other influences.[234][236]
Among the first wave of performers to gain mainstream success as rap rock were 311,[237] Bloodhound Gang,[238] and Kid
Rock.[239] A more metallic sound nu metal was pursued by bands including Limp Bizkit, Korn and Slipknot.[234] 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.[240]

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 dbut Infest became a
platinum hit.[241] 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.[242] Since then, many bands have changed to a more conventional hard rock, heavy metal, or electronic music
sound.[242]

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.[243][244] Many of these bands tended to mix elements of British
traditional rock (or British trad rock),[245] particularly the Beatles,
Rolling Stones and Small Faces,[246] with American influences, including
post-grunge.[247][248] Drawn from across the United Kingdom (with Coldplay in 2008
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.[249][250] This, beside a greater willingness to engage with the American press and fans, may have helped some of them in
achieving international success.[251]

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.[252] Post Britpop bands likethe Verve with Urban Hymns (1997), Radiohead from
OK Computer (1997), Travis from The Man Who (1999), Stereophonics from Performance and Cocktails (1999), Feeder from Echo
Park (2001) and particularly Coldplay from their debut album Parachutes (2000), achieved much wider international success than
most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and
early 2000s, arguably providing a launchpad for the subsequent garage rock or post-punk revival, which has also been seen as a
reaction to their introspective brand of rock.[248][253][254][255]

2000spresent

Post-hardcore and emo

Post-hardcore developed in the US, particularly in the Chicago and Washington, DC areas, in the early to mid-1980s, with bands that
were inspired by the do-it-yourself ethics and guitar-heavy music of hardcore punk, but influenced by post-punk, adopting longer
[256]
song formats, more complex musical structures and sometimes more melodic vocal styles.

Emo also emerged from the hardcore scene in 1980s Washington, D.C., initially as "emocore", used as a term to describe bands who
favored expressive vocals over the more common abrasive, barking style.[257] The early emo scene operated as an underground, with
short-lived bands releasing small-run vinyl records on tiny independent labels.[257] 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).[258] The new emo had a much more mainstream sound than in the 1990s and a far greater
appeal amongst adolescents than its earlier incarnations.[258] 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.[259] By 2003 post-hardcore bands had
also caught the attention of major labels and began to enjoy mainstream success in the album charts. A number of these bands were
seen as a more aggressive offshoot of emo and given the often vague label ofscreamo.[260]

Garage rock/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.[261][262][263][264] Because
the bands came from across the globe, cited diverse influences (from traditional blues, through New Wave to grunge), and adopted
[265]
differing styles of dress, their unity as a genre has been disputed.[265]
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.[266]

The commercial breakthrough from these scenes was led by four bands:
The Strokes performing in 2006
the Strokes, who emerged from the New York club scene with their dbut
album Is This It (2001); the White Stripes, from Detroit, with their third
album White Blood Cells (2001); the Hives from Sweden after their compilation album Your New Favourite Band (2001); and the
Vines from Australia with Highly Evolved (2002).[267] They were christened by the media as the "The" bands, and dubbed "The
saviours of rock 'n' roll", leading to accusations of hype.[268] 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,[269] the Libertines, Arctic
Monkeys, Bloc Party, Editors, Franz Ferdinand and Placebo from the UK,[270] Jet from Australia[271] and the Datsuns and the D4
from New Zealand.[272]

Digital electronic rock

In the 2000s, as computer technology became more accessible andmusic software advanced, it became possible to create high quality
music using little more than a single laptop computer.[273] This resulted in a massive increase in the amount of home-produced
[274] and new forms of performance such as laptronica
electronic music available to the general public via the expanding internet, [273]

and live coding.[275] 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.

Social impact
Different subgenres of rock were adopted by, and became central to, the identity of a large number of sub-cultures. In the 1950s and
1960s, respectively, British youths adopted theTeddy Boy and Rocker subcultures, which revolved around US rock and roll.[276] The
counterculture of the 1960s was closely associated with psychedelic rock.[276] 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.[277] Out of the punk scene,
the Goth and Emo subcultures grew, both of which presented distinctive visual styles.[278]

When an international rock culture developed, it supplanted cinema as the major

The 1969 Woodstock Festival was
seen as a celebration of the
countercultural lifestyle.
sources of fashion influence.[279] Paradoxically, followers of rock music have often
mistrusted the world of fashion, which has been seen as elevating image above
substance.[279] 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.[279][280] 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.[281][282]

Rock has been credited with changing attitudes to race by opening up African-
American culture to white audiences; but at the same time, rock has been accused of appropriating and exploiting that
culture.[283][284] While rock music has absorbed many influences and introduced Western audiences to different musical
traditions,[285] the global spread of rock music has been interpreted as a form of cultural imperialism.[286] Rock music inherited the
folk tradition of protest song, making political statements on subjects such as war, religion, poverty, civil rights, justice and the
environment.[287] 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.[288]

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,[289] however, it can also be seen as providing a means of commercial exploitation of such
[290]
ideas and of diverting youth away from political action.

Role of women
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.[291] They note that rock music "is often defined as a form of
male rebellion vis--vis female bedroom culture".[292] In popular music, there has been a
gendered "distinction between public (male) and private (female) participation" in music.[292]
"several scholars have argued that men exclude women from bands or from the bands'
rehearsals, recordings, performances, and other social activities".[293] "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".[293] 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".[293] In the 1960s rock music scene, "singing was sometimes an acceptable Suzi Quatro is a singer,
pastime for a girl, but playing an instrument ... simply wasn't [294]
done". bassist and bandleader.
When she launched her
"The rebellion of rock music was largely a male rebellion; the women often, in the 1950s career in 1973, she was one
of the few prominent women
and '60s, girls in their teens in rock usually sang songs as person utterly dependent on their
instrumentalists and
macho boyfriends...". Philip Auslander says that "Although there were many women in rock
bandleaders.
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 they "did not provide viable templates for women's on-going
participation in rock".[295] In relation to the gender composition of heavy metal bands, it has been said that "[h]eavy metal
performers are almost exclusively male"[296] "...at least until the mid-1980s"[297] apart from "...exceptions such as Girlschool".[296]
However, "...now [in the 2010s] maybe more than everstrong metal women have put up their dukes and got down to it",[298]
"carv[ing] out a considerable place for [them]selves."[299] When Suzi Quatro emerged in 1973, "no other prominent female musician
worked in rock simultaneously as a singer, instrumentalist, songwriter, and bandleader".[295] According to Auslander, she was
"kicking down the male door in rock and roll and proving that a female musician ... and this is a point I am extremely concerned
[295]
about ... could play as well if not better than the boys".

An all-female band is a musical group in genres such as rock and blues which is exclusively composed of female musicians. This is
[300]
distinct from a girl group, in which the female members are solely vocalists, though this terminology is not universally followed.

See also
Rock music Wikipedia book

Notes
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.[48] 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."[49] The term power pop was coined by Pete Townshend of the Who in 1966, but not much used until it
was applied to bands likeBadfinger in the 1970s, who proved some of the most commercially successful of the
period.[50]
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.[36] 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.[54] Some of the most significant girl group hits were products of theBrill Building
Sound, named after the block in New Y ork 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 ofGerry Goffin and Carole King.[55]
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 theMerseybeat
[61]
sound, particularly the early work ofThe 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 regardedPet Sounds in 1966, which made them, arguably, the only American rock or
pop act that could rival The Beatles.[64]
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.[90]

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iews/the-hedrons-13401497.html?startindex=-1) .

Further reading and listening

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.
Kent, Jeff,The Rise and Fall of Rock, Witan Books, 1983, ISBN 0-9508981-0-4.
Robinson, Richard. Pop, Rock, and Soul. New York: Pyramid Books, 1972. Without ISBN
Rockwood, Perry F. Rock Music or Rock of Ages?Halifax, N.S.: People's Gospel Hour, [198-?]. Without ISBN
Shepherd, J., ed. (2003).Continuum Encyclopedia of Popular Music of the World: o Vlume II: Performance and
Production. New York, NY: Continuum. ISBN 0-8264-6322-3.
Szatmary, David P. Rockin' in Time: a Social History of Rock-and-Roll. Third ed. Upper Saddle River N.J.: Prentice-
Hall, 1996. xvi, 320 p., ill., mostly with b&w photos.ISBN 0-13-440678-8

External links
Rock music at Curlie (based on DMOZ)

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