Rock music

Rock music
Rock music
Stylistic origins

Rock and roll, electric blues, folk music, country, blues, rhythm and
blues, soul music

Cultural origins

1950s and 1960s, United Kingdom and United States

Typical instruments

Vocals, electric guitar, bass guitar, acoustic guitar, drums, synthesizer,

keyboards

Mainstream popularity

Extremely high worldwide, since 1950s

Derivative forms

New Age music Synthpop

Subgenres

Alternative rock Art rock Baroque pop Beat music Britpop Emo Experimental rock Garage rock Glam rock Grindcore Group
Sounds Grunge Hard rock Heartland rock Heavy metal Instrumental rock Indie rock Jangle pop Krautrock Madchester
Post-Britpop Power pop Progressive rock Protopunk Psychedelia Punk rock Rock noir Soft rock Southern rock Surf
Symphonic rock
Fusion genres
Aboriginal rock Afro-rock Anatolian rock Bhangra rock Blues rock Country rock Flamenco-rock Folk rock Funk rock Glam
punk Indo-rock Industrial rock Jazz fusion Pop rock Punta rock Raga rock Ra rock Rap rock Rockabilly Rockoson
Samba-rock Space rock Stoner rock Sufi rock
Regional scenes
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Indonesia Ireland Israel Italy Japan Spanish-speaking world Latvia Lithuania Malaysia Mexico Nepal New Zealand
Norway Pakistan Peru Philippines Poland Portugal Russia Serbia Slovenia Spain Sweden Switzerland Tatar Thailand
Turkey Ukraine United Kingdom United States Uruguay SFR Yugoslavia Zambia
Other topics
Backbeat Rock opera Rock band Hall of Fame Social impact List of rock music terms

Rock music is a genre of popular music that developed during and after the 1960s, particularly in the United
Kingdom and the United States. It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by rhythm
and blues and country music. Rock music also drew strongly on a number of other genres such as blues and folk, and
incorporated influences from jazz, classical and other musical sources.
Musically, rock has centred around the electric guitar, usually as part of a rock group with bass guitar and drums.
Typically, rock is song-based music with a 4/4 beat utilizing a verse-chorus form, but the genre has become
extremely diverse and common musical characteristics are difficult to define. Like pop music, lyrics often stress
romantic love but also address a wide variety of other themes that are frequently social or political in emphasis. The
dominance of rock by white, male musicians has been seen as one of the key factors shaping the themes explored in
rock music. Rock places a higher degree of emphasis on musicianship, live performance, and an ideology of
authenticity than pop music.
By the late 1960s a number of distinct rock music sub-genres had emerged, including hybrids like blues rock, folk
rock, country rock, and jazz-rock fusion, many of which contributed to the development of psychedelic rock
influenced by the counter-cultural psychedelic scene. New genres that emerged from this scene included progressive
rock, which extended the artistic elements; glam rock, which highlighted showmanship and visual style, and the
diverse and enduring major sub-genre of heavy metal, which emphasized volume, power and speed. In the second
half of the 1970s, punk rock both intensified and reacted against some of these trends to produce a raw, energetic

Rock music

form of music characterized by overt political and social critiques. Punk was an influence into the 1980s on the
subsequent development of other sub-genres, including New Wave, post-punk and eventually the alternative rock
movement. From the 1990s alternative rock began to dominate rock music and break through into the mainstream in
the form of grunge, Britpop, and indie rock. Further fusion sub-genres have since emerged, including pop punk, rap
rock, and rap metal, as well as conscious attempts to revisit rock's history, including the garage rock/post-punk
revival at the beginning of the new millennium.
Rock music has also embodied and served as the vehicle for cultural and social movements, leading to major
sub-cultures including mods and rockers in the UK and the "hippie" counterculture that spread out from San
Francisco in the US in the 1960s. Similarly, 1970s punk culture spawned the visually distinctive goth and emo
subcultures. Inheriting the folk tradition of the protest song, rock music has been associated with political activism as
well as changes in social attitudes to race, sex and drug use, and is often seen as an expression of youth revolt against
adult consumerism and conformity.

Characteristics
The sound of rock is traditionally centered around the
electric guitar, which emerged in its modern form in the
1950s with the popularization of rock and roll.[1] The
sound of the electric guitar in rock music is typically
supported by the electric bass guitar pioneered in jazz
music in the same era,[2] and percussion produced from
a drum kit that combines drums and cymbals.[3] This
trio of instruments has often been complemented by the
inclusion of others, particularly keyboards such as the
piano, Hammond organ and synthesizers.[4] A group of
musicians performing rock music is termed a rock band
or rock group and typically consists of between two
Red Hot Chili Peppers in 2006, showing a quartet lineup for a rock
and five members. Classically, a rock band takes the
band of a lead vocalist, guitarist, bassist, and drummer
form of a quartet whose members cover one or more
roles, including vocalist, lead guitarist, rhythm
guitarist, bass guitarist, drummer and occasionally that of keyboard player or other instrumentalist.[5]
Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive
snare drum back beat on beats two and four.[6] 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.[6] Rock songs from the mid-1960s onwards often used the
verse-chorus structure derived from blues and folk music, but there has been considerable variation from this
model.[7] Critics have stressed the eclecticism and stylistic diversity of rock.[8] Because of its complex history and
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."[9]
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.[6] These themes were inherited from a variety of sources,
including the Tin Pan Alley pop tradition, folk music and rhythm and

A simple 4/4 drum pattern common in rock music

Play

Rock music

blues.[10] The predominance of white, male and often middle class musicians in rock music has often been noted[11]
and rock has been seen as an appropriation of black musical forms for a young, white and large male audience.[12]
As a result it has been seen as articulating the concerns of this group in both style and lyrics.[13]
Since the term rock began to be used in preference to rock and roll from the mid 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.[14] 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".[14] In
the new millennium the term rock has sometimes been used as a blanket term including forms such as pop music,
reggae music, soul music, and even hip hop, with which it has been influenced but often contrasted through much of
its history.[15]

Background (1950searly 1960s)

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 mixing together of various
black musical genres of the time, including rhythm and blues and gospel music,
with country and western.[16] In 1951, Cleveland, Ohio disc jockey Alan Freed
began playing rhythm and blues music for a multi-racial audience, and is credited
with first using the phrase "rock and roll" to describe the music.[17]

Elvis Presley in a promotion shot for

Jailhouse Rock in 1957

Debate surrounds which record should be considered the first rock and roll
record. One contender is "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.[18] Four 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 culture.[19]

It has been argued that "That's All Right (Mama)" (1954), Elvis Presley's first single for Sun Records in Memphis,
was the first rock and roll record,[20] 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.[18] 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.[21]
Rock and roll has been seen as leading to a number of distinct sub-genres, 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 Holly and with the greatest commercial success, Elvis Presley.[22] In contrast
doo wop 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 instrumentation and had its origins in 1930s and '40s
African American vocal groups.[23] 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), and The Coasters with
humorous songs like "Yakety Yak" (1958), ranked among the most successful rock and roll acts of the period.[24]
The era also saw the growth in popularity of the electric guitar, and the development of a specifically rock and roll

Rock music
style of playing through such exponents as Chuck Berry, Link Wray, and Scotty Moore.[25]
In the United Kingdom, the trad jazz and folk movements brought visiting blues music artists to Britain.[26] 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 The Quarrymen, moved on to play rock and
roll.[27]
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 Richie 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 initial rock and roll era had come to an end.[18]

The "in-between years"

The period of the later 1950s and early 1960s, between the end of the initial
period of innovation and what became known in the USA as the "British
Invasion", has traditionally been seen as an era of hiatus for rock and roll. More
recently some authors have emphasised important innovations and trends in this
period without which future developments would not have been possible.[28] [29]
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 '60s, mainly benefiting the career of Chubby Checker.[29] Having
died down in the late 1950s, doo wop enjoyed a revival in the same period, with
Chubby Checker in 2005
hits for acts like The Marcels, The Capris, Maurice Williams and Shep and the
[24]
Limelights.
The rise of girl groups like The Chantels, The Shirelles and The
Crystals placed an emphasis on harmonies and polished production that was in contrast to earlier rock and roll.[30]
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.[31]
Cliff Richard had the first British rock and roll hit with "Move It", effectively ushering in the sound of British
rock.[32] At the start of the 1960s, his backing group The Shadows was the most successful group recording
instrumentals.[33] 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.[34]
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, by the
early '60s 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.[35] 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 the Merseybeat sound, particularly
the early work of The Beatles, and through them the form of later rock music.[36] Some historians of music 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.[29]

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Surf music

The Beach Boys performing in 1964

The instrumental rock and roll pioneered by performers such as Duane

Eddy, Link Wray, and The Ventures was developed by Dick Dale who
added distinctive "wet" reverb, rapid alternate picking, as well as
Middle Eastern and Mexican influences, producing the regional hit
"Let's Go Trippin'" in 1961 and launching the surf music craze. 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.[37] 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.[38]

The growing popularity of the genre led groups from other areas to try their hand. These included The Astronauts,
from Boulder, Colorado, The Trashmen, from Minneapolis, Minnesota, who had a number 4 hit with "Surfin Bird" in
1964 and The Rivieras from South Bend, Indiana, who reached number 5 in 1964 with "California Sun".[39] The
Atlantics, from Sydney, Australia, made a significant contribution to the genre, with their hit "Bombora" (1963).[39]
European instrumental bands around this time generally focused more on the more rock and roll style played by The
Shadows, but The Dakotas, who were the British backing band for Merseybeat singer Billy J. Kramer, gained some
attention as surf musicians with "Cruel Sea" (1963), which was later covered by American instrumental surf bands,
including The Ventures.[40]
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.[39] Their first chart hit, "Surfin'" in 1962 reached the Billboard top 100 and helped make
the surf music craze a national phenomenon.[41] From 1963 the group began to leave surfing behind as subject matter
as Brian Wilson became their major composer and producer, moving on to the more general themes of male
adolescence including cars and girl in songs like "Fun, Fun, Fun" (1964) and "California Girls" (1965).[41] Other
vocal surf acts followed, including one-hit wonders like Ronny & the Daytonas with "G. T. O." (1964) and Rip
Chords with "Hey Little Cobra", which both reached the top ten, but the only other act to achieve sustained success
with the formula were Jan & Dean, who had a number 1 hit with "Surf City" (co-written with Brian Wilson) in
1963.[39] The surf music craze and the careers of almost all surf acts was effectively ended by the arrival of the
British Invasion from 1964.[39] 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.[41]

Rock music

Emergence (mid- to late 1960s)

The 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,[42] initially reinterpreting standard American tunes and
playing for dancers. Bands like The Animals from Newcastle and
Them from Belfast,[43] 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.[44] Soon these
groups were composing their own material, combining US forms of
music and infusing it with a high energy beat. Beat bands tended
The Beatles arriving in New York in January
towards "bouncy, irresistible melodies", while early British rhythm and
1964 at the beginning of the British Invasion
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.[45] 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.[46]
In 1964 the Beatles achieved a breakthrough to mainstream popularity in the United States. "I Want to Hold Your
Hand" was the band's first number 1 hit on the Billboard Hot 100, spending 7 weeks at the top and a total of 15
weeks on the chart.[47] [48] Their first appearance on the Ed Sullivan Show on 9 February, drawing an estimated 73
million viewers (at the time a record for an American television program) often is considered a milestone in
American pop culture. 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.[45] During the next two years British acts dominated their
own and the US charts with Peter and Gordon, The Animals, Manfred Mann, Petula Clark, Freddie and the
Dreamers, Wayne Fontana and the Mindbenders, Herman's Hermits, The Rolling Stones, The Troggs, and Donovan
all having one or more number 1 singles.[47] Other major acts that were part of the invasion included The Kinks and
The Dave Clark Five.[49] [50]
The British Invasion helped internationalize the production of rock and roll, opening the door for subsequent British
(and Irish) performers to achieve international success.[51] 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
'60s.[52] 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.[53] 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.[23]

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Garage rock

The D-Men (later The Fifth Estate) in 1964

particularly in California and Texas.[56]

most defined regional sound.[57]

Garage rock was a form of amateurish rock music, particularly

prevalent in North America in the mid-1960s and so called because of
the perception that it was rehearsed in a suburban family garage.[54] [55]
Garage rock songs revolved around the traumas of high school life,
with songs about "lying girls" being particularly common.[56] The
lyrics and delivery were more aggressive than was common at the
time, often with growled or shouted vocals that dissolved into
incoherent screaming.[54] 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
The Pacific Northwest states of Washington and Oregon had perhaps the

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.[58] By 1963,
garage band singles were creeping into the national charts in greater numbers, including Paul Revere and the Raiders
(Boise),[59] the Trashmen (Minneapolis)[60] and the Rivieras (South Bend, Indiana).[61] Other influential garage
bands, such as the Sonics (Tacoma, Washington), never reached the Billboard Hot 100.[62] In this early period many
bands were heavily influenced by surf rock and there was a cross-pollination between garage rock and frat rock,
sometimes viewed as merely a sub-genre of garage rock.[63]
The British Invasion of 196466 greatly influenced garage bands, providing them with a national audience, leading
many (often surf or hot rod groups) to adopt a British Invasion lilt, and encouraging many more groups to form.[56]
Thousands of garage bands were extant in the USA and Canada during the era and hundreds produced regional
hits.[56] Examples include: "The Witch" by Tacoma's The Sonics (1965), "Where You Gonna Go" by Detroit's
Unrelated Segments (1967), "Girl I Got News for You" by Miami's Birdwatchers (1966) and "125" by Montreal's
The Haunted. 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.[56] By 1968 the style
largely disappeared from the national charts and at the local level as amateur musicians faced college, work or the
draft.[56] New styles had evolved to replace garage rock (including blues-rock, progressive rock and country
rock).[56] In Detroit garage rock stayed alive until the early '70s, with bands like the MC5 and The Stooges, who
employed a much more aggressive style. These bands began to be labelled punk rock and are now often seen as
proto-punk or proto-hard rock.[64]

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Pop 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.[65] [66] In the aftermath of the British
Invasion, 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.[14] In contrast rock music was seen as
focusing on extended works, particularly albums, was often associated
with particular sub-cultures (like the counter-culture), placed an
emphasis on artistic values and "authenticity", stressed live
The Everly Brothers in 2006
performance and instrumental or vocal virtuosity and was often seen as
encapsulating progressive developments rather than simply reflecting existing trends.[14] [65] [66] [67]
Nevertheless much pop and rock music has been very similar in sound, instrumentation and even lyrical content. 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.[68] 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."[69] In contrast, self-published music reviewer George Starostin defines it as a subgenre of pop music that
uses catchy pop songs that are mostly guitar-based. Starostin argues that most of what is traditionally called "power
pop" falls into the pop rock subgenre and that the lyrical content of pop rock is "normally secondary to the
music."[70] The term power pop was coined by Pete Townshend of The Who in 1966, but not much used until it was
applied to bands like Badfinger in the 1970s, who proved some of the most commercially successful of the
period.[71] Throughout its history there have been rock acts that have used elements of pop, and pop artists who have
used rock music as a basis for their work, or striven for rock "authenticity".

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.[72] British blues musicians of the late 1950s and early '60s
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.[73] Increasingly they adopted a loud amplified sound, often
centred around the electric guitar, based on the Chicago blues,
particularly after the tour of Britain by Muddy Waters in 1958, which
Eric Clapton performing in Barcelona in 1974
prompted Cyril Davies and guitarist Alexis Korner to form the band
[74]
Blues Incorporated.
The band involved and inspired many of the figures of the subsequent British blues boom,
including members of the Rolling Stones and Cream, combining blues standards and forms with rock
instrumentation and emphasis.[34]
The other key focus for British blues was around John Mayall who formed the Bluesbreakers, whose members
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.[75] Eric Clapton went
on to form supergroups Cream, Blind Faith and Derek and the Dominos, followed by an extensive solo career that

Rock music
helped bring blues-rock into the mainstream.[74] 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.[74] In the late '60s Jeff Beck, also an alumnus of the Yardbirds, moved blues-rock in the
direction of heavy rock with his band, The Jeff Beck Group.[74] 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.[74]
In America blues-rock had been pioneered in the early 1960s by guitarist Lonnie Mack,[76] but the genre began to
take off in the mid-'60s 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.[74] Blues-rock bands from the southern states, like
Allman Brothers Band, Lynyrd Skynyrd, and ZZ Top, incorporated country elements into their style to produce
distinctive Southern rock.[77]
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 begun to
move away from purely blues-based music into psychedelia.[78] 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",[78] as bands began recording rock-style albums.[78] The genre was continued in the
1970s by figures such as George Thorogood and Pat Travers,[74] 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.[79]

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.[80] In America the genre was pioneered by figures such as
Woody Guthrie and Pete Seeger and often identified with progressive
or labor politics.[80] In the early sixties figures such as Joan Baez and
Bob Dylan had come to the fore in this movement as
singer-songwriters.[81] Dylan had begun to reach a mainstream
audience with hits including "Blowin' in the Wind" (1963) and
Joan Baez and Bob Dylan in 1963
"Masters of War" (1963), which brought "protest songs" to a wider
public,[82] but, although beginning to influence each other, rock and folk music had remained largely separate
genres, often with mutually exclusive audiences.[83]
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[84] and the Beatles
"I'm a Loser" (1964), arguably the first Beatles song to be influenced directly by Dylan.[85] 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.[83] With members who had been part of the cafe-based folk scene in Los Angeles, the Byrds adopted
rock instrumentation, including drums and 12-string Rickenbacker guitars, which became a major element in the
sound of the genre.[83] 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.[83] 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

Rock music

10

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.[83]
These acts directly influenced British performers like Donovan and Fairport Convention.[83] In 1969 Fairport
Convention abandoned their mixture of American covers and Dylan-influenced songs to play traditional English folk
music on electric instruments.[86] This electric folk was taken up by bands including Pentangle, Steeleye Span and
The Albion Band, which 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.[87]
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.[88] 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".[83] [89]

Psychedelic rock
Psychedelic music's LSD-inspired vibe began in the folk scene, with the New
York-based Holy Modal Rounders using the term in their 1964 recording of
"Hesitation Blues".[90] The first group to advertise themselves as psychedelic
rock were the 13th Floor Elevators from Texas, at the end of 1965; producing an
album that made their direction clear, with The Psychedelic Sounds of the 13th
Floor Elevators the following year.[90] The Beatles introduced many of the major
elements of the psychedelic sound to audiences in this period, with "I Feel Fine"
using guitar feedback; in late 1965 the Rubber Soul album included the use of a
sitar on "Norwegian Wood" and they employed backmasking on their 1966
single B-side "Rain" and other tracks that appeared on their Revolver album later
that year.[91]
Psychedelic rock particularly took off in California's emerging music scene as
groups followed the Byrds from folk to folk rock from 1965.[91] The psychedelic
life style had already developed in San Francisco and particularly prominent
products of the scene were The Grateful Dead, Country Joe and the Fish, The
Jimi Hendrix performing on Dutch
Great Society and Jefferson Airplane.[91] The Byrds rapidly progressed from
TV in 1967
purely folk rock in 1966 with their single "Eight Miles High", widely taken to be
a reference to drug use. In Britain arguably the most influential band in the genre
[91]
were The Yardbirds,
who, with Jeff Beck as their guitarist, increasingly moved into psychedelic territory, adding
up-tempo improvised "rave ups", Gregorian chant and world music influences to songs including "Still I'm Sad"
(1965) and "Over Under Sideways Down" (1966).[92] From 1966 the UK underground scene based in North London,
supported new acts including Pink Floyd, Traffic and Soft Machine.[93] The same year saw Donovan's
folk-influenced hit album Sunshine Superman, considered one of the first psychedelic pop records, as well as the
dbuts of blues rock bands Cream and The Jimi Hendrix Experience, whose extended guitar-heavy jams became a
key feature of psychedelia.[91]
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" and the Rolling Stones responded later that year with Their Satanic Majesties Request.[91] Pink
Floyd produced what is usually seen as their best psychedelic work The Piper at the Gates of Dawn.[91] In America
the Summer of Love was prefaced by the Human Be-In event and reached its peak at the Monterey Pop Festival, the
latter helping to make major American stars of Jimi Hendrix and The Who, whose single "I Can See for Miles"

Rock music
delved into psychedelic territory.[94] Key recordings included Jefferson Airplane's Surrealistic Pillow and The Doors'
Strange Days.[95] These trends climaxed in the 1969 Woodstock festival, which saw performances by most of the
major psychedelic acts, but by the end of the decade psychedelic rock was in retreat. Brian Wilson of the Beach
Boys, Brian Jones of the Rolling Stones, Peter Green of Fleetwood Mac and Syd Barrett of Pink Floyd were early
"acid casualties", the Jimi Hendrix Experience and Cream broke up before the end of the decade and many surviving
acts moved away from psychedelia into more back-to-basics "roots rock", the wider experimentation of progressive
rock, or riff laden heavy rock.[91]

Progression (late 1960s to mid-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.[96] In 1966 Bob Dylan went to Nashville to record
the album Blonde on Blonde.[97] 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.[97] 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.[98] The same movement saw the beginning of the recording
careers of Californian solo artists like Ry Cooder, Bonnie Raitt and Lowell George,[99] and influenced the work of
established performers such as the Rolling Stones' Beggar's Banquet (1968) and the Beatles' Let It Be (1970).[91]
In 1968 Gram Parsons recorded Safe at Home with the International
Submarine Band, arguably the first true country-rock album.[100] Later
that year he joined the Byrds for Sweetheart of the Rodeo (1968),
generally considered one of the most influential recordings in the
genre.[100] 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
The Eagles during their 2008-2009 Long Road
career.[100] Country rock was particularly popular in the Californian
out of Eden Tour
music scene, where it was adopted by bands including Hearts and
Flowers, Poco and New Riders of the Purple Sage,[100] the Beau
Brummels[100] and the Nitty Gritty Dirt Band.[101] 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.[100] The
Dillards were, unusually, a country act, who moved towards rock music.[100] The greatest commercial success for
country rock came in the 1970s, with artist 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).[102]
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.[77] The most successful act to follow them were Lynyrd Skynyrd, who helped establish the "Good ol' boy"
image of the sub-genre and the general shape of 1970s guitar rock.[77] 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.[77] 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

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1980s with acts like .38 Special, Molly Hatchet and The Marshall Tucker Band.[77]

Progressive rock
Progressive rock, a term sometimes used
interchangeably with art rock, was an attempt to move
beyond established musical formulas by experimenting
with different instruments, song types, and forms.[103]
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.[104] The Moody Blues used a full
Prog-rock band Yes performing in concert in Indianapolis in 1977
orchestra on their album Days of Future Passed (1967)
and subsequently created orchestral sounds with
[103]
synthesisers.
Classical orchestration, keyboards and synthesisers were a frequent edition to the established rock
format of guitars, bass and drums in subsequent progressive rock.[105]
Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy and
science fiction.[106] The Pretty Things' SF Sorrow (1968), The Who's Tommy (1969) 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.[107] 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.[103]
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.[108] Greater
commercial success was enjoyed by Pink Floyd, who also moved away from psychedelia after the departure of Syd
Barrett in 1968, with Dark Side of the Moon (1973), seen as a masterpiece of the genre, becoming one of the
best-selling albums of all time.[109] 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.[103] Jethro Tull and Genesis both
pursued very different, but distinctly English, brands of music.[110] 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.[111] 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.[112]
The American brand of prog rock varied from the eclectic and innovative Frank Zappa, Captain Beefheart and
Blood, Sweat and Tears,[113] to more pop rock orientated bands like Boston, Foreigner, Kansas, Journey and
Styx.[103] 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 economical rock festivals as major live venues in the 1990s.[114]
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.[103] Instrumental rock was
particularly significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream, Can and Faust to
circumvent the language barrier.[115] Their synthesiser-heavy "Kraut rock", along with the work of Brian Eno (for a

12

Rock music
time the keyboard player with Roxy Music), would be a major influence on subsequent synth rock.[103] With the
advent of punk rock and technological changes in the late 1970s, progressive rock was increasingly dismissed as
pretentious and overblown.[116] [117] Many bands broke up, but some, including Genesis, ELP, Yes, and Pink Floyd,
regularly scored top ten albums with successful accompanying worldwide tours.[64] Some bands which emerged in
the aftermath of punk, such as Siouxsie and the Banshees, Ultravox and Simple Minds, showed the influence of
prog, as well as their more usually recognized punk influences.[118]

Jazz rock
In the late 1960s jazz rock emerged as a distinct sub-genre out of the blues
rock, psychedelic and progressive rock scenes, mixing the power of rock with
the musical complexity and improvisational elements of jazz. Many early US
rock and roll musicians had begun in jazz and carried some of these elements
into the new music. In Britain the sub-genre of blues rock, and many of its
leading figures, like Ginger Baker and Jack Bruce of 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 and Tears and
Chicago, to become some of the most commercially successful acts of the
later 1960s and early 1970s.[119]
British acts to emerge in the same period from the blues scene, to make use of
Jaco Pastorius of Weather Report in 1980
the tonal and improvisational aspects of jazz, included Nucleus[120] 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.[119] The genre began to fade in the late 1970s, as a
mellower form of fusion began to take its audience,[121] but acts like Steely Dan,[121] Frank Zappa and Joni Mitchell
recorded significant jazz-influenced albums in this period, and it has continued to be an major influence on rock
music.[119]

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14

Glam rock
Glam rock emerged out of 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.[122] 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 sub-genre.[122] 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.[123] Glam is most noted for its sexual and gender
ambiguity and representations of androgyny, beside extensive use of
theatrics.[124] It was prefigured by the showmanship and gender
identity manipulation of American acts such as The Cockettes and
Alice Cooper.[125]
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".[126] 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.[127] These performers were soon followed in the style by acts including
Roxy Music, Sweet, Slade, Mott the Hoople, Mud and Alvin Stardust.[127] 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.[128] 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.[129] 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.[127] 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.[127] 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.[128] Glam has since enjoyed sporadic modest
revivals through bands such as Chainsaw Kittens, The Darkness[130] and in R n' B crossover act Prince.[131]
David Bowie during the Ziggy Stardust and the
Spiders Tour in 1972

Rock music

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.[132] Major artists included Carole King, Cat Stevens
and James Taylor.[132] It reached its commercial peak in the mid- to
late '70s with acts like Billy Joel, America and the reformed Fleetwood
Mac, whose Rumours (1977) was the best selling album of the
decade.[133] In contrast, hard rock was more often derived from
Led Zeppelin live at Chicago Stadium in January
blues-rock and was played louder and with more intensity.[134] It often
1975
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.[134] Key acts included British Invasion bands like The Who and
The Kinks, as well as psychedelic era performers like Cream, Jimi Hendrix and The Jeff Beck Group.[134] Hard
rock-influenced bands that enjoyed international success in the later 1970s included Queen,[135] Thin Lizzy,[136]
Aerosmith and AC/DC.[134]
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.[137] The term was first used in music in
Steppenwolf's "Born to be Wild" (1967) and began to be associated with pioneer bands like Boston's Blue Cheer and
Michigan's Grand Funk Railroad.[138] By 1970 three key British bands had developed the characteristic sounds and
styles which would help shape the sub-genre. Led Zeppelin added elements of fantasy to their riff laden blues-rock,
Deep Purple brought in symphonic and medieval interests from their progressive rock phrase and Black Sabbath
introduced facets of the gothic and modal harmony, helping to produce a "darker" sound.[139] 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 sub-genre.[139] Despite a lack of airplay and
very little presence on the singles charts, late-1970s heavy metal built a considerable following, particularly among
adolescent working-class males in North America and Europe.[140]

Christian rock
Rock has been criticized by some Christian religious leaders, who have
condemned it as immoral, anti-Christian and even demonic.[141]
However, Christian rock began to develop in the late 1960s,
particularly out of the Jesus movement beginning in Southern
California, and emerged as a sub-genre in the 1970s with artists like
Larry Norman, usually seen as the first major "star" of Christian
rock.[142] The genre has been particularly popular in the United
States.[143] Many Christian rock performers have ties to the
Stryper on stage in 1986
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.[144] 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.[145] [146] From the 1990s there were

15

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16

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.[147]

Punk and its aftermath (mid-1970s to the 1980s)

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.[148]
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.[149]
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.[148] 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.[150]

Patti Smith, performing in 1976

By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant
mode of punk rock.[151] Since punk rock's initial popularity in the 1970s and the renewed interest created by the
punk revival of the 1990s, punk rock continues to have a strong underground following.[152] 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.[153] 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.[148]

New Wave

Deborah Harry from the band Blondie,

performing at Maple Leaf Gardens in Toronto in
1977

Although punk rock was a significant social and musical phenomenon,

it achieved less in the way of record sales (being distributed by small
specialty labels such as Stiff Records),[154] or American radio airplay
(as the radio scene continued to be dominated by mainstream formats
such as disco and album-oriented rock).[155] 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.[156]

Rock music

17

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.[157] Many of these bands, such as The Cars, and The Go-Go's can be seen as pop
bands marketed as New Wave;[158] 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,[159] while "skinny
tie" bands exemplified by The Knack,[160] or the photogenic Blondie, began as punk acts and moved into more
commercial territory.[161]
Between 1982 and 1985, influenced by Kraftwerk, David Bowie, and Gary Numan, British New Wave went in the
direction of such New Romantics as Spandau Ballet, Ultravox, Duran Duran, A Flock of Seagulls, Culture Club,
Talk Talk and the Eurythmics, sometimes using the synthesizer to replace all other instruments.[162] This period
coincided with the rise of MTV and led to a great deal of exposure for this brand of synthpop, creating what has been
characterised as a second British Invasion.[163] 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,[164] but in general guitar-oriented rock was
commercially eclipsed.[165]

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 '80s as its more artistic and
challenging side. Major influences beside punk bands were The Velvet
Underground, The Who, 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.[166] Early contributors to the
genre included the US bands Pere Ubu, Devo, The Residents and
Talking Heads.[166]

U2 performing at Madison Square Garden in

November 2005

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.[166] 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.[167] Similar emotional territory was pursued by Australian acts like The Birthday Party and Nick
Cave.[166] Members of Bauhaus and Joy Division explored new stylistic territory as Love and Rockets and New
Order respectively.[166] Another early post-punk movement was the industrial music[168] 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.[169]
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 Teardrop Explodes, tended to move away from dark sonic
landscapes.[166] 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.[170] Although many post-punk bands continued to record
and perform, it declined as a movement in the mid-1980s as acts disbanded or moved off to explore other musical
areas, but it has continued to influence the development of rock music and has been seen as a major element in the
creation of the alternative rock movement.[171]

Rock music

New waves and genres in heavy metal

Although many established bands continued to perform and record,
heavy metal suffered a hiatus in the face of the punk movement in the
mid-1970s. Part of the reaction saw the popularity of bands like
Motrhead, who had adopted a punk sensibility, and Judas Priest, who
created a stripped down sound, largely removing the remaining
elements of blues music, from their 1978 album Stained Class.[172]
This change of direction was compared to punk and in the late 1970s
became known as the New Wave of British Heavy Metal
(NWOBHM).[173] These bands were soon followed by acts including
Iron Maiden, Vardis, Diamond Head, Saxon, Def Leppard and Venom,
Iron Maiden, one of the central bands in the New
many
of which began to enjoy considerable success in the USA.[174] In
Wave of British Heavy Metal, performing in
Barcelona in 2006
the same period Eddie Van Halen established himself as a metal guitar
virtuoso after his band's self-titled 1978 album.[175] Randy Rhoads and
Yngwie Malmsteen also became established virtuosos, associated with what would be known as the neoclassical
metal style.[176]
Inspired by NWOBHM and Van Halen's success, a metal scene began to develop in Southern California from the
late 1970s, based on the clubs of L.A.'s Sunset Strip and including such bands as Quiet Riot, Ratt, Mtley Cre, and
W.A.S.P., who, along with similarly styled acts such as New York's Twisted Sister, incorporated the theatrics (and
sometimes makeup) of glam rock acts like Alice Cooper and Kiss.[175] The lyrics of these glam metal bands
characteristically emphasized hedonism and wild behavior and musically were distinguished by rapid-fire shred
guitar solos, anthemic choruses, and a relatively melodic, pop-oriented approach.[175] By the mid-1980s bands were
beginning to emerge from the L.A. scene that pursued a less glam image and a rawer sound, particularly Guns N'
Roses, breaking through with the chart-topping Appetite for Destruction (1987), and Jane's Addiction, who emerged
with their major label debut Nothing's Shocking, the following year.[177]
In the late 1980s metal fragmented into several subgenres, including thrash metal, which developed in the US from
the style known as speed metal, under the influence of hardcore punk, with low-register guitar riffs typically overlaid
by shredding leads.[178] Lyrics often expressed nihilistic views or deal with social issues using visceral, gory
language. It was popularised by the "Big Four of Thrash": Metallica, Anthrax, Megadeth, and Slayer.[174] Death
metal developed out of thrash, particularly influenced by the bands Venom and Slayer. Florida's Death and the Bay
Area's Possessed emphasized lyrical elements of blasphemy, diabolism and millenarianism, with vocals usually
delivered as guttural "death growls," high-pitched screaming, complemented by downtuned, highly distorted guitars
and extremely fast double bass percussion.[179] Black metal, again influenced by Venom and pioneered by
Denmark's Mercyful Fate, Switzerland's Hellhammer and Celtic Frost, and Sweden's Bathory, had many similarities
in sound to death metal, but was often intentionally lo-fi in production and placed greater emphasis on satanic and
pagan themes.[180] [181] Bathory were particularly important in inspiring the further sub-genres of Viking metal and
folk metal.[182] Power metal emerged in Europe in the late 1980s as a reaction to the harshness of death and black
metal and was established by Germany's Helloween, who combined a melodic approach with thrash's speed and
energy.[183] England's DragonForce[184] and Florida's Iced Earth[185] have a sound indebted to NWOBHM, while
acts such as Florida's Kamelot, Finland's Nightwish, Italy's Rhapsody of Fire, and Russia's Catharsis feature a
keyboard-based "symphonic" sound, sometimes employing orchestras and opera singers. In contrast to other
sub-genres doom metal, influenced by Gothic rock, slowed down the music, with bands like England's Pagan Altar
and Witchfinder General and the United States' Pentagram, Saint Vitus and Trouble, emphasizing melody,
down-tuned guitars, a 'thicker' or 'heavier' sound and a sepulchral mood.[186] [187]

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Rock music

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, Creedence Clearwater Revival and Van Morrison, and the basic rock of
'60s garage and the Rolling Stones.[190]
Exemplified by the commercial success of singer songwriters Bruce Springsteen,
Bruce Springsteen in East Berlin in
Bob Seger, and Tom Petty, along with less widely known acts such as Southside
1988
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 Springsteen, Tom Petty and John Mellencamp, although their works have become more 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's Bottle Rockets and Illinois'
Uncle Tupelo, often find themselves labeled alt-country.[194]

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

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20

Few of these early bands, with the exceptions of R.E.M. and The Smiths, achieved mainstream success, but despite a
lack of spectacular album sales, they 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 goes mainstream (the 1990s)

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 popular 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, although it was also known
for its dark humor and parodies of commercial rock.[204]

Nirvana (pictured here in 1992) popularized

grunge worldwide.

Bands such as Green River, Soundgarden, the Melvins and Skin Yard
pioneered the genre, with Mudhoney becoming the most successful by the end of the decade. However, grunge
remained largely a local phenomenon until 1991, when Nirvanas Nevermind became a huge success thanks to the
lead single "Smells Like Teen Spirit".[205] Nevermind was more melodic than its predecessors, but the band refused
to employ traditional corporate promotion and marketing mechanisms. 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] The
popular breakthrough of these grunge bands prompted Rolling Stone to nickname Seattle "the new Liverpool."[207]
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.[208] 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 sounding post-grunge.[209]

Rock music

21

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.[51] 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,
Oasis performing in 2005
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.[210] 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.[211] Britpop groups brought British alternative rock into
the mainstream and formed the backbone of a larger British cultural movement known as Cool Britannia.[212]
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.[196]

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.[209] Often they worked through the major labels and came to
incorporate diverse influences from jangle pop, pop-punk, alternative
metal or hard rock.[209] The term post-grunge was meant to be
pejorative, suggesting that they were simply musically derivative, or a
cynical response to an "authentic" rock movement.[213] From 1994,
former Nirvana drummer Dave Grohl's new band, the Foo Fighters,
helped popularize the genre and define its parameters.[214]

Foo Fighters performing an acoustic show in

2007

Some post-grunge bands, like Candlebox, were from Seattle, but the sub-genre was marked by a broadening of the
geographical base of grunge, with bands like Los Angeles' Audioslave, and Georgia's Collective Soul and beyond the
US to Australia's Silverchair and Britain's Bush, who all cemented post-grunge as one of the most commercially
viable sub-genres of the late 1990s.[195] [209] Although male bands predominated, female solo artist Alanis
Morissette's 1995 album Jagged Little Pill, labelled as post-grunge, also became a multi-platinum hit.[215] 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 new acts including Shinedown, Seether and 3 Doors Down.[213]

Rock music

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.[216] Pop-punk tends to use power-pop
melodies and chord changes with speedy punk tempos and loud
guitars.[217] Punk music provided the inspiration for some
California-based bands on independent labels in the early 1990s,
including Rancid, Pennywise, Weezer and Green Day.[216] In 1994
Green Day performing in 2009
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.[195] They were soon
followed by the eponymous dbut from Weezer, which spawned three top ten singles in the US.[218] 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).[219]
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, Bowling for Soup 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.[216] Later pop-punk bands, including Simple Plan, The All-American Rejects and Fall Out Boy,
had a sound that has been described as closer to 1980s hardcore, while still achieving considerable commercial
success.[216]

Indie rock
In the 1980s the terms indie rock and alternative rock were used
interchangeably.[220] 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.[220] Those bands following the less commercial contours
of the scene were increasingly referred to by the label indie.[220] They
characteristically attempted to retain control of their careers by
releasing albums on their own or small independent labels, while
Lo-fi indie rock band Pavement in 2006
relying on touring, word-of-mouth, and airplay on independent or
[220]
college radio stations for promotion.
Linked by an ethos more than
a musical approach, the indie rock movement encompassed a wide range of styles, from hard-edged,
grunge-influenced bands like The Cranberries and Superchunk, through do-it-yourself experimental bands like
Pavement, to punk-folk singers such as Ani DiFranco.[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.[221] 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.[222]
By the end of the 1990s many recognisable sub-genres, most with their origins in the late '80s 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

22

Rock music
as Tortoise, Stereolab, and Laika,[223] [224] as well as leading to more dense and complex, guitar-based math rock,
developed by acts like Polvo and Chavez.[225] Space rock looked back to progressive roots, with drone heavy and
minimalist acts like Spaceman 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.[226] 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,[227] 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 Wainright.[228]

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.[229]
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 prog-rock, Soundgarden and
Linkin Park performing in 2009
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.[229]
Hip hop had gained attention from rock acts in the early 1980s, including The Clash with "The Magnificent Seven"
(1981) and Blondie with "Rapture" (1981).[230] [231] Early crossover acts included Run DMC and the Beastie
Boys.[232] 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.[233] [234] Rappers who sampled rock songs included Ice-T, The Fat Boys, LL
Cool J, Public Enemy and Whodini.[235] The mixing of thrash metal and rap was pioneered by Anthrax on their 1987
comedy-influenced single "I'm the Man".[235]
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.[236] 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.[213] [235] 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.[235] 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, post-grunge/hard rock band Godsmack and
Papa Roach, whose major label dbut Infest became a platinum hit.[241] However, by 2002 there were signs that nu
metal's mainstream popularity was weakening.[213] 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 or heavy metal music sound.[242]

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24

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
Coldplay in 2008
Faces,[246] with American influences, including
post-grunge.[247] [248] 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 centred 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 like The 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]

The new millennium (the 2000s)

Post-hardcore and emo

Members of Fugazi performing in 2002

Post-hardcore developed in the US, particularly in the Chicago and

Washington, D.C 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 lyrics. Existing bands that moved on from hardcore included
Fugazi.[256] From the late 1980s they were followed by bands
including Quicksand,[257] Girls Against Boys[258] and The Jesus
Lizard.[259] Bands that formed in the 1990s included Thursday,[260]
Thrice,[261] Finch,[262] and Poison the Well.[263]

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.[264] The style was
pioneered by bands Rites of Spring and Embrace, the last formed by Ian MacKaye, whose Dischord Records became
a major centre for the emerging D.C. emo scene, releasing work by Rites of Spring, Dag Nasty, Nation of Ulysses
and Fugazi.[264] Fugazi emerged as the definitive early emo band, gaining a fanbase among alternative rock
followers, not least for their overtly anti-commercial stance.[264] The early emo scene operated as an underground,
with short-lived bands releasing small-run vinyl records on tiny independent labels.[264] The mid-'90s sound of emo
was defined by bands like Jawbreaker and Sunny Day Real Estate who incorporated elements of grunge and more

Rock music
melodic rock.[265] Only after the breakthrough of grunge and pop punk into the mainstream did emo come to wider
attention with the success of Weezer's Pinkerton (1996) album, which utilised pop punk.[264] Late 1990s bands drew
on the work of Fugazi, SDRE, Jawbreaker and Weezer, including The Promise Ring, The Get Up Kids, Braid, Texas
Is the Reason, Joan of Arc, Jets to Brazil and most successfully Jimmy Eat World, and by the end of the millennium
it was one of the more popular indie styles in the US.[264]
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).[266] The new
emo had a much more mainstream sound then in the 90s and a far greater appeal amongst adolescents than its earlier
incarnations.[266] 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.[267] The term emo has been applied by critics and
journalists to a variety of artists, including multi-platinum acts such as Fall Out Boy[268] and My Chemical
Romance[269] and disparate groups such as Paramore[268] and Panic at the Disco,[270] even when they protest the
label. By 2003 post-hardcore bands had also caught the attention of major labels and began to enjoy mainstream
success in the album charts.[260] [261] A number of these bands were seen as a more aggressive offshoot of emo and
given the often vague label of screamo.[271] Around this time, a new wave of post-hardcore bands began to emerge
onto the scene that incorporated more pop punk and alternative rock styles into their music, including The Used,[272]
Hawthorne Heights,[273] Senses Fail,[274] From First to Last[275] and Emery[276] and Canadian bands Silverstein[277]
and Alexisonfire.[278] British bands like Funeral For A Friend,[279] The Blackout[280] and Enter Shikari also made
headway.[281]

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.[282] [283] [284] [285] Because the bands
came from across the globe, cited diverse
The Strokes performing in 2006
influences (from traditional blues, through New
Wave to grunge), and adopted differing styles of dress, their unity as a genre has been disputed.[286] 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.[287] The Detroit rock scene included The Von Bondies, Electric Six, The Dirtbombs and The
Detroit Cobras[288] and that of New York Radio 4, Yeah Yeah Yeahs and The Rapture.[289] Elsewhere, other
lesser-known acts such as Billy Childish and The Buff Medways from Britain,[290] The (International) Noise
Conspiracy from Sweden,[291] The 5.6.7.8's from Japan,[292] and the Oblivians from Memphis enjoyed underground,
regional or national success.[293]
The commercial breakthrough from these scenes was led by four bands: 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).[294] They were christened by the media as the "The"
bands, and dubbed "The saviours of rock 'n' roll", leading to accusations of hype.[295] A second wave of bands that
managed to gain international recognition as a result of the movement included Black Rebel Motorcycle Club, The
Killers, Interpol and Kings of Leon from the US,[296] The Libertines, Arctic Monkeys, Bloc Party, Editors, Franz
Ferdinand and Placebo from the UK,[297] Jet from Australia[298] and The Datsuns and The D4 from New
Zealand.[299]

25

Rock music

26

Contemporary heavy metal, metalcore and retro metal

Metal remained popular in the 2000s, particularly in continental
Europe. By the new millennium Scandinavia had emerged as one of
the areas producing innovative and successful bands, while Belgium,
Holland and especially Germany were the most significant
markets.[300] Established continental metal bands that placed multiple
albums in the top 20 of the German charts between 2003 and 2008,
including Finnish band Children of Bodom,[301] Norwegian act Dimmu
Borgir,[302] Germany's Blind Guardian[303] and Sweden's
HammerFall.[304]
Children of Bodom, performing at the 2007
Masters of Rock festival

Metalcore, originally an American hybrid of thrash metal and hardcore

punk, emerged as a commercial force in the mid-2000s.[305] [306] It was
rooted in the crossover thrash style developed two decades earlier by bands such as Suicidal Tendencies, Dirty
Rotten Imbeciles, and Stormtroopers of Death and remained an underground phenomenon through the 1990s.[307] By
2004, melodic metalcore, influenced by melodic death metal, was sufficiently popular for Killswitch Engage's The
End of Heartache and Shadows Fall's The War Within to debut at number 21 and number 20, respectively, on the
Billboard album chart.[308] [309] Bullet for My Valentine, from Wales, broke into the top 5 in both the U.S. and
British charts with Scream Aim Fire (2008).[310] Metalcore bands have received prominent slots at Ozzfest and the
Download Festival.[311] Lamb of God, with a related blend of metal styles, reached number 2 on the Billboard charts
in 2009 with Wrath.[312]
The success of these bands and others such as Trivium, who have released both metalcore and straight-ahead thrash
albums, and Mastodon, who played in a progressive/sludge style, inspired claims of a metal revival in the United
States, dubbed by some critics the "New Wave of American Heavy Metal".[313] [314] Its roots have been traced to the
music of acts like Pantera, Biohazard and Machine Head, drawing on New York hardcore, thrash metal and punk,
helping to inspire a move away from the Nu Metal of the early 2000s and a return to riffs and guitar solos.[315] [316]
The term "retro-metal" has been applied to such bands as Texas-based The Sword, California's High on Fire,
Sweden's Witchcraft, and Australia's Wolfmother.[317] The Sword's Age of Winters (2006), drew heavily on the work
of Black Sabbath and Pentagram,[318] while Witchcraft added elements of folk and psychedelic rock[319] and
Wolfmother's self-titled 2005 debut album combined elements of the sounds of Deep Purple and Led Zeppelin.[320]

Digital electronic rock

In the 2000s, as computer technology became more accessible and
music software advanced, it became possible to create high quality
music using little more than a single laptop computer.[321] This resulted
in a massive increase in the amount of home-produced electronic
music available to the general public via the expanding internet,[322]
and new forms of performance such as laptronica[321] and live
coding.[323] These techniques also began to be used by existing bands,
as with industrial rock act Nine Inch Nails' album Year Zero
(2007),[324] and by developing genres that mixed rock with digital
techniques and sounds, including indie electronic, electroclash,
dance-punk and new rave.

Gaspard Aug and Xavier de Rosnay of Justice in

2001

Indie electronic, which had begun in the early 1990s with bands like Stereolab and Disco Inferno, took off in the new
millennium as the new digital technology developed, with acts including Broadcast from the UK, Justice from
France, Lali Puna from Germany and The Postal Service, and Ratatat from the US, mixing a variety of indie sounds

Rock music

27

with electronic music, largely produced on small independent labels.[325] [326] The electroclash sub-genre began in
New York at the end of the 1990s, combining synth pop, techno, punk and performance art. It was pioneered by I-F
with their track "Space Invaders Are Smoking Grass" (1998),[327] and pursued by artists including Felix da
Housecat,[328] Peaches, Chicks on Speed,[329] and Ladytron.[330] It gained international attention at the beginning of
the new millennium and spread to scenes in London and Berlin, but rapidly faded as a recognisable genre.[331]
Dance-punk, mixing post-punk sounds with disco and funk, had developed in the 1980s, but it was revived among
some bands of the garage rock/post-punk revival in the early years of the new millennium, particularly among New
York acts such as Liars, The Rapture and Radio 4, joined by dance-oriented acts who adopted rock sounds such as
Out Hud.[332] In Britain the combination of indie with dance-punk was dubbed new rave in publicity for The
Klaxons and the term was picked up and applied by the NME to bands[333] including Trash Fashion,[334] New Young
Pony Club,[335] Hadouken!, Late of the Pier, Test Icicles[336] and Shitdisco,[333] forming a scene with a similar visual
aesthetic to earlier rave music.[333] [337]
Renewed interest in electronic music and nostalgia for the the 1980s led to the beginnings of a synthpop revival, with
acts including Adult and Fischerspooner. In 2003-4 it began to move into the mainstream with Ladytron, the Postal
Service, Cut Copy, the Bravery and, with most commercial success, The Killers all producing records that
incorporated vintage synthesizer sounds and styles which contrasted with the dominant sounds of post-grunge and
nu-metal.[338] The style was picked up by a large number of performers, particularly female solo artists, leading the
British and other media to proclaim a new era of the female electropop star. Artists named included British acts
Little Boots, La Roux and Ladyhawke.[339] [340] Male acts that emerged in the same period included Calvin
Harris,[341] Frankmusik,[342] Hurts,[343] Kaskade,[344] LMFAO,[345] and Owl City, whose single "Fireflies" (2009)
reached the top of the Billboard chart.[346] [347]

Social impact

The 1969 Woodstock Festival was seen as a

celebration of the counter-cultural lifestyle.

The worldwide popularity of rock music meant that it became a major

influence on culture, fashion and social attitudes. Different sub-genres
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 Rockers subcultures, which
revolved around US rock and roll.[348] The counter-culture of the
1960s was closely associated with psychedelic rock.[348] The
mid-1970s punk subculture began in the US, but it was given a
distinctive look by British designer Vivian Westwood, a look which
spread worldwide.[349] Out of the punk scene, the Goth and Emo
subcultures grew, both of which presented distinctive visual styles.[350]

When an international rock culture developed, it was able to supplant cinema as the major sources of fashion
influence.[351] Paradoxically, followers of rock music have often mistrusted the world of fashion, which has been
seen as elevating image above substance.[351] 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.[351] [352] Rock has also been associated with various
forms of drug use, including the stimulants taken by some mods in the early to mid-1960s, through the LSD 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.[353] [354]
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.[355] [356] While rock music
has absorbed many influences and introduced Western audiences to different musical traditions,[357] the global

Rock music
spread of rock music has been interpreted as a form of cultural imperialism.[358] 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.[359] 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.[360]
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 counter-culture's rejection of
consumerism and conformity and punk's rejection of all forms of social convention,[361] however, it can also be seen
as providing a means of commercial exploitation of such ideas and of diverting youth away from political action.[362]

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External links
100 Great Rock Classics (http://www.jugi3.ch/homepage/rockclassics.htm)
Rock music (http://www.dmoz.org/Arts/Music/Styles/R/Rock//) at the Open Directory Project

39

Article Sources and Contributors

Article Sources and Contributors

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Beeyan, Ben Tibbetts, Bencherlite, Bender235, Beponoj, Bevo74, Bienfuxia, Big Bird, Bigbadaboom, Bigman313, Bikeable, Bkonrad, Bkpkyo, Black Kite, Blanchardb, BlueAmethyst,
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Cactus.man, Caffeinemetal, Calabaza99, Callme07999512716, Calmer Waters, Caltas, Calvin 1998, CambridgeBayWeather, Camomalamo, Can't sleep, clown will eat me, Canadian-Bacon,
CanadianCaesar, CanadianLinuxUser, Canis Lupus, Capitocapito, Capricorn42, Captain-n00dle, Caramelc, Carlosguitar, Carrot98, CaseyIsCool, Casper2k3, Catgut, Causa sui, Ccoll, Cdlw93,
Celadomi, Celldwellcius, CentraCross, Cescoby, Cfcrule1, Chairman S., Chamal N, Chapin-ILL, Charliechopin, CharlotteWebb, Chasingsol, Cheeda777, Cheese crackers grmoit, Chillum,
Chipmunklover, Chocoforfriends, Cholga, Cholmes75, Chowbok, Chris the speller, Chris83, Chubdub, Chump Manbear, CircafuciX, Ckatz, Clashwho, Clemwang, Clockwise music,
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Courcelles, CptCutLess, Crisis, Crohnie, Crowthd, Cryptist, CrystalRecords, Crystallina, Cshay, CyrilB, Cyrus XIII, D, DBPOarsman, DC, DJ Clayworth, DONOVAN, Da7tong, DabMachine,
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Domeneph, Doniago, DoubleBlue, Dougofborg, Doulos Christos, Dpunkaz64, Dragon guy, Dralwik, Drappel, Drbreznjev, Dreaded Walrus, Dreadstar, DriveMySol, Drizzd, Dspradau, Dustwads,
Dwnsjane2, Dyna-musco, Dzhim, Dzubint, ESkog, Ebglider91, EdGl, Eddie Wall, Edelmand, Edgar181, Edgarde, Edivorce, Eduardo Sellan III, EdwardZhao, Eeekster, Ehheh, Eignatus,
EkulProductions, Elassint, Elchip, Electro - music, Elfast, Elitropia, Eliz81, Elvenmuse, Emx, Enviroboy, Epbr123, Eric-Wester, Erickcoser, Eritain, Esanchez7587, Eternal Equinox, Ettrig,
EurekaLott, EvanCS, Everytime, Ewan G Keenowe, Explicit, FF2010, FMAFan1990, FactoidCow, Fair Deal, Falconleaf, Fat&Happy, Fatkrunk, Fattdoggy, Favonian, FayssalF, Fdog9,
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Ironholds, Ishenera, Islaammaged126, Isotope23, It Is Me Here, Itfc+canes=me, Ixfd64, J Di, J Milburn, J-DOGG 94, J.T.Seo, J.delanoy, J04n, JForget, JHMM13, JHP, JNW, JSpung, JStarStar,
JTSomers, Jaan, Jacek Kendysz, Jackelfive, Jackhitts, Jacroe, Jagged 85, JaimeKnopfler, James P Twomey, Jared Preston, Jarkeld, Jauerback, Jaybird84, Jazomcspazo653086, JazzlineB, Jbloun1,
Jbram 2002, Jebba, Jeff G., Jennavecia, Jessierose, Jetboy52, Jevansen, Jhlijjk, JimVC3, Jimjim13579, Jimmy murder94, JimmyTheKnife, Jimmyawsam, JinJian, Jj137, Jmanigold, Jmlk17,
JoaquimMetalhead, Joe routt, JoeWillo, Joecrowlegend, Joehogan12345, Joelider, Jogers, John, John R Murray, John Reaves, John of Reading, JohnCD, Johna100, Johnbod, Johnmc, Jojit fb,
Jonah474747, Jonnii, Joseutu, Josh Allain, Josh Parris, JoshuaZ, Josiah Rowe, Jpers36, Jpvinall, Jrmd32, JuJube, Juduikjazz, Julian-berger, Jusdan1023, Jvhertum, Jwpurple, Kaiba, Kameejl,
Kasper Souren, Katalaveno, Katieh5584, Kazooninja, Kchishol1970, Kcordina, Keepsleeping, Keilana, KeithH, Keithsaia, Kesac, Kevinbrowning, Khalid Mahmood, Khazar, King of Hearts,
Kingpin13, Klausness, Knepflerle, Knn360, Knowledgable5815, Kntrabssi, Kojo Green, Kokt bacon 13, Kookyunii, Koyaanis Qatsi, Kralizec!, Krautukie, Krispy k, Kukini, Kungfuadam,
Kungming2, Kuru, Lambiam, Lamekid45, Lampsalot, Lanaar2, Larry_Sanger, Leachyboy77, LeaveSleaves, Ledzeppelin91, Lemonander, Lemurbaby, Leonidas03, Leptictidium, Lerdthenerd,
Leuqarte, Lewismaster, LiAm McShAnE, LibLord, Liempt, Liffey, Ligetti, Lightmouse, Lightsup55, Likemike1, Lilwu, Limaj daas, LimoWreck, Linkins Parkl, Linkminer, Lion King,
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Brute, Marcuskillappeal, MarkBuckles, Markdx777, Marmartennista, Marmelmm, MarsRover, Martarius, Martial75, Martpol, Massimo377, MastaShake1108, Matt Crypto, Matthew Fennell,
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Mhooverprep, Miami33139, Micah86, Michael Hardy, Michael J Swassing, Michaellabahn, Mickisuckz, Midnightblueowl, Mifter, Mike Christie, Mike Rosoft, Mike.lifeguard, Mike9e92,
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N1RK4UDSK714, NAHID, NIRVANA2764, Nakon, Nanettea, Nascar1996, Nathparkling, Nburden, Ncrabtre, NeilN, Neon white, Nerdtrap, Netalarm, Netknowle, Neurolysis, Neverquick,
NewWaveKid, NexCarnifex, Nfm, Nickelbackrules1518, Nihiltres, Nikki88, Nikogda, NineInchNailed, Ninja-4976, Ninja1x23, Nite-Sirk, Nivix, Nneonneo, Nouse4aname, Noxious33,
Ntgalloway, Ntse, NukeMTV, Nurg, Nuxx3, ONEder Boy, Oda Mari, Ohnoitsjamie, Okiefromokla (old), Oli Filth, Ollieollieollie17, Omaunder, Omicronpersei8, On the other side,
OnBeyondZebrax, Onorem, Optimist on the run, Orangerock, OregonD00d, Oroso, Orphan Wiki, Osterhout, Otisjimmy1, OverlordQ, Oxymoron83, PALIO10, PRMerkley, PUBLIC ENEMY
No.1, Pablodeguablo, Paintman, Palomautu777, Pancakeman157, Pandithurai, Paranomia, Patar knight, Pathak.ab, Patstuart, Paul E`lcreme, Paul Magnussen, Pauliewood, Pax:Vobiscum,
Peaceray, Peasantwarrior, Pedro, Pennn15, Pepefish1, Pepijn Schmitz, Peripitus, Petchboo, Peter Fleet, Pharaoh of the Wizards, PhilKnight, Philbradley, Philip Trueman, Piecemealcranky,
Piegas, Pill, Pippu d'Angelo, Piscowie, Pjoef, Pkeets, Plasynins, Playdoughgeisha, PleaseStand, PloKoon13, Pnswmr, Poiuytre, Poopeee, PoopyWeen, Portalzoom, Portillo, Possum, Prashanthns,
Princeofpointless, Pro66, Prolog, Proofreader77, PseudoSudo, Pstanton, Psufan61, Puchiko, Pugachu, Pwnage8, Qae, Qsaw, Quantpole, Queo, Quercus basaseachicensis, Quintote, QuiteUnusual,
Qwertyus, Qxz, RJN, RJaguar3, RKFS, Rachelwhittierismystudyhallbuddy, Radgust, Rafael Gonsalves, RainbowOfLight, RalfiParpa, RandySavageFTW, Randyrhoads4lf, Raven in Orbit,
RazielZero, Rbanzai, Rbrandao, Rcawsey, RdCrestdBreegull, Realist2, Reaper X, Rebeca Flor, Red dwarf, RedKiteUK, RedRose333, Reedy, Reorgart, RepublicanJacobite, Responsible?,
Retromaniac, Rettetast, RevRagnarok, RexNL, ReyBrujo, Reywas92, RhY, RhunWarrior, Riana, Rich Farmbrough, Richard Harvey, Richvking, Rida125, Rio124, RiverExum123, Rivet138,
Rjwilmsi, Rnb, Robbehm, Roberta F., Robertfalco, Rock Soldier, Rock&rolling-rocking92, Rocket71048576, Rodgey, Rodhullandemu, Roguescribner, Roland Kaufmann, Ron2, Ronhjones,
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Snowolf, Sockies, Soetermans, Some jerk on the Internet, SonOfNothing, SpK, Spartaz, Special Cases, Special-T, Spellmaster, Spencie Smithie, SpikeJones, Spliffy, Spondoolicks,
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Where, White Devil, WikHead, Wiki alf, Wiki libs, Wiki4dmin, WikiDao, Wikidfun900, Wikipediatrix, Wikipelli, Wikirockingdude, Wikiscribe, Wikiwalker, Wild Patrick, Willking1979, Willy
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Xkidsandheroesx, Xndr, Xnuala, Xyzzyplugh, Y2kcrazyjoker4, Yamamoto Ichiro, Yamla, Yleeebo, YoYoXehcimalYoWikiWikiWikiWhat, YoyoYoshi, Ytgy111, Yuhter, Yuui89, ZBrannigan,
ZFGokuSSJ1, Zabadinho, ZacBowling, Zazaban, ZenerV, Zephyrus67, Zereshk, Zerocyde, Zginder, Zhou Yu, Zoney, Zoogoo, Zouavman Le Zouave, , 3901 anonymous edits

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