Rock music is an extensive popular music genre that originated in "rock and roll" in the United States in the early 1950s, and evolved into a variety of different styles in the 1960s and later, especially in England Greater and in the United States. It has its roots in the 1940s and 1950s rock and roll, a style that relies heavily on blues, rhythm and blues genres, and African-American country music. Rock music is also very interesting in a number of other genres such as electric and folk blues, and combines influences from jazz, classical and other musical styles. Musically, rock is centered on an electric guitar, usually as part of a rock group with bass and electric drums and one or more singers. Typically, rock is a song-based music usually with 4/4 signatures using a form of poet-chorus, but the genre is very diverse. Like pop music, lyrics often emphasize romantic love but also address a variety of other themes that are often social or political.
In the late 1960s "classic rock" periods, a number of different rock subgenre rocks have emerged, including hybrids such as blues rock, folk rock, country rock, rock-sports, and jazz-rock, many of which contribute to the development of psychedelic rock, which is influenced by psychedelic scenes and hippie counter-culture. New genres that appear include progressive rock, which extend artistic elements; glam rock, which highlights showmanship and visual style; and a diverse and enduring subgenre of heavy metals, which emphasizes volume, strength, and speed. In the second half of the 1970s, punk rock reacted by producing disproportionate social and political criticisms, which were energetic. Punk was an influence in the 1980s on new wave, post-punk and finally alternative rock. From 1990s alternative rocks began to dominate rock music and entered the mainstream in the form of grunge, Britpop, and indie rock. Further fusion subgenres have emerged, including pop punk, electronic rock, rap rock, and rap metal, as well as a conscious effort to revisit rock history, including rock garage/post-punk and techno-pop revival in the early 2000s..
Rock music is also manifested and serves as a vehicle for cultural and social movements, leading to a major subculture including mod and rocker in the UK and hippie counterculture that spread from San Francisco in the US in the 1960s. Similarly, the 1970s punk culture gave birth to goth, punk, and emo subcultures. Inheriting the folk tradition of the protest song, rock music has been linked to political activism as well as changes in social attitudes to race, sex and drug use, and is often seen as an expression of youth's rebellion against consumerism and adult conformity.
Video Rock music
Characteristics
The sound of rock has traditionally centered on a reinforced electric guitar, which emerged in its modern form in the 1950s with the popularity of rock and roll. Also, it is influenced by the sound of electric blues guitarists. The sound of an electric guitar in rock music is usually supported by electric bass guitars, pioneered in jazz music in the same era, and percussion resulting from a drum kit that incorporates drums and cymbals. The trio of these instruments are often equipped with the inclusion of other instruments, especially keyboards such as pianos, Hammond organs, and synthesizers. The basic rock instrumentation comes from the basic instrumentation of blues bands (leading lead guitar, second chordal instrument, bass, and drums). A group of musicians who play rock music is called a rock band or rock group. In addition, it usually consists of between three (trio of powers) and five members. Classically, a rock band takes the form of a quartet whose members include one or more roles, including vocalist, main guitarist, rhythm guitarist, bass guitarist, drummer, and often a keyboard player or other instrumentalist.
Rock music is traditionally built on a simple rhythm that is not synchronized in 4/4 meters, with repetitive drum beats repeating on two and four beats. Melodies often come from older musical modes such as Dorian and Mixolydian, as well as major and minor modes. Harmony ranges from ordinary triads to the fourth and fifth parallel perfect and dissonant harmonic development. Since the late 1950s and especially from the mid-1960s onwards, rock music often uses a chorus structure derived from blues and folk music, but there are many variations of this model. Critics have emphasized eclectic diversity and rock style. Due to its complicated history and its tendency to borrow from other forms of music and culture, it has been argued that "it is impossible to tie rock music to rigid musical definitions."
Unlike many previous popular music styles, rock lyrics have dealt with various themes, including romantic love, sex, rebellion against "The Establishment", social issues, and lifestyle. These themes are inherited from various sources such as the pop tradition of Tin Pan Alley, folk music, and rhythms and blues. Music journalist Robert Christgau characterizes rock lyrics as a "cool medium" with simple diction and recurring refrains, and asserts that the "main" function of rock is related to music, or, more generally, sound. "The dominance of white, male, and often middle-class musicians in rock music has often been noted, and rock has been seen as a seizure of black music for young, white and mostly male audiences, and as a result has also been seen for articulated the group's concerns both in style and lyrics.Christgau, writing in 1972, said despite some exceptions, "rock and roll usually implies the identification of male sexuality and aggression."
Since the term "rock" began to be used in preference for "rock and roll" from the late 1960s, it has usually been a contrast to pop music, with which it has shared many characteristics, but from the often distanced with an emphasis on music, live performances, and focusing on a serious and progressive theme as part of an ideology of authenticity that is often combined with an awareness of the history and development of the genre. According to Simon Frith, rock is "something more than a pop, something more than rock and roll" and "[r] ock musicians incorporate an emphasis on skills and techniques with romantic art concepts as artistic, original and sincere expression". In the new millennium, the expression of rock expired has been used as a blanket term including forms such as pop music, reggae music, soul music, and even hip hop, which have been influenced but often contrasted through much of its history.
Maps Rock music
1950s: Rock and roll
The basics of rock music are rock and roll, which originated in the United States in the late 1940s and early 1950s, and quickly spread to most of the world. Its immediate origins lie in the mix of various black music genres at the time, including rhythm and blues and gospel music, with the country and the west. In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music (then called "race music") for multi-racial audiences, and was credited with first using the phrase "rock and roll" to describe music.
Debate surrounds which recordings should be considered the first rock and roll record. The competitors include Goree Carter "Rock Awhile" (1949); Jimmy Preston's "Rock the Joint" (1949), which was later covered by Bill Haley & amp; His comet in 1952; and "Rocket 88" by Jackie Brenston and Delta Cats (in fact, Ike Turner and his band the Kings of Rhythm), recorded by Sam Phillips for Sun Records in 1951. Four years later, Bill Haley "Rock Around the Clock" (1955) became the first rock and roll song on top of the magazine's premier sales and charts, and opened doors around the world for a new wave of popular culture.
It has also been argued that "That's All Right (1954), Elvis Presley's first single for Sun Records in Memphis, could be the first rock and roll record, but, at the same time," Shake, Big Joe Turner, Rattle & amp; Roll ", which was then covered by Haley, was already at the top of the Billboard R & amp; B. Other artists with early rock and roll songs include Chuck Berry, Bo Diddley, Domino Fats, Little Richard, Jerry Lee Lewis, and Gene Vincent. Soon rock and roll was a 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, finding their access to the pop charts significantly restricted.
Rock and roll has been seen as leading to a number of different subgenres, including rockabilly, combining rock and roll with country music "hillbilly", 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. Instead the doo wop places an emphasis on multi-part vocal harmonies and meaningless backing lyrics (from which the genre gets its name), which is usually supported by light instrumentation and comes from African American vocal groups in the 1930s and 1940s. Stories like Crows, Penguins, El Dorados and Turbans all scored big hits, and groups like Platters, with songs including "The Great Pretender" (1955), and Coasters with funny songs like "Yakety Yak" (1958 )), ranking among the most successful rock and roll acts of the period.
The era also saw the growing popularity of electric guitars, and the development of special rock and roll styles playing through exponents like Chuck Berry, Link Wray, and Scotty Moore. The use of distortion, spearheaded by electric blues guitarists such as Guitar Slim, Willie Johnson and Pat Hare in the early 1950s, was popularized by Chuck Berry in the mid-1950s. The use of power chords, spearheaded by Willie Johnson and Pat Hare in the early 1950s, was popularized by Link Wray in the late 1950s.
In the United Kingdom, jazz trad and folk movement bring visiting blues music artists to England. Lonnie Donegan's 1955 hit "Rock Island Line" was a huge influence and helped to develop the trend of skiffle music groups across the country, many of which, including John Lennon Quarrymen, moved to rock and roll.
Commentators have traditionally considered the decline of rock and roll in the late 1950s and early 1960s. In 1959, the deaths of Buddy Holly, The Big Bopper and Ritchie Valens in a plane crash, Elvis's departure for soldiers, Little Richard's retirement to become preachers, prosecution of Jerry Lee Lewis and Chuck Berry as well as the termination of payola scandal (involving key figures, including Alan Freed, in bribery and corruption in promoting individual acts or songs), suggesting that the rock and roll era formed at that point has ended.
Beginning 1960s
Pop rock and instrumental rock
The term pop has been used since the early 20th century to refer to popular music in general, but since the mid-1950s it began to be used for different genres, aimed at the youth market, often characterized as an alternative which is softer for rock and roll. From around 1967, it was increasingly used as an opposition to the term rock music, to describe a more commercial, short and accessible form. Instead rock music is seen as a focus on expanded works, especially albums, often associated with specific sub-cultures (such as counter-culture of the 1960s), placing an emphasis on artistic values ​​and "authenticity", emphasizing direct and instrumental performance or vocal expertise and are often seen as encapsulating progressive developments rather than simply reflecting existing trends. Nevertheless, many pop and rock music are very similar in terms of sound, instrumentation and even lyrical content.
The periods of the 1950s and early 1960s have traditionally been seen as a hiatus era for rock and roll. Recently some authors have emphasized innovation and important trends in this period without future developments would not have been possible. While early rock and roll, mainly through the advent of rockabilly, saw the greatest commercial success for male and white players, in this era the genre was dominated by black and female artists. Rock and roll did not disappear in the late 1950s and some of its energy could be seen in Twist dance hobbies in the early 1960s, especially profiting Chubby Checker's career.
Cliff Richard had his first British rock and roll hit with "Move It", which effectively delivered British rock sound. In the early 1960s, his support group, Shadows, was the most successful group recording instructor. While rock 'n' roll faded into pop and light ballads, British rock groups at clubs and local dances, heavily influenced by blues-rock pioneers like Alexis Korner, began playing with intensity and a rarely found impulse in white American acting.
Also significant is the rise of soul music as a major commercial force. Developing rhythm and blues with re-injection of gospel and pop music, led by pioneers like Ray Charles and Sam Cooke from the mid-1950s, in the early 1960s like Marvin Gaye, James Brown, Aretha Franklin, Curtis Mayfield and Stevie Wonder dominated the charts R & amp; B and broke into the main charts, helping to accelerate their desegregation, while Motown and Stax/Volt Records became a major force in the recording industry. Several music historians have also demonstrated important and innovative technical developments built on rock and roll in this period, including sound electronics treatment by innovators such as Joe Meek, and the complicated production methods of Wall of Sound pursued by Phil Spector.
Surf music
Rock and roll instrumental music such as Duane Eddy, Link Wray and Ventures were developed by Dick Dale, who added a "wet" reverb, quick alternative picking, and Middle Eastern and Mexican influences. He produced the regional hit "Let's Go Trippin '" in 1961 and launched a surfing music frenzy, following up with songs like "Misirlou" (1962). Like Dale and Del-Tones, the earliest surf bands were formed in Southern California, including Bel-Airs, the Challengers, and Eddie & amp; The Showmen. Chantays scored a top ten national hit with "Pipeline" in 1963 and perhaps the most famous was "Wipe Out" 1963, by Surfaris, which reached number 2 and number 10 on the Billboard charts in 1965.
Surfing music achieved its biggest commercial success as vocal music, specifically the work of Beach Boys, which was formed in 1961 in Southern California. Their early albums include an instrumental surf stunt (among them includes music by Dick Dale) and vocal songs, drawing on rock and roll and doo wop and close harmony from vocal pop acts like Four Freshmen. Their first hit chart, "Surfin '" in 1962 reached the top 100 Billboard and helped make surfing music craze a national phenomenon. The craze of surfing music and the careers of almost all surfing acts effectively ended with the arrival of the British Invasion from 1964.
English Invasion
By the end of 1962, what would have been an English rock scene began with a group of beats like The Beatles, Gerry & amp; Pacemakers and Searchers from Liverpool and Freddie and the Dreamers, Herman's Hermits and the Hollies from Manchester. They drew a variety of American influences including soul, rhythm and blues and surfing music, initially reinterpreting American standard songs and playing for dancers. Bands like the Animals from Newcastle and Them from Belfast, and especially those from London such as the Rolling Stones and Yardbirds, are much more directly influenced by rhythm and blues and then blues music. Soon these groups set up their own material, incorporating US musical forms and implanting them with high-energy beats. Beat bands tend toward "melodic and unbearable melodies", while early English blues actions tend to lead to less innocent, more aggressive songs, and often adopt anti-establishment attitudes. However, especially in the early stages, considerable music crossover between the two trends. In 1963, led by the Beatles, the defeating groups began to achieve national success in Britain, soon to be followed into the charts by more rhythm and blues focused acts.
"I Want to Hold Your Hand" was the number 1 hit on the Beatles on Billboard Hot 100, spent 7 weeks at the top and a total of 15 weeks on the chart. Their first appearance on The Ed Sullivan Show on February 9, 1964, drawing an estimated 73 million viewers (at the time a record for American television programs) is often regarded as a milestone in American pop culture. During the week of April 4, 1964, The Beatles held 12 positions on the Billboard Hot 100 single chart, including all five major. The Beatles then became the biggest selling rock band of all time and they were followed onto the US charts by many British bands. For the next two years, British acts dominated their own maps and the United States with Peter and Gordon, Animals, Manfred Mann, Petula Clark, Freddie and Dreamers, Wayne Fontana and Mindbenders, Hermit Herman, Rolling Stones, Troggs, and Donovan all had one or more number one single. Other major acts that were part of the invasion included Kinks and Dave Clark Five.
The British invasion helped internationalize rock and roll production, opening the door for the next English (and Irish) players to achieve international success. In America it is arguably the ultimate end of instrumental surf music, female vocal groups and (for a while) teen idols, who had dominated American charts in the late 1950s and 1960s. It makes an R & amp; B acts like Fats Domino and Chubby Checker and even temporarily impedes the success of an existing rock and roll chart, including Elvis. The British invasion also played a major role in the emergence of different rock genres, and strengthened the excellence of rock groups, based on guitars and drums and produced their own material as a singer-songwriter.
Garage rock
Rock garage is a raw form of rock music, especially prevalent in North America in the mid-1960s and is so called because of the perception that it was trained in suburban family garages. Rock rock songs often revolve around the trauma of high school life, with songs of "liars of liars" being very common. Lyrics and submissions tend to be more aggressive than those common at the time, often with growling sounds or screams that dissolve in an obscure scream. They range from one-chord rough music (like Seed) to quality studio-close musicians (including Knickerbockers, The Remains, and the Fifth Estate). There are also regional variations in many parts of the country with scenes growing especially in California and Texas. The Pacific Northwest states in Washington and Oregon may have the clearest regional voice.
This style has evolved from the regional scene as early as 1958. "Tall Cool One" (1959) by The Wailers and "Louie Louie" by Kingsmen (1963) is a prime example of the genre in the formative stage. In 1963, single garage bands crawled into the national charts in greater numbers, including Paul Revere and Raiders (Boise), Trashmen (Minneapolis) and Rivieras (South Bend, Indiana). Other influential garage bands, such as the Sonics (Tacoma, Washington), never reached Billboard Hot 100.
The British invasion greatly affected the garage bands, giving them national hearings, leading many (often surfing or hot rod groups) to adopt British influence, and encouraging more groups to form. Thousands of garage bands still existed in the US and Canada during the era and produced hundreds of regional hits. Although many bands go into major or large regional labels, most are commercial failures. It is generally agreed that garage rocks peaked both commercially and artistically around 1966. In 1968 this style largely disappeared from the national charts and at the local level when amateur musicians faced lectures, work or drafts. New styles have evolved to replace garage stones.
Psychedelia and progresivism
Blues and folk folk
Blues rock
Although the first impact of British Invasion on American popular music is through beat and R & amp; B based on action, the impetus was soon taken by a second wave of bands that drew their inspiration more directly than American blues, including the Rolling Stones and Yardbirds. British blues musicians in the late 1950s and early 1960s were inspired by acoustic games of characters such as Lead Belly, which was a major influence on skiffle cradle, and Robert Johnson. The more they adopted a loud voice, often centered on electric guitars, based on the Chicago blues, especially after a British tour by Muddy Waters in 1958, which prompted Cyril Davies and guitarist Alexis Korner to form the Blues Incorporated band. The band was involved and inspired many characters from the next British blues blues, including members of Rolling Stones and Cream, blending standard and blues shapes with instrumentation and rock compression.
Another major focus for the British blues is John Mayall; his band, The Bluesbreakers, including Eric Clapton (after his departure from Yardbirds) and then Peter Green. Of particular significance is the release of Blues Breakers album with Eric Clapton (Beano) (1966), regarded as one of the blues recordings of British blues and a much-imitated voice in England and the United States. Eric Clapton went on to form Supergroups Cream, Blind Faith and Derek and the Dominos, followed by an extensive solo career that helped bring blues rock to the mainstream. Green, along with rhythm parts Blickbreaker Mick Fleetwood and John McVie, formed Peter Green's Fleetwood Mac, which enjoys some of the biggest commercial success in this genre. In the late 1960s Jeff Beck, also a Yardbirds alumnus, moved the blues rock to heavy rock with his band, Jeff Beck Group. The last Yardbirds guitarist was Jimmy Page, who later formed The New Yardbirds that quickly became Led Zeppelin. Many of the songs on their first three albums, and sometimes later in their careers, are an expansion on traditional blues songs.
In America, blues rock was pioneered in the early 1960s by guitarist Lonnie Mack, but the genre began to take off in the mid-1960s when the action developed a sound similar to British blues musicians. Major acts include Paul Butterfield (band playing Mayall's Bluesbreakers in the UK as a starting point for many successful musicians), Canned Heat, Early Jefferson Airplane, Janis Joplin, Johnny Winter, J. Geils Band and Jimi Hendrix with his trios. , Jimi Hendrix Experience and Band of Gypsys, whose guitar skills and showmanship will be one of the most imitated in this decade. Blues rock bands from the southern states, such as Allman Brothers Band, Lynyrd Skynyrd, and ZZ Top, incorporate elements of the country into their style to produce distinctive southern rocks.
Early blues rock bands often imitate jazz, playing long, involved improvisation, which will later become a major element of progressive rock. From about 1967 bands like Cream and Jimi Hendrix Experience have moved from pure blues music to psychedelia. In the 1970s, blues rock has 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 "barely visible", when bands began recording the album rock-style. The genre was continued in the 1970s by figures such as George Thorogood and Pat Travers, but, especially in the English scene (except perhaps for the emergence of groups such as Status Quo and Foghat that move towards high energy forms and boogie stones, ), the band became a focus on heavy metal innovation, and blues rock started out of the mainstream.
Folk rock
In the 1960s, the scene that evolved from the revival of American folk music has evolved into a major movement, utilizing traditional music and new compositions in traditional styles, usually on acoustic instruments. In America, the genre is pioneered by such figures as Woody Guthrie and Pete Seeger and is often identified with progressive politics or labor. In the early sixties, figures like Joan Baez and Bob Dylan had emerged in this movement as singer-songwriters. Dylan began reaching out to mainstream audiences with hits including "Blowin 'in the Wind" (1963) and "Masters of War" (1963), which brought "protest songs" to the wider public, but, despite beginning to influence each other. Rock and folk music remains a largely separate genre, often with an exclusive audience.
Early attempts to combine elements of folk and rock include the "House of the Rising Sun" Animal (1964), which was the first commercially successful folk song to be recorded with rock and roll instrumentation and the Beatles "I'm a Loser" (1964) , arguably the first Beatles song directly influenced by Dylan. The folk rock movement is usually considered to have taken off with the recording of The Byrds' Dylan's "Mr. Tambourine Man" who topped the charts in 1965. With members who have become part of the cafe-based folk scene in Los Angeles, Byrds adopted rock instrumentation, including drums and 12-string Rickenbacker guitar, which became the main element in the genre sound. Later that year Dylan adopted the electric instrument, much of the anger of many popular purists, with "Like a Rolling Stone" becoming the US hit single. Folk rock mainly departs in California, where he leads acts such as Mamas & amp; Papas and Crosby, Stills and Nash moved to electrical instrumentation, and in New York, where he spawned players including The Lovin 'Spoonful and Simon and Garfunkel, with the last acoustic "The Sounds of Silence" (1965) remixed with rock instruments being the first of many hits.
These actions directly affect British players such as Donovan and Fairport Convention. In 1969, the Fairport Convention ignored a mixture of American songs and influenced Dylan songs to play traditional British music on electric instruments. This British folk rock was taken by bands including Pentangle, Steeleye Span and Albion Band, which in turn encouraged Irish groups such as Horslips and Scottish acts such as JSD Band, Feat Spencer and then Five Hand Reel, to use their traditional music to create a Celtic stone brand in the early 1970s.
Folk rock reached the peak of its commercial popularity in the period 1967-68, before many actions moved in different directions, including Dylan and Byrds, who began to develop state rock. However, folk and rock hybridization has been seen to have a major influence on the development of rock music, carrying psychedelic elements, and helped develop ideas from singer-songwriters, protest songs and the concept of "authenticity".
Psychedelic Stone
The vibrant variety of musical psychedelic music begins in the folk scene. The first group to advertise themselves as psychedelic rock is the 13th Floor Elevator from Texas. The Beatles introduced many of the main elements of psychedelic sound to audiences in this period, such as guitar feedback, Indian sitar and backmasking sound effects. Psychedelic rock in particular skyrocketed in the music scene that emerged in California when groups followed the Byrds shift from folk to folk rock from 1965. The psychedelic lifestyle, which revolves around hallucinogenic drugs, has grown in San Francisco and especially major products where it is a Grateful Dead and Jefferson Aircraft. Jimi Hendrix Experience's main guitarist Jimi Hendrix extends the interruption, jam-filled feedback that becomes a key feature of the psyche. Psychedelic rocks peak in the last years of the decade. 1967 sees The Beatles releasing their definitive psychedelic statements at Sgt. Pepper's Lonely Hearts Club Band, including the controversial "Lucy in the Sky with Diamonds" contest, the Rolling Stones responded at the end of that year with their Demonic Demons Demon , and Pink Floyd debuted with > The Piper at the Gate of the Dawn . Key recordings include Jefferson Airplane's Surrealistic Pillow and the Doors' Strange Days . This trend peaked at the 1969 Woodstock festival, which witnessed performances by most of the major psychedelic acts.
Progressive Stone
Progressive rock, a term sometimes used interchangeably with art stones, moves beyond established musical formulas by experimenting with different instruments, song types, and shapes. From the mid-1960s, Left Banke, The Beatles, Rolling Stones, and Beach Boys, had pioneered the entry of harpsichords, winds and string sections on their recordings to produce baroque rock shapes and could be heard in singles like Procol. Harum's "A Whiter Shade of Pale" (1967), with an introduction inspired by Bach. The Moody Blues used the full orchestra on their album Days of Future Passed (1967) and later created the sound of the orchestra with synthesisers. Classic orchestration, keyboards, and synthesizers are a frequent addition to the rock guitar, bass, and drum formats in the next progressive rock.
Instrumental is a common thing, while songs with lyrics are sometimes conceptual, abstract, or based on fantasy and science fiction. The Pretty Things ' SF Sorrow (1968), and the Kinks' Arthur (1969) introduced the rock opera format and opened the door for the concept album, often telling epic tales or discussing big, thorough themes. King Crimson's 1969 dà ©  © but the album, In Court of the Crimson King, which incorporates a powerful guitar riff and mellotron, with jazz and symphonic music, is often taken as a key recording in progressive rock, helping its adoption extending from the genre in the early 1970s between existing blues-rock and psychedelic bands, as well as newly formed actions. The Canterbury scene enthusiastically sees the following actions of the Soft Machine of psychedelia, through the influence of jazz, towards the wider hard rock, including Caravan, Hatfield and North, Gong, and National Health.
Greater commercial success was enjoyed by Pink Floyd, who also moved from psychedelia after the departure of Syd Barrett in 1968, with the Dark Side of the Moon (1973), seen as a genre work, becoming one of the best-selling albums of all time. There is an emphasis on instrumental skills, with Ya showing the skills of both guitarist Steve Howe and keyboard player Rick Wakeman, while Emerson, Lake & Palmer is a supergroup that produces some of the most technically demanding genres. Jethro Tull and Genesis are both very different pursuits, but clearly English, the brand of music. Renaissance, formed in 1969 by former Yardbirds Jim McCarty and Keith Relf, ​​developed into a high-concept band featuring Annie Haslam's three-octave sound. Most British bands rely on relatively small followers of the cult, but a handful, including Pink Floyd, Genesis and Jethro Tull, managed to produce the top ten singles at home and destroy the American market. American progressive rock brands vary from the eclectic and innovative Frank Zappa, Captain Beefheart and Blood, Sweat & amp; Tears, for more pop rock-oriented bands such as Boston, Foreigner, Kansas, Journey and Styx. This, in addition to the British bands Supertramp and ELO, all show the influence of prog rock and while ranking among the most commercially successful acts of the 1970s, issued in the era of splendor or rock arena , which will last until the cost of complex performances (often with theatrical performances and special effects), will be replaced by more economical rock festivals as the premier live venue of the 1990s.
The instrumental strands of the genre produced albums like Mike Oldfield's Tubular Bells (1973), first recordings, and hits worldwide, for the Virgin Records label, which became the mainstay of the genre. The instrumental stone is very significant on the European continent, allowing bands like Kraftwerk, Tangerine Dream, Can, and Faust to avoid language barriers. "Krautrock" their heavy-weight synthesizers, along with the work of Brian Eno (for keyboard player time with Roxy Music), will be a major influence on the next electronic stone. With the advent of punk rock and technological change in the late 1970s, progressive rocks were increasingly perceived as pretentious and exaggerated. Many bands disbanded, but some of them, including Genesis, ELP, Yes, and Pink Floyd, regularly scored top ten albums with successful worldwide tours around the world. Several bands that emerged after punk, such as Siouxsie and Banshees, Ultravox, and Simple Minds, showed progressive rock influence, as well as their usually better known punk influences.
Rock Jazz
In the late 1960s jazz rock emerged as a distinct subgenre of blues rock, psychedelic and progressive rock scene, mixing rock power with musical complexity and jazz improvisational elements. AllMusic states that the term jazz-rock "can refer to the loudest, wildest, most electrified fusion bands of the jazz camp, but most often describes the players coming from the rock side of the equation." Jazz rock "... generally grew from the most ambitious artistic subgenre rock of the late 60s and early 70s", including the singer-songwriter's movement. Many early American rock and roll musicians have started in jazz and brought some of these elements into new music. In Britain the blues rock subgenre, and many of its characters, such as Ginger Baker and Jack Bruce from the band cream fronted by Eric Clapton, emerged from the British jazz scene. Often highlighted as the first true jazz-rock recording is the only relatively unruly New York album that uses Free Spirit with Out of Sight and Sound (1966). The first group of bands to consciously use labels was R & amp; B is oriented towards white rock bands that utilize jazzy horn parts, such as Electric Flag, Blood, Sweat & amp; Tears and Chicago, became some of the most commercially successful acts of the 1960s and early 1970s.
British action appeared in the same period of the blues scene, to take advantage of tonal and improvisational aspects of jazz, including Nucleus and Graham Bond and the John Mayall spinoff Colosseum. From psychedelic stone and Canterbury scenes came the Soft Machine, which, has been suggested, produced one of the artistic fusion of the two genres. Perhaps the most critically acclaimed fusion comes from the jazz side of the equation, with Miles Davis, especially influenced by Hendrix's work, combining rock instrumentation into his voice for Bitches Brew (1970) album. It was a major influence on the next influenced rock-influenced jazz artist, including Herbie Hancock, Chick Corea and Weather Report. The genre began to fade in the late 1970s, as a fused melting form began to take on its audience, but acted like Steely Dan, Frank Zappa and Joni Mitchell recorded significant jazz-influenced albums in this period, and continued to be a major influence on rock music.
Beginning 1970s
The root stone
Roots rock is the term now used to describe the displacement of what some see as an excess of the psychedelic scene, to a more basic form of rock and roll that incorporates its original influences, especially country and folk music, leading to the creation of rock country and rock Southern. In 1966, Bob Dylan went to Nashville to record Blonde on Blonde album. This album, and subsequently more clearly influenced by the state, has been seen as creating a genre of country folk, a route taken by a number of acoustic folk musicians. Another action that follows the back-to-basics trend is the California-based Canadian Band and Creedence Clearwater Revival group, which are both a mixture of basic rock and roll with folk, country and blues, becoming one of the most successful and influential bands of the late 1960s. The same movement saw the beginnings of a solo recording career of California artists such as Ry Cooder, Bonnie Raitt and Lowell George, and influenced the work of established players such as the Beggar's Banquet (1968) Rolling Stones and The Beatles' Let It Be (1970).
In 1968, Gram Parsons recorded Safe at Home with the International Submarine Band, arguably the first true country rock album. Later that year he joined Byrds for Sweetheart of the Rodeo (1968), generally regarded as one of the most influential recordings in the genre. The Byrds continued in the same vein, but Parsons left to join former Byrds member Chris Hillman in forming the Flying Burrito Brothers which helped build the honor and parameters of the genre, before Parsons set out to pursue a solo career. Bands in California that adopted rock country include Hearts and Flowers, Poco, New Riders of Purple Sage, Beau Brummels, and Nitty Gritty Dirt Band. Some artists also enjoy the resurrection by adopting the voice of the country, including: the Everly Brothers; teen idol Rick Nelson who became the lead vocalist for the Rock Canyon Band; former Monkee Mike Nesmith who formed the First National Band; and Neil Young. The Dillard is, remarkably, a state act, which moves towards rock music. The biggest commercial success for rock country came in the 1970s, with artists including Doobie Brothers, Emmylou Harris, Linda Ronstadt and Eagles (consisting of Burritos, Poco and Stone Canyon Band members), who emerged as one of the most successful rock action period, resulting in an album that includes Hotel California (1976).
The founders of Southern rock are usually regarded as the Allman Brothers Band, which developed a distinctive sound, mostly from blues rock, but incorporating elements of boogie, soul, and country in the early 1970s. The most successful action to follow was Lynyrd Skynyrd, who helped shape the "Good ol 'boy" image of the subgenre and the general form of 1970's guitar rock. Their successors include the progressive fusion/instrumentalist of Dixie Dregs, the more influenced Outlaws of the country, the civilized Willie Wet and (incorporating the R & D and Gospel elements) of the Ozark Mountain Daredevils. After losing the original members of Allmans and Lynyrd Skynyrd, the genre began to fade in popularity in the late 1970s, but was retained in 1980 with acts such as.38 Special, Molly Hatchet and Marshall Tucker Band.
Glam rock
Glam rock emerged from the psychedelic scene and British rock art in the late 1960s and can be seen as an extension and reaction to the trend. A wide variety of music, varying between simple rock and roll revivalism like Alvin Stardust to Roxy Music's complex rock art, and can be seen as fashion as a subgenre of music. Visually, this is a range of styles, ranging from Hollywood glamor of the 1930s, to the sex appeal of 1950s pin-ups, pre-war Cabaret theater, Victorian literary and symbolic style, science fiction, to mysticism and ancient mythology and unseen; manifests itself in excessive clothing, makeup, hairstyles and giant boot boots. Glam is best known for the ambiguity and sexual and gender ambiguity of androgyny, in addition to extensive theatrical use. It is matured by showmanship and manipulation of gender identity from American acts such as Cockettes and Alice Cooper.
The origins of glam rock are associated with Marc Bolan, who has renamed his folk duo to T. Rex and took electrical instruments in the late 1960s. Often referred to as the early moments was his appearance on the English TV program Top of the Pops in December 1970 wearing glitter, to do what would be his first number 1 "Ride a White Swan". From 1971, already a small star, David Bowie developed his Ziggy Stardust persona, incorporating elements of professional makeup, pantomime, and performance into his acting. These players soon followed in style by action including Roxy Music, Sweet, Slade, Mott the Hoople, Mud and Alvin Stardust. Despite being very successful on singles charts in the UK, very few musicians are capable of making a serious impact in the United States; Bowie is a major exception to being an international superstar and encouraging the adoption of glam styles between acts such as Lou Reed, Iggy Pop, New York Dolls and Jobriath, often known as "glitter rock" and with lyrical content that is darker than their British counterparts. In the UK the term rock glitter is most often used to refer to extreme versions of glam being pursued by Gary Glitter and its Glitter Band supporters, among whom reached the top eighteen ten singles in the UK between 1972 and 1976. The second wave of glam rock acts, including Suzi Quatro , Roy Wood's Wizzard and Sparks, dominated the UK charts from about 1974 to 1976. The existing act, some not usually considered the center of the genre, also adopted the glam style, including Rod Stewart, Elton John, Queen and, for a while, even the Rolling Stones. It was also a direct influence on the ever increasing acts of prominence later, including Kiss and Adam Ant, and less directly on the formation of gothic rock and glam metal as well as in punk rock, which helped end fashion for glam from around 1976. Since then Glam enjoyed a simple flood sporadically through bands like Chainsaw Kittens, the Darkness and in Rn 'B crossover act Prince.
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 often comes from folk rock, uses acoustic instruments and emphasizes more on melody and harmony. Main artists include Carole King, Cat Stevens and James Taylor. It reached its commercial peak in the mid to late 1970s with acts such as Billy Joel, America and reformed Fleetwood Mac, whose Rumor (1977) was the best-selling album of the decade. In contrast, hard rock is more often derived from blues-rock and is played more loudly and with more intensity. It often emphasizes electric guitars, both as rhythm instruments using simple repetitive riffs and as solo main instruments, and more likely to be used with distortion and other effects. Major acts include British Invasion bands such as Kinks, as well as psychedelic era players such as Cream, Jimi Hendrix and Jeff Beck Group. Strongly influenced rock bands that enjoyed international success in the late 1970s included Queen, Thin Lizzy, Aerosmith, AC/DC. and Van Halen
From the late 1960s the term "heavy metal" began to be used to describe some hard rock being played with more volume and intensity, first as an adjective and in the early 1970s as a noun. The term was first used in music in Steppenwolf's "Born to Be Wild" (1967) and began to be associated with pioneering bands such as Blue Cheer San Francisco, James Gang Cleveland and Grand Funk Railroad Michigan. In 1970 three major British bands have developed distinctive sounds and styles that will help shape the subgenre. Led Zeppelin adds fantasy elements to their blues-rock-laden riff, Deep Purple brings the symphonic and medieval interest of their progressive rock phase and Black Sabbath introduces aspects of gothic and modal harmony, helping to produce "darker" sounds. These elements were taken by "second generation" from heavy metal bands to the late 1970s, including: Judas Priest, UFO, MotÃÆ'¶rhead and Rainbow of England; Kiss, Ted Nugent, and Blue ÃÆ'-yster Cult from the US; The rush from Canada and the Scorpion of Germany, all marks an expansion in the popularity of subgenres. Despite the lack of games and very little presence on the single chart, the late-1970s heavy metal built many followers, particularly among teen-age youth workers in North America and Europe.
The Christian Stone
Rock, mostly heavy metal genres, has been criticized by some Christian leaders, who have condemned him as immoral, anti-Christian and even demonic. However, Christian rock began to flourish in the late 1960s, mainly from the Jesus movement that began in Southern California, and emerged as a subgenre in the 1970s with artists such as Larry Norman, usually seen as a major Christian rock star. Genre has been very popular in the United States. Many Christian rock musicians have a connection with the contemporary Christian music scene, while other bands and artists are closely related to independent music. Since the 1980s Christian rockers have gained mainstream success, including such figures as American pop-to-pop artist Amy Grant and British singer Cliff Richard. While these artists were accepted into the Christian community, the adoption of heavy rock and glam metal styles by bands like Petra and Stryper, which achieved great success in the 1980s, is more controversial. From the 1990s there was an increasing number of acts that sought to avoid the Christian band label, preferring to be seen as a group of Christians, including P.O.D and Collective Soul.
Punk Era
Punk rock
Punk rock was developed between 1974 and 1976 in the United States and Britain. Rooted in a stone garage and other forms of what is now known as protopunk music, punk rock bands avoided the perceived excesses of mainstream rocks of the 1970s. They create fast and loud music, usually with short songs, disarmed instrumentation, and often political, anti-establishment lyrics. Punk embraces DIY ethics (do it yourself), with many bands producing their own recordings and distributing them through informal channels.
By the end of 1976, acts like Ramones and Patti Smith, in New York City, and Sex Pistols and the Clash, in London, were recognized as the pioneers of a new musical movement. The following year saw punk rock spread all over the world. Punk quickly, albeit briefly, became a major cultural phenomenon in Britain. For the most part, punk is rooted in local scenes that tend to deny connections with the mainstream. A related punk subculture emerges, expressing a youthful rebellion and characterized by distinctive clothing styles and anti-authoritarian ideologies.
In the early 1980s, faster, more aggressive styles like hardcore and Oi! has become the dominant mode of punk rock. This results in several types of hardcore punk that evolved, such as D-beat (subgenre distortion-heavy influenced by UK Discharge bands), anarcho-punk (like Crass), grindcore (like Napalm Death), and punk crust. Musicians identify with or inspired by punk also pursue various other variations, resulting in New waves, post-punk and alternative rock movements.
New wave
Although punk rock is a significant social and musical phenomenon, it achieves less in the way of record sales (distributed by small specialty labels like Stiff Records), or played American radio (as the radio scene continues to be dominated by mainstream formats such as disco and rock oriented album). Punk rock has attracted fans from the world of art and college and soon more literate sports bands, artistic approaches, such as Talking Heads and Devo began to infiltrate the punk scene; in some parts of the "new wave" description began to be used to distinguish these less blatant punk bands. The executive record, which is mostly confused by the punk movement, recognizes the potential of a new wave of more accessible acts and begins to aggressively sign and market any band that can claim a long-distance connection to a new punk or wave. Many of these bands, such as Cars and Go-Go can be seen as pop bands that are marketed as new waves; Other acts, including Police, Pretenders, and Elvis Costello, use the new wave movement as a stepping stone for a relatively long and highly successful career, while the band's "skinny tie" exemplified by Knack, or photogenic Blondie, begins as a punk act and move to a more commercial area.
Between 1979 and 1985, influenced by Kraftwerk, the Yellow Magic Orchestra, David Bowie, and Gary Numan, the new wave of England towards New Romantics such as Spandau Ballet, Ultravox, Japan, Duran Duran, A Flock of Seagulls, Culture Club, Talk Talk and Eurythmics , sometimes using synthesizers to replace all other instruments. This period coincides with the rise of MTV and caused much exposure to this synth-pop brand, creating what has been characterized as a second British Invasion. Some of the more traditional rock bands adapted to video age and benefited from MTV reruns, most obviously Dire Straits, the "Money for Nothing" gently mocking at the station, despite the fact that it has helped make them star internationally, but in general, commercially oriented Rock guitars are eclipsed.
Post-punk
If hardcore most directly pursues punked aesthetic punk, and new waves come to represent its commercial wing, post-punk emerged in the late 1970s and early 1980s as a more artistic and challenging side. The main influences beside the punk bands are Velvet Underground, Frank Zappa and Captain Beefheart, and the New York no wave scene puts an emphasis on performance, including bands like James Chance and Contortions, DNA and Sonic Youth. Initial contributors to the genre include US band Pere Ubu, Devo, Citizen and Talking Heads.
England's first post-punk waves include Gang of Four, Siouxsie and Banshees and Joy Division, which place an emphasis on art a little more than their US counterparts and more on the dark emotional quality of their music. Bands like Siouxsie and Banshees, Bauhaus, Cure, and Sisters of Mercy, are moving increasingly in this direction to discover Gothic rock, which has been the basis of a major subculture in the early 1980s. Similar emotional areas are pursued by Australian actions such as Birthday and Nick's Cave. Members of Bauhaus and Joy Division explore new style areas as Love and Rocket and New Order respectively. Another early post-punk movement was industrial music developed by British bands Throbbing Gristle and Cabaret Voltaire, and New York-based Suicide, using a variety of electronic and sampling techniques that mimic the sounds of industrial production and which will evolve into various forms post-industrial music in the 1980s.
The second generation of British post-punk bands that broke through in the early 1980s, including Fall, Pop Group, Mekons, Echo and Bunnymen and Teardrop Explodes, tended to move away from the dark, sonic landscape. Arguably the most successful band emerging from post-punk is the Irish U2, which incorporates elements of religious imagery along with political commentary into their often anthemic music, and by the late 1980s has become one of the largest bands in the world. Although many post-punk bands continued to record and perform, it declined as a movement in the mid-1980s as an act dissolved or moved to explore other musical areas, but continued to influence the development of rock music and has been seen as a major element in the creation of rock movements alternative.
Heartland rock
The American working class-oriented rock class, characterized by a straightforward musical style, and attention to the lives of ordinary and blue-skinned Americans, flourished in the second half of the 1970s. The term heartland rock was first used to describe midwestern rock group arenas such as Kansas, REO Speedwagon and Styx, but which was later attributed to a more socially concerned form of stone roots more directly influenced by folk, country and rock and roll. It has been seen as an American Midwest and Rust Belt partner for the West Coast state rocks and South American South stones. Led by figures originally identified with punk and New Wave, it was heavily influenced by acts such as Bob Dylan, Byrds, Creedence Clearwater Revival and Van Morrison, and a garage base rock of the 1960s and the Rolling Stones.
Exemplified by the commercial success of singer-songwriters Bruce Springsteen, Bob Seger, and Tom Petty, along with less-known acts such as Southside Johnny and Asbury Jukes and Joe Grushecky and Houserockers, were in part a reaction to the post-industrial urban decline in the East and Mid -West, often dwell on issues of social disintegration and isolation, in addition to good rock and roll revivalism. The genre reached a commercial, artistic and influential peak in the mid-1980s, with Springsteen's Born in the United States (1984), topping the charts worldwide and spawning a series of ten singles, along with the arrival of artists including John Mellencamp, Steve Earle and softer songwriters like Bruce Hornsby. It can also be heard as an influence on diverse artists such as Billy Joel, Kid Rock and the Killers.
Heartland rock faded as a genre recognized by the early 1990s, as rock music in general, and blue collar and white working-class themes in particular, lost influence with young audiences, and as heartland artists turned to more personal work. Many heart rock artists continue to record today with critical and commercial success, especially Bruce Springsteen, Tom Petty and John Mellencamp, although their works become more personal and experimental and no longer easily fit into one genre. New artists whose music may have been labeled heartland rock have been released in the 1970s or 1980s, such as Missouri's Bottle Rockets and Illinois' Uncle Tupelo, often find themselves labeled alt-country.
The emergence of alternative rock
Alternative rock terms were invented in the early 1980s to describe rock artists who did not fit the mainstream genre at the time. Bands dubbed "alternatives" do not have a unified style, but all look different from mainstream music. Alternative bands are linked by their collective debt to punk rock, through hardcore, New Wave or post-punk movements. Important alternative rock bands of the 1980s in the US include R.E.M., HÃÆ'¼sker DÃÆ'¼, Jane's Addiction, Sonic Youth, and Pixies, and in England the Cure, New Order, Jesus and Mary Chain, and Smiths. Artists are largely confined to independent record labels, building extensive underground music scenes based on campus radio, fanzines, touring, and word-of-mouth. They rejected the dominant synth-pop in the early 1980s, marking a return to guitar-based rock groups.
Some of these early bands achieved mainstream success, although the exceptions to this rule include R.E.M., Smith, and Cure. Although there is generally no spectacular album sales, the original alternative rock bands have had a major impact on the generation of musicians who came in the 1980s and finally penetrated mainstream success in the 1990s. Alternative rock styles in the US during the 1980s included a pop jangle, related to REM's early recording, which incorporated 1960s pop and mid-rock ringtones, and college rock, used to describe alternative bands that started at college circuits and radio colleges, including acts like 10,000 Maniacs and Feelings. In England Gothic rock was dominant in the early 1980s, but by the end of the decade of indie or pop dreams such as Primal Scream, Bogshed, Half Man Half Biscuit and the Wedding Present, and what dubbed shoegaze bands like My Bloody Valentine, Ride, Lush, Babhouse , and Boo Radleys. A very lively scene is Madchester, producing bands like Happy Mondays, Inspiral Carpets, and Stone Roses. The next decade will see the success of grunge in the United States and Britpop in the UK, bringing alternative rock to the mainstream.
Alternative
Grunge
Unsatisfied with commercially produced and high pop and rock in the mid-1980s, bands in Washington state (especially in the Seattle area) formed a new style of rock that contrasted with mainstream music at the time. The growing genre came to be known as "grunge", a term that describes the sound of dirty music and the unkempt appearance of most musicians, who actively rebel against other artist images that are too neat. Grunge incorporates elements of hardcore punk and heavy metal into one sound, and uses guitar, fuzz, and feedback distortions. The lyrics are usually apathetic and restless, and often discuss themes such as social alienation and pitfalls, though it is also known for its dark humor and commercial rock parody.
Bands like Green River, Soundgarden, Melvins and Skin Yard pioneered the genre, with Mudhoney being the most successful by the end of the decade. Grunge remained a local phenomenon until 1991, when the album Nirvana Nevermind became a huge success, containing an anthemic song "Smells Like Teen Spirit". Nevermind is more melodic than its predecessor, by signing a contract with Geffen Records the band was one of the first to use traditional corporate marketing and promotion mechanisms such as MTV video, in store displays and the use of "consultant" radio promoting play in the mainstream mainstream rock station. During 1991 and 1992, other grunge albums like Pearl Jam's Ten , Soundgarden Badmotorfinger and Alice in Chains' Dirt , along with Temple of the Dog featuring members of Pearl Jam and Soundgarden, becoming one of the 100 best-selling albums. Big record labels signed most of the remaining grunge bands in Seattle, while the second inflows moved into the city in the hopes of success. However, with the death of Kurt Cobain and the breakup of Nirvana in 1994, the tour problem for Pearl Jam and the departure of Alice in Chains' Layne Staley in 1996, the genre began to decline, partially overshadowed by Britpop and more commercial post-grunge sound.
Britpop
Britpop emerged from the British alternative rock scene in the early 1990s and was characterized by bands heavily influenced by British guitar music in the 1960s and 1970s. The Smiths were a major influence, like bands from the Madchester scene, which had disbanded in the early 1990s. This movement was partly seen as a reaction to various US-based musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon and as a reaffirmation of British rock identity. Britpop varies in style, but often uses interesting tones and hooks, in addition to lyrics with British special attention and the adoption of the British Invasion 1960s iconography, including British identity symbols previously used by mods. It was launched around 1992 with releases by groups such as Suede and Blur, who soon joined others including Oasis, Pulp, Supergrass and Elastica, which produced a series of ten albums and singles. For a while the contest between Blur and Oasis was built by the popular press to "The Battle of Britpop", originally won by Blur, but with Oasis reaching greater long-term and international success, directly affecting third-generation Britpop bands, including The Boo Radleys, Ocean Color Scene and Cast. The Britpop group brought English alternative rock into the mainstream and formed the backbone of a larger British cultural movement known as Cool Britannia. Although more popular bands, notably Blur and Oasis, are able to spread their commercial success abroad, especially to the United States, the movement has largely been destroyed by the end of the decade.
Post-grunge
The term post-grunge was created for a generation of bands that followed the emergence into the mainstream and the next hiatus of Seattle's grunge bands. Post-grunge bands mimic their attitude and music, but with a more radio-friendly, commercial-oriented voice. Often they work through major labels and come to combine diverse influences from pop, pop-punk, alternative metal or hard rock jerseys. The term post-grunge was originally intended to be patronizing, suggesting that they were just a musical derivative, or a cynical response to the "original" rock movement. Initially, grunge bands that emerged when grunge was mainstream and were suspected of mimicking grunge sounds that were labeled as post-grunge. From 1994, Nirvana's new band drummer Dave Grohl, Foo Fighters, helped popularize the genre and determine the parameters.
Although male bands dominated post-grunge, Alanis Morissette's female solo album in 1995
Source of the article : Wikipedia
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