Rock music

Edit links
Source: Wikipedia, the free encyclopedia.
For the original 1950s style of rock music, see Rock and roll. For other uses, see Rock music (disambiguation).

Rock
Stylistic origins
Cultural origins1940s–1960s, United States and United Kingdom
Typical instruments
  • Guitar
  • bass
  • drums
  • keyboards
  • piano
Derivative forms
Subgenres
Fusion genres
Regional scenes
Local scenes
Other topics
2024 in rock music

Rock is a broad genre of

drums, and one or more singers. Usually, rock is song-based music with a 4
4 time signature using a verse–chorus form, but the genre has become extremely diverse. Like pop music
, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political. Rock was the most popular genre of music in the U.S. and much of the Western world from the 1950s to the 2010s.

Rock musicians in the mid-1960s began to advance the album ahead of the single as the dominant form of recorded music expression and consumption, with

jazz rock, which contributed to the development of psychedelic rock, influenced by the countercultural psychedelic and hippie scene. New genres that emerged included progressive rock, which extended artistic elements, and glam rock, which highlighted showmanship and visual style. In the second half of the 1970s, punk rock reacted by producing stripped-down, energetic social and political critiques. Punk was an influence in the 1980s on new wave, post-punk and eventually alternative rock
.

From the 1990s, alternative rock began to dominate rock music and break into the mainstream in the form of

techno-pop
scene of the early 2010s and the pop-punk-hip-hop revival of the 2020s.

Rock has also embodied and served as the vehicle for cultural and social movements, leading to major subcultures including

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. At the same time, it has been commercially highly successful, leading to accusations of selling out
.

Characteristics

A good definition of rock, in fact, is that it's popular music that to a certain degree doesn't care if it's popular.

—

Vulture (2016)[4]

A photograph of four members of the Red Hot Chili Peppers performing on a stage
Red Hot Chili Peppers in 2006, showing a quartet lineup for a rock band (from left to right: bassist, lead vocalist, drummer, and guitarist)

The sound of rock is traditionally centered on the

keyboard player or other instrumentalist.[10]

\version "2.22.0" \header { tagline = ##f} \score { \drums \with {midiInstrument = "drums"} \with { \numericTimeSignature } { \repeat volta 2 { << \tempo 4 = 80-160 \bar ".|:" { cymra8 [cymra] cymra [cymra] cymra [cymra] cymra [cymra] }\\{bd4 sne bd sne} >>\break } } \layout {} } \score { \unfoldRepeats { \drums \with {midiInstrument = "drums"}{ \repeat volta 2 { << \tempo 4 = 80-160 \bar ".|:" { cymra8 [cymra] cymra [cymra] cymra [cymra] cymra [cymra] }\\{bd4 sne bd sne} >>\break } } } \midi { \tempo 4 = 90 } }
A simple 4
4 drum pattern common in rock music

Rock music is traditionally built on a foundation of simple syncopated rhythms in a 4
4

modernist dissociation".[16]

Rock and roll was conceived as an outlet for adolescent yearnings ... To make rock and roll is also an ideal way to explore

mass culture
itself.

—Robert Christgau in Christgau's Record Guide (1981)[17]

Unlike many earlier styles of popular music, rock lyrics have dealt with a wide range of themes, including romantic love, sex, rebellion against "The Establishment", social concerns, and life styles.[11] These themes were inherited from a variety of sources such as the Tin Pan Alley pop tradition, folk music, and rhythm and blues.[18] Christgau characterizes rock lyrics as a "cool medium" with simple diction and repeated refrains, and asserts that rock's primary "function" "pertains to music, or, more generally, noise."[19] The predominance of white, male, and often middle class musicians in rock music has often been noted,[20] and rock has been seen as an appropriation of Black musical forms for a young, white and largely male audience.[21] As a result, it has also been seen to articulate the concerns of this group in both style and lyrics.[22] Christgau, writing in 1972, said in spite of some exceptions, "rock and roll usually implies an identification of male sexuality and aggression".[23]

Since the term "rock" started being used in preference to "rock and roll" from the late-1960s, it has usually been contrasted with pop music, with which it has shared many characteristics, but from which it is often 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.[24] According to Simon Frith, rock was "something more than pop, something more than rock and roll" and "[r]ock musicians combined an emphasis on skill and technique with the romantic concept of art as artistic expression, original and sincere".[24]

In the new millennium, the term rock has occasionally been used as a

semipopular music that caters to his sensibility as "a rock-and-roller", including a fondness for a good beat, a meaningful lyric with some wit, and the theme of youth, which holds an "eternal attraction" so objective "that all youth music partakes of sociology and the field report." Writing in Christgau's Record Guide: The '80s (1990), he said this sensibility is evident in the music of folk singer-songwriter Michelle Shocked, rapper LL Cool J, and synth-pop duo Pet Shop Boys—"all kids working out their identities"—as much as it is in the music of Chuck Berry, the Ramones, and the Replacements.[26]

1940s–1950s: Birth of rock and roll

Rock and roll

Main article: Rock and roll
See also: Origins of rock and roll and Rockabilly
Chuck Berry in a 1958 publicity photo

The foundations of rock music are in rock and roll, which originated in the United States during the late 1940s and early 1950s, and quickly spread to much of the rest of the world. Its immediate origins lay in a melding of various black musical genres of the time, including rhythm and blues and gospel music, with country and western.[27]

A black and white photograph of Elvis Presley standing between two sets of bars
Elvis Presley in a promotion shot for Jailhouse Rock in 1957

Debate surrounds the many recordings which have been suggested as "the

first rock and roll record". Contenders include "Strange Things Happening Every Day" by Sister Rosetta Tharpe (1944);[28] "That's All Right" by Arthur Crudup (1946),[29] which was later covered by Elvis Presley in 1954; "The House of Blue Lights" by Ella Mae Morse and Freddie Slack (1946);[30] Wynonie Harris' "Good Rocking Tonight" (1948);[31] Goree Carter's "Rock Awhile" (1949);[32] Jimmy Preston's "Rock the Joint" (1949), also covered by Bill Haley & His Comets in 1952;[33] and "Rocket 88" by Jackie Brenston and his Delta Cats (in fact, Ike Turner and his band the Kings of Rhythm), recorded by Sam Phillips for Chess Records in 1951.[34]

In 1951,

Bill Haley's "Rock Around the Clock" (1954) 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.[36][37] Other artists with early rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis, and Gene Vincent.[34] 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.[38]

Rock and roll has been seen as leading to a number of distinct subgenres, including rockabilly, combining rock and roll with "hillbilly" country music, which was usually played and recorded in the mid-1950s by white singers such as Carl Perkins, Jerry Lee Lewis, Buddy Holly and with the greatest commercial success, Elvis Presley.[39] Hispanic and Latino American movements in rock and roll, which would eventually lead to the success of Latin rock and Chicano rock within the US, began to rise in the Southwest; with rock and roll standard musician Ritchie Valens and even those within other heritage genres, such as Al Hurricane along with his brothers Tiny Morrie and Baby Gaby as they began combining rock and roll with country-western within traditional New Mexico music.[40] In addition, the 1950s saw the growth in popularity of the electric guitar, and the development of a specifically rock and roll style of playing through such exponents as Chuck Berry, Link Wray, and Scotty Moore.[41] The use of distortion, pioneered by Western swing guitarists such as Junior Barnard[42] and Eldon Shamblin was popularized by Chuck Berry in the mid-1950s.[43] The use of power chords, pioneered by Francisco Tárrega and Heitor Villa-Lobos in the 19th century and later on by Willie Johnson and Pat Hare in the early 1950s, was popularized by Link Wray in the late 1950s.[44]

Commentators have traditionally perceived a decline of rock and roll in the late 1950s and early 1960s. By 1959, the death of Buddy Holly, the Big Bopper and Ritchie Valens in a plane crash, the departure of Elvis for the army, the retirement of Little Richard to become a preacher, prosecutions of Jerry Lee Lewis and Chuck Berry and the breaking of the payola scandal (which implicated major figures, including Alan Freed, in bribery and corruption in promoting individual acts or songs), gave a sense that the rock and roll era established at that point had come to an end.[45]

Global spread

Main articles: British rock and roll and skiffle
British rock and roll singer Tommy Steele in a 1958 promotional photo

Rock quickly spread out from its origins in the US, associated with the rapid

British rock.[47] Several artists, most prominently Tommy Steele from the UK, found success with covers of major American rock and roll hits before the recordings could spread internationally, often translating them into local languages where appropriate.[48][49] Steele in particular toured Britain, Scandinavia, Australia, the USSR and South Africa from 1955 to 1957, influencing the globalisation of rock.[48] Johnny O'Keefe's 1958 record "Wild One" was one of the earliest Australian rock and roll hits.[50] By the late 1950s, as well as in the American-influenced Western world, rock was popular in communist states such as Yugoslavia,[51] and the USSR,[52] as well as in regions such as South America.[49]

In the late 1950s and early 1960s, American

skiffle music groups throughout the country, many of which, including John Lennon's Quarrymen (later the Beatles), moved on to play rock and roll.[54] While former rock and roll market in the US was becoming dominated by lightweight pop and ballads, British rock groups at clubs and local dances were developing a style more strongly influenced by blues-rock pioneers, and were starting to play with an intensity and drive seldom found in white American acts;[55] this influence would go on to shape the future of rock music through the British Invasion.[53]

Rise of pop

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.[56][57] 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.[24] In contrast rock music was seen as focusing on extended works, particularly albums, was often associated with particular sub-cultures (like the counterculture of the 1960s), placed an emphasis on artistic values and "authenticity", stressed live performance and instrumental or vocal virtuosity and was often seen as encapsulating progressive developments rather than simply reflecting existing trends.[24][56][57][58] Nevertheless, much pop and rock music has been very similar in sound, instrumentation and even lyrical content.[nb 1]

The first four years of the 1960s has traditionally been seen as an era of hiatus for rock and roll.

weasel words] have emphasised important innovations and trends in this period without which future developments would not have been possible.[63][64] 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 entirely from music at the end of the 1950s and some of its energy can be seen in the various dance crazes of the early 1960s, started by Chubby Checker's record "The Twist" (1960).[64][nb 2] Some music historians 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.[64]

1960s: British invasion and broadening sound

Instrumental rock and surf

Main articles: Instrumental rock and surf music
The Beach Boys performing in 1964

The instrumental rock and roll of performers such as

Wipe Out", by the Surfaris, which hit number 2 and number 10 on the Billboard charts in 1965.[69] Surf rock was also popular in Europe during this time, with the British group the Shadows scoring hits in the early 1960s with instrumentals such as "Apache" and "Kon-Tiki", while Swedish surf group the Spotnicks
saw success in both Sweden and Britain.

Surf music achieved its greatest commercial success as vocal pop music, particularly the work of

Four Freshmen.[70] The Beach Boys first chart hit, "Surfin'" in 1961 reached the Billboard top 100 and helped make the surf music craze a national phenomenon.[71] It is often argued that the surf music craze and the careers of almost all surf acts was effectively ended by the arrival of the British Invasion from 1964, because most surf music hits were recorded and released between 1960 and 1965.[72][nb 3]

British Invasion

Main article: British Invasion
See also: Beat music, British blues, and British rock music
Black and white picture of the Beatles waving in front of a crowd with an set of aeroplane steps in the background
The Beatles arriving in New York at the start of the British Invasion, February 1964

By the end of 1962, what would become the British rock scene had started with

Gerry & the Pacemakers and the Searchers from Liverpool and Freddie and the Dreamers, Herman's Hermits and the Hollies from Manchester. They drew on a wide range of American influences including 1950s rock and roll, soul, rhythm and blues, and surf music,[73] initially reinterpreting standard American tunes and playing for dancers. Bands like the Animals from Newcastle and Them from Belfast,[74] 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.[75] Soon these groups were composing their own material, combining US forms of music and infusing it with a high energy beat. Beat bands tended towards "bouncy, irresistible melodies", while early British blues acts tended towards less sexually innocent, more aggressive songs, often adopting an anti-establishment stance. There was, however, particularly in the early stages, considerable musical crossover between the two tendencies.[76] 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.[77]

"I Want to Hold Your Hand" was the Beatles' first number one hit on the Billboard Hot 100,[78] spending seven weeks at the top and a total of 15 weeks on the chart.[79][80] Their first appearance on The Ed Sullivan Show on 9 February 1964, drawing an estimated 73 million viewers (at the time a record for an American television program) is considered a milestone in American pop culture. During the week of 4 April 1964, the Beatles held 12 positions on the Billboard Hot 100 singles chart, including the entire top five. The Beatles went on to become the biggest selling rock band of all time and they were followed into the US charts by numerous British bands.[76] During the next two years British acts dominated their own and the US charts with Peter and Gordon, the Animals,[81] Manfred Mann, Petula Clark,[81] Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman's Hermits, the Rolling Stones,[82] the Troggs, and Donovan[83] all having one or more number one singles.[79] Other major acts that were part of the invasion included the Kinks and the Dave Clark Five.[84][85]

The British Invasion helped internationalize the production of rock and roll, opening the door for subsequent British (and Irish) performers to achieve international success.[86] In America it arguably spelled the end of instrumental surf music, vocal girl groups and (for a time) the teen idols, that had dominated the American charts in the late 1950s and 1960s.[87] 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.[88] 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.[89] Following the example set by the Beatles' 1965 LP Rubber Soul in particular, other British rock acts released rock albums intended as artistic statements in 1966, including the Rolling Stones' Aftermath, the Beatles' own Revolver, and the Who's A Quick One, as well as American acts in the Beach Boys (Pet Sounds) and Bob Dylan (Blonde on Blonde).[90]

Garage rock

Main article: Garage rock

Garage rock was a raw form of rock music, particularly prevalent in North America in the mid-1960s and so called because of the perception that it was rehearsed in the suburban family garage.[91][92] Garage rock songs often revolved around the traumas of high school life, with songs about "lying girls" and unfair social circumstances being particularly common.[93] The lyrics and delivery tended to be more aggressive than was common at the time, often with growled or shouted vocals that dissolved into incoherent screaming.[91] They ranged from crude one-chord music (like the Seeds) to near-studio musician quality (including the Knickerbockers, the Remains, and the Fifth Estate). There were also regional variations in many parts of the country with flourishing scenes particularly in California and Texas.[93] The Pacific Northwest states of Washington and Oregon had perhaps[according to whom?] the most defined regional sound.[94]

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

The style had been evolving from regional scenes as early as 1958. "Tall Cool One" (1959) by

Paul Revere and the Raiders (Boise),[96] the Trashmen (Minneapolis)[97] and the Rivieras (South Bend, Indiana).[98] Other influential garage bands, such as the Sonics (Tacoma, Washington), never reached the Billboard Hot 100.[99]

The British Invasion greatly influenced garage bands, providing them with a national audience, leading many (often

surf or hot rod groups) to adopt a British influence, and encouraging many more groups to form.[93] Thousands of garage bands were extant in the United States and Canada during the era and hundreds produced regional hits.[93] 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.[93] By 1968 the style largely disappeared from the national charts and at the local level as amateur musicians faced college, work or the draft.[93] New styles had evolved to replace garage rock.[93][nb 4]

Blues rock

Main article: Blues rock
See also: British blues
British blues rock group the Rolling Stones in 1965.

Although the first impact of the

Blues Incorporated.[103] 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.[55]

The other key focus for British blues was John Mayall; his band, the Bluesbreakers, included Eric Clapton (after Clapton's departure from the Yardbirds) and later Peter Green. Particularly significant was the release of Blues Breakers with Eric Clapton (Beano) album (1966), considered one of the seminal British blues recordings and the sound of which was much emulated in both Britain and the United States.[104] Eric Clapton went on to form supergroups Cream, Blind Faith, and Derek and the Dominos, followed by an extensive solo career that helped bring blues rock into the mainstream.[103] 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.[103] In the late 1960s Jeff Beck, also an alumnus of the Yardbirds, moved blues rock in the direction of heavy rock with his band, the Jeff Beck Group.[103] 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.[103]

In America, blues rock had been pioneered in the early 1960s by guitarist

Allman Brothers Band, Lynyrd Skynyrd, and ZZ Top, incorporated country elements into their style to produce the distinctive genre Southern rock.[106]

Early blues rock bands often emulated jazz, playing long, involved improvisations, which would later be a major element of progressive rock. From about 1967 bands like Cream and the Jimi Hendrix Experience had moved away from purely blues-based music into psychedelia.[107] 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",[107] as bands began recording rock-style albums.[107] The genre was continued in the 1970s by figures such as George Thorogood and Pat Travers,[103] 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.[108]

Folk rock

Main article: Folk rock
A black and white photograph of Joan Baez and Bob Dylan singing while Dylan plays guitar
Joan Baez and Bob Dylan in 1963

By the 1960s, the scene that had developed out of the American folk music revival had grown to a major movement, using traditional music and new compositions in a traditional style, usually on acoustic instruments.[109] In America the genre was pioneered by figures such as Woody Guthrie and Pete Seeger and often identified with progressive or labor politics.[109] In the early sixties figures such as Joan Baez and Bob Dylan had come to the fore in this movement as singer-songwriters.[110] Dylan had begun to reach a mainstream audience with hits including "Blowin' in the Wind" (1963) and "Masters of War" (1963), which brought "protest songs" to a wider public,[111] but, although beginning to influence each other, rock and folk music had remained largely separate genres, often with mutually exclusive audiences.[112]

Early attempts to combine elements of folk and rock included the Animals' "

Ritchie Unterberger, Dylan (even before his adoption of electric instruments) influenced rock musicians like the Beatles, demonstrating "to the rock generation in general that an album could be a major standalone statement without hit singles", such as on The Freewheelin' Bob Dylan (1963).[115]

Folk rock particularly took off in California, where it led acts like

The Sounds of Silence" (1965) being remixed with rock instruments to be the first of many hits.[112] These acts directly influenced British performers like Donovan and Fairport Convention.[112] In 1969 Fairport Convention abandoned their mixture of American covers and Dylan-influenced songs to play traditional English folk music on electric instruments.[116] This British folk-rock was taken up by bands including Pentangle, Steeleye Span and the Albion Band, which in turn prompted Irish groups like Horslips and Scottish acts like the JSD Band, Spencer's Feat and later Five Hand Reel, to use their traditional music to create a brand of Celtic rock in the early 1970s.[117]

Folk-rock reached its peak of commercial popularity in the period 1967–68, before many acts moved off in a variety of directions, including Dylan and the Byrds, who began to develop country rock.[118] 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".[112][119]

Psychedelic rock

Main article: Psychedelic rock
See also: Raga rock
The Jimi Hendrix Experience
in 1968

Psychedelic music's

Jimi Hendrix Experience's lead guitarist, Jimi Hendrix
did extended distorted, feedback-filled jams which became a key feature of psychedelia.
Woodstock festival, which saw performances by most of the major psychedelic acts.[121]

Sgt. Pepper was later regarded as the greatest album of all time and a starting point for the album era, during which rock music transitioned from the singles format to albums and achieved cultural legitimacy in the mainstream.[123] Led by the Beatles in the mid-1960s,[124] rock musicians advanced the LP as the dominant form of recorded music expression and consumption, initiating a rock-informed album era in the music industry for the next several decades.[125]

Progressive rock

Main article: Progressive rock
See also: Art rock and Experimental rock
Further information: Progressive music
A color photograph of members of the band Yes on stage
Prog rock band Yes performing in Indianapolis in 1977

Progressive rock, a term sometimes used interchangeably with

Bach-inspired introduction.[127] The Moody Blues used a full orchestra on their album Days of Future Passed (1967) and subsequently created orchestral sounds with synthesizers.[126] Classical orchestration, keyboards, and synthesizers were a frequent addition to the established rock format of guitars, bass, and drums in subsequent progressive rock.[128]

Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy and science fiction.

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.[126] 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.[131] The French group Magma around drummer Christian Vander almost single-handedly created the new music genre zeuhl with their first albums in the early 1970s.[132]

Genesis performing at Old Trafford, Manchester in 2007. From left to right, Daryl Stuermer on bass, Mike Rutherford on guitar, behind him Chester Thompson on drums, Phil Collins on vocals and Tony Banks on keyboards.

Greater commercial success was enjoyed by Pink Floyd, who also moved away from psychedelia after the departure of Syd Barrett in 1968, with

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.[126] Jethro Tull and Genesis both pursued very different, but distinctly English, brands of music.[134] 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.[135] 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.[136] The American brand of progressive rock varied from the eclectic and innovative Frank Zappa, Captain Beefheart and Blood, Sweat & Tears,[137] to more pop rock orientated bands like Boston, Foreigner, Kansas, Journey, and Styx.[126] These, beside British bands Supertramp and ELO, all demonstrated a prog rock influence and while ranking among the most commercially successful acts of the 1970s, heralding the era of pomp or arena rock, which would last until the costs of complex shows (often with theatrical staging and special effects), would be replaced by more economical rock festivals as major live venues in the 1990s.[citation needed
]

The instrumental strand of the genre resulted in albums like

Tubular Bells (1973), the first record, and worldwide hit, for the Virgin Records label, which became a mainstay of the genre.[126] Instrumental rock was particularly significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream, Can, and Faust to circumvent the language barrier.[138] Their synthesiser-heavy "krautrock", along with the work of Brian Eno (for a time the keyboard player with Roxy Music), would be a major influence on subsequent electronic rock.[126] With the advent of punk rock and technological changes in the late 1970s, progressive rock was increasingly dismissed as pretentious and overblown.[139][140] Many bands broke up, but some, including Genesis, ELP, Yes, and Pink Floyd, regularly scored top ten albums with successful accompanying worldwide tours.[100] Some bands which emerged in the aftermath of punk, such as Siouxsie and the Banshees, Ultravox, and Simple Minds, showed the influence of progressive rock, as well as their more usually recognized punk influences.[141]

Jazz rock

Main article:
Jazz rock
A color photograph of Jaco Pastorius sitting on a stool and playing a bass guitar
Jaco Pastorius of Weather Report in 1980

In the late 1960s, jazz-rock emerged as a distinct subgenre out of the blues-rock, psychedelic, and progressive rock scenes, mixing the power of rock with the musical complexity and improvisational elements of jazz.

Electric Flag, Blood, Sweat & Tears and Chicago, to become some of the most commercially successful acts of the later 1960s and the early 1970s.[143]

British acts to emerge in the same period from the blues scene, to make use of the tonal and improvisational aspects of jazz, included Nucleus[144] 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.[143] The genre began to fade in the late 1970s, as a mellower form of fusion began to take its audience,[142] but acts like Steely Dan,[142] Frank Zappa and Joni Mitchell recorded significant jazz-influenced albums in this period, and it has continued to be a major influence on rock music.[143]

1970s–1980s: Commercialisation

Steven Tyler and Joe Perry of Aerosmith performing in 2007. They are known as the "Toxic Twins"

Reflecting on developments that occurred in rock music in the early 1970s, Robert Christgau wrote in Christgau's Record Guide: Rock Albums of the Seventies (1981):[17]

The decade is, of course, an arbitrary schema itself—time doesn't just execute a neat turn toward the future every ten years. But like a lot of artificial concepts—money, say—the category does take on a reality of its own once people figure out how to put it to work. "The '60s are over," a slogan one only began to hear in 1972 or so, mobilized all those eager to believe that idealism had become passe, and once they were mobilized, it had. In popular music, embracing the '70s meant both an

FM radio and album rock
.

Rock saw greater commodification during this decade, turning into a multibillion-dollar industry and doubling its

self-referential – there were lots of songs about the rock and roll life but very few about how rock could change the world, except as a new brand of painkiller ... In the '70s the powerful took over, as rock industrialists capitalized on the national mood to reduce potent music to an often reactionary species of entertainment—and to transmute rock's popular base from the audience to market."[17]

Roots rock

Main article: Roots rock
See also: Country rock and Southern rock

Roots rock is the term now used to describe a move away from what some saw as the excesses of the psychedelic scene, to a more basic form of rock and roll that incorporated its original influences, particularly blues, country and folk music, leading to the creation of country rock and Southern rock.

Beggar's Banquet (1968) and the Beatles' Let It Be (1970).[121] Reflecting on this change of trends in rock music over the past few years, Christgau wrote in his June 1970 "Consumer Guide" column that this "new orthodoxy" and "cultural lag" abandoned improvisatory, studio-ornamented productions in favor of an emphasis on "tight, spare instrumentation" and song composition: "Its referents are '50s rock, country music, and rhythm-and-blues, and its key inspiration is the Band."[149]

Long Road out of Eden Tour

In 1968,

Hotel California (1976).[152]

The founders of Southern rock are usually thought to be the Allman Brothers Band, who developed a distinctive sound, largely derived from

.38 Special, Molly Hatchet and the Marshall Tucker Band.[106]

Glam rock

Main article: Glam rock
A color photograph of David Bowie with an acoustic guitar
David Bowie during the Ziggy Stardust and the Spiders Tour in 1972

Glam rock emerged from the English psychedelic and art rock scenes of the late 1960s and can be seen as both an extension of and reaction against those trends.

mythology; manifesting itself in outrageous clothes, makeup, hairstyles, and platform-soled boots.[154] Glam is most noted for its sexual and gender ambiguity and representations of androgyny, beside extensive use of theatrics.[155] It was prefigured by the showmanship and gender-identity manipulation of American acts such as the Cockettes and Alice Cooper.[156]

The origins of glam rock are associated with

Glitter Band, who between them achieved eighteen top ten singles in the UK between 1972 and 1976.[160] 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.[158] 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.[158] 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.[159] Glam has since enjoyed sporadic modest revivals through bands such as Chainsaw Kittens, the Darkness[161] and in R&B crossover act Prince.[162]

Chicano rock

Main article: Chicano rock
Carlos Santana, New Year's Eve 1976 at the Cow Palace in San Francisco

After the early successes of Latin rock in the 1960s, Chicano musicians like Carlos Santana and Al Hurricane continued to have successful careers throughout the 1970s. Santana opened the decade with success in his 1970 single "Black Magic Woman" on the Abraxas album.[163] His third album Santana III yielded the single "No One to Depend On", and his fourth album Caravanserai experimented with his sound to mixed reception.[164][165] He later released a series of four albums that all achieved gold status: Welcome, Borboletta, Amigos, and Festivál. Al Hurricane continued to mix his rock music with New Mexico music, though he was also experimenting more heavily with Jazz music, which led to several successful singles, especially on his Vestido Mojado album, including the eponymous "Vestido Mojado", as well as "Por Una Mujer Casada" and "Puño de Tierra"; his brothers had successful New Mexico music singles in "La Del Moño Colorado" by Tiny Morrie and "La Cumbia De San Antone" by Baby Gaby.[166] Al Hurricane Jr. also began his successful rock-infused New Mexico music recording career in the 1970s, with his 1976 rendition of "Flor De Las Flores".[167][168] Los Lobos gained popularity at this time, with their first album Los Lobos del Este de Los Angeles in 1977.

Soft rock, hard rock, and early heavy metal

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

A strange time, 1971—although rock's balkanization into genres was well underway, it was often hard to tell one catch-phrase from the next. "Art-rock" could mean anything from the Velvets to the Moody Blues, and although Led Zeppelin was launched and Black Sabbath celebrated, "heavy metal" remained an amorphous concept.

—Robert Christgau[169]

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.[170] Major artists included Carole King, Cat Stevens and James Taylor.[170] It reached its commercial peak in the mid- to late 1970s with acts like Billy Joel, America and the reformed Fleetwood Mac, whose Rumours (1977) was the best-selling album of the decade.[171] In contrast, hard rock was more often derived from blues-rock and was played louder and with more intensity.[172] It often emphasised the electric guitar, both as a rhythm instrument using simple repetitive riffs and as a solo lead instrument, and was more likely to be used with distortion and other effects.[172] Key acts included British Invasion bands like the Kinks, as well as psychedelic era performers like Cream, Jimi Hendrix and the Jeff Beck Group.[172] Hard rock-influenced bands that enjoyed international success in the later 1970s included Queen,[173] Thin Lizzy,[174] Aerosmith, AC/DC,[172] and Van Halen.

A color photograph of the band Led Zeppelin on stage
Led Zeppelin live at Chicago Stadium in January 1975

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.

modal harmony, helping to produce a "darker" sound.[177] These elements were taken up by a "second generation" of heavy metal bands into the late 1970s, including: Judas Priest, UFO, Motörhead and Rainbow from Britain; Kiss, Ted Nugent, and Blue Öyster Cult from the US; Rush from Canada and Scorpions from Germany, all marking the expansion in popularity of the subgenre.[177] 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.[178] In the 1980s, bands such as Bon Jovi, Guns N' Roses, Skid Row and Def Leppard saw mainstream success, with hard rock and a fusion of hard rock with pop. During the 1990s, hard rock saw a slight decline in popularity, save for some major hits like Guns N' Roses' November Rain. But in the early 2000s, Bon Jovi's "It's My Life
" saw a huge increase in popularity of rock and pop rock and helped introduce the genres to a newer fanbase.

Christian rock

Main article: Christian rock
Switchfoot taking a bow at their Atlanta stop on the Fading West Tour – Buckhead Theatre, 2014

Rock, mostly the heavy metal genre, has been criticized by some Christian leaders, who have condemned it as immoral, anti-Christian and even satanic.

P.O.D.[184]

Heartland rock

Main article: Heartland rock
A black and white photograph of Bruce Springsteen on stage with a guitar
Bruce Springsteen in East Berlin in 1988

American working-class oriented heartland rock, characterized by a straightforward musical style, and a concern with the lives of ordinary,

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.[185] 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.[186] Led by figures who had initially been identified with punk and New Wave, it was most strongly influenced by acts such as Bob Dylan, the Byrds, Creedence Clearwater Revival and Van Morrison, and the basic rock of 1960s garage and the Rolling Stones.[187]

Exemplified by the commercial success of singer songwriters

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.[187] It can also be heard as an influence on artists as diverse as Billy Joel,[188] Kid Rock[189] and the Killers.[190]

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.[187] Many heartland rock artists continued to record with critical and commercial success, most notably Bruce Springsteen, Tom Petty, and John Mellencamp, although their output became more personal and experimental, no longer fitting a specific genre.[191]

Punk rock

Main article: Punk rock
See also:
Protopunk and Hardcore punk
A color photograph of Patti Smith on stage with a microphone
Patti Smith, performing in 1976

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.

DIY (do it yourself) ethic, with many bands self-producing their recordings and distributing them through informal channels.[193]

Johnny Rotten and guitarist Steve Jones of the Sex Pistols

By late 1976, acts such as the

Silver Jubilee.[195] 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.[196]

By the beginning of the 1980s, faster, more aggressive styles such as

Crass), grindcore (such as Napalm Death), and crust punk.[198] 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.[192]

New wave

Main articles: New wave music and Synth-pop
See also: New Romantic and Electronic rock
A black and white photograph of Debbie Harry on stage with a microphone
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),[199] or American radio airplay (as the radio scene continued to be dominated by mainstream formats such as disco and album-oriented rock).[200] 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.[201] 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.[202] Many of these bands, such as the Cars and the Go-Go's can be seen as pop bands marketed as new wave;[203] 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,[204] while "skinny tie" bands exemplified by the Knack,[205] or the photogenic Blondie, began as punk acts and moved into more commercial territory.[206]

Between 1979 and 1985, influenced by Kraftwerk, Yellow Magic Orchestra, David Bowie and Gary Numan, British new wave went in the direction of such New Romantics as Spandau Ballet, Ultravox, Japan, Duran Duran, A Flock of Seagulls, Culture Club, Talk Talk and the Eurythmics, sometimes using the synthesizer to replace all other instruments.[207] This period coincided with the rise of MTV and led to a great deal of exposure for this brand of synth-pop, creating what has been characterised as a second British Invasion.[208] 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,[209] but in general, guitar-oriented rock was commercially eclipsed.[210]

Post-punk

Main article: Post-punk
See also: Gothic rock and Industrial music
the Joshua Tree Tour 2017

If hardcore most directly pursued the stripped down aesthetic of punk, and new wave came to represent its commercial wing, post-punk emerged in the later 1970s and early 1980s as its more artistic and challenging side. Major influences beside punk bands were the Velvet Underground, Frank Zappa and Captain Beefheart, and the New York-based no wave scene which placed an emphasis on performance, including bands such as James Chance and the Contortions, DNA and Sonic Youth.[211] Early contributors to the genre included the US bands Pere Ubu, Devo, the Residents and Talking Heads.[211]

The first wave of British post-punk included

post-industrial music in the 1980s.[214]

The second generation of British post-punk bands that broke through in the early 1980s, including

Teardrop Explodes, tended to move away from dark sonic landscapes.[211] 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.[215] 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.[216]

Emergence of alternative rock

Main article: Alternative rock
See also:
shoegazing
A color photograph of the band R.E.M. on stage
R.E.M., a successful alternative rock band in the 1980s and 1990s

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.

independent record labels, building an extensive underground music scene based on college radio, fanzines, touring, and word-of-mouth.[219] They rejected the dominant synth-pop of the early 1980s, marking a return to group-based guitar rock.[220][221][222]

Few of these early bands achieved mainstream success, although exceptions to this rule include R.E.M., the Smiths, and the Cure. Despite a general lack of spectacular album sales, the original alternative rock bands exerted a considerable influence on the generation of musicians who came of age in the 1980s and ended up breaking through to mainstream success in the 1990s. Styles of alternative rock in the US 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.[217] In the UK, Gothic rock was dominant in the early 1980s, but by the end of the decade, indie or dream pop[223] like Primal Scream, Bogshed, Half Man Half Biscuit and the Wedding Present, and what were dubbed shoegaze bands like My Bloody Valentine, Slowdive, Ride and Lush entered.[224] Particularly vibrant was the Madchester scene, producing such bands as Happy Mondays, Inspiral Carpets and the Stone Roses.[218][225] The next decade would see the success of grunge in the US and Britpop in the UK, bringing alternative rock into the mainstream.

1990s–2000s: Rise of alternative culture

Grunge

Main article: Grunge
A color photograph of two members of the band Nirvana on stage with guitars
Nirvana performing in 1992

Disaffected by commercialized and highly produced pop and rock in the mid-1980s, bands in

distortion, fuzz, and feedback.[226] 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.[226]

Bands such as Green River, Soundgarden, Melvins, and Skin Yard pioneered the genre, with Mudhoney becoming the most successful by the end of the decade. Grunge remained largely a local phenomenon until 1991, when Nirvana's album Nevermind became a huge success, containing the anthemic song "Smells Like Teen Spirit".[227] Nevermind was more melodic than its predecessors, by signing to Geffen Records the band was one of the first to employ traditional corporate promotion and marketing mechanisms such as an MTV video, in store displays and the use of radio "consultants" who promoted airplay at major mainstream rock stations. During 1991 and 1992, other grunge albums such as Pearl Jam's Ten, Soundgarden's Badmotorfinger, and Alice in Chains' Dirt, along with the Temple of the Dog album featuring members of Pearl Jam and Soundgarden, became among the 100 top-selling albums.[228] 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.[229] However, with the death of Kurt Cobain and the subsequent break-up of Nirvana in 1994, touring problems for Pearl Jam and the departure of Alice in Chains' lead singer Layne Staley in 1998, the genre began to decline, partly to be overshadowed by Britpop and more commercial sounding post-grunge.[230]

Britpop

Main article: Britpop
A color photograph of Noel and Liam Gallagher of the band Oasis on stage
Oasis performing in San Diego in September 2005

Britpop emerged from the British alternative rock scene of the early 1990s and was characterised by bands particularly influenced by British guitar music of the 1960s and 1970s.[218] The Smiths were a major influence, as were bands of the Madchester scene, which had dissolved in the early 1990s.[86] The movement has been seen partly as a reaction against various US-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.[218] Britpop was varied in style, but often used catchy tunes and hooks, beside lyrics with particularly British concerns and the adoption of the iconography of the 1960s British Invasion, including the symbols of British identity previously used by the mods.[231] It was launched around 1993 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 successful albums and singles.[218] For a while the contest between Blur and Oasis was built by the popular press into the "Battle of Britpop", initially won by Blur, but with Oasis achieving greater long-term and international success, directly influencing later Britpop bands, such as Ocean Colour Scene and Kula Shaker.[232] Britpop groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement known as Cool Britannia.[233] 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.[218]

Post-grunge

Main article: Post-grunge
A color photograph of members of the Foo Fighters on stage with instruments
Foo Fighters performing an acoustic show in November 2007

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.[230] Often they worked through the major labels and came to incorporate diverse influences from jangle pop, pop-punk, alternative metal or hard rock.[230] The term post-grunge originally was meant to be pejorative, suggesting that they were simply musically derivative, or a cynical response to an "authentic" rock movement.[234] Originally, grunge bands that emerged when grunge was mainstream and were suspected of emulating the grunge sound were pejoratively labelled as post-grunge.[234] From 1994, former Nirvana drummer Dave Grohl's new band, the Foo Fighters, helped popularize the genre and define its parameters.[235]

Some post-grunge bands, like Candlebox, were from Seattle, but the subgenre was marked by a broadening of the geographical base of grunge, with bands like Los Angeles' Audioslave, and Georgia's Collective Soul and beyond the US to Australia's Silverchair and Britain's Bush, who all cemented post-grunge as one of the most commercially viable subgenres of the late 1990s.[217][230] Although male bands predominated post-grunge, female solo artist Alanis Morissette's 1995 album Jagged Little Pill, labelled as post-grunge, also became a multi-platinum hit.[236] Post-grunge morphed during the late 1990s as post-grunge bands like Creed and Nickelback emerged.[234] Bands like Creed and Nickelback took post-grunge into the 21st century with considerable commercial success, abandoning most of the angst and anger of the original movement for more conventional anthems, narratives and romantic songs, and were followed in this vein by newer acts including Shinedown, Seether, 3 Doors Down and Puddle of Mudd.[234]

Pop-punk

Main article: Pop-punk
A color photograph of members of the group Green Day on stage with instruments
Green Day performing in Rome in June 2013

The origins of 1990s pop-punk can be seen in the more song-oriented bands of the 1970s punk movement like

eponymous debut from Weezer, which spawned three top ten singles in the US.[239] This success opened the door for the multi-platinum sales of metallic punk band the Offspring with Smash (1994).[217] This first wave of pop punk reached its commercial peak with Green Day's Nimrod (1997) and the Offspring's Americana (1998).[240]

A second wave of pop-punk was spearheaded by Blink-182, with their breakthrough album Enema of the State (1999), followed by bands such as Good Charlotte, Simple Plan and Sum 41, who made use of humour in their videos and had a more radio-friendly tone to their music, while retaining the speed, some of the attitude and even the look of 1970s punk.[237] Later pop-punk bands, including All Time Low, the All-American Rejects and Fall Out Boy, had a sound that has been described as closer to 1980s hardcore, while still achieving commercial success.[237]

Indie rock

Main article: Indie rock
See also:
Sadcore, and Baroque pop
A black and white photograph of five members of the group Pavement standing in front of a brick wall
Lo-fi indie rock band Pavement

In the 1980s the terms indie rock and alternative rock were used interchangeably.

indie scene, flourishing with bands with enough popularity to survive inside the respective country, but virtually unknown outside them.[243]

By the end of the 1990s many recognisable subgenres, most with their origins in the late 1980s alternative movement, were included under the umbrella of indie. Lo-fi eschewed polished recording techniques for a D.I.Y. ethos and was spearheaded by

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,[248] while the revival of baroque pop reacted against lo-fi and experimental music by placing an emphasis on melody and classical instrumentation, with artists like Arcade Fire, Belle and Sebastian and Rufus Wainwright.[249]

Alternative metal, rap rock and nu metal

Main article: Heavy metal music
See also:
New Wave of American Heavy Metal, Alternative metal, Rap rock, Rap metal, and Nu metal

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

hip hop and rap.[250]

A color photograph of members of the group Linkin Park performing on and outdoor stage
Linkin Park performing at 2009 Sonisphere Festival in Pori, Finland

Public Enemy and Whodini.[256] The mixing of thrash metal and rap was pioneered by Anthrax on their 1987 comedy-influenced single "I'm the Man".[256]

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.[257] 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.[256][258] Among the first wave of performers to gain mainstream success as rap rock were 311,[259] Bloodhound Gang,[260] and Kid Rock.[261] A more metallic sound – nu metal – was pursued by bands including Limp Bizkit, Korn and Slipknot.[256] 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.[262]

In 2001, nu metal reached its peak with albums like Staind's

pop punk and emo.[264] Since then, many bands have changed to a more conventional hard rock, heavy metal, or electronic music sound.[264]

Post-Britpop

Main article: Post-Britpop
Travis in Los Angeles in November 2007

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.[265][266] Many of these bands tended to mix elements of British traditional rock (or British trad rock),[267] particularly the Beatles, Rolling Stones and Small Faces,[268] with American influences, including post-grunge.[269][270] Drawn from across the United Kingdom (with several important bands emerging from the north of England, Scotland, Wales and Northern Ireland), the themes of their music tended to be less parochially centered on British, English and London life and more introspective than had been the case with Britpop at its height.[271][272] This, beside a greater willingness to engage with the American press and fans, may have helped some of them in achieving international success.[273] Several alternative bands that had enjoyed some success during the mid-1990s, but did not find major commercial success until the late 1990s included the Verve and Radiohead. After the decline of Britpop they began to gain more critical and popular attention. The Verve's album Urban Hymns (1997) was a worldwide hit, and Radiohead achieved near-universal critical acclaim with their experimental third album OK Computer (1997), as well as its follow-up Kid A (2000).

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.

garage rock revival and post-punk revival, which has also been seen as a reaction to their introspective brand of rock.[270][275][276][277]

Post-hardcore and emo

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

Post-hardcore developed in the US, particularly in the Chicago and Washington, DC areas, in the early to mid-1980s, with bands that were inspired by the do-it-yourself ethics and guitar-heavy music of hardcore punk, but influenced by post-punk, adopting longer song formats, more complex musical structures and sometimes more melodic vocal styles.[278]

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.[279] The early emo scene operated as an underground, with short-lived bands releasing small-run vinyl records on tiny independent labels.[279] 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).[280] The new emo had a much more mainstream sound than in the 1990s and a far greater appeal amongst adolescents than its earlier incarnations.[280] 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.[281] By 2003 post-hardcore bands had also caught the attention of major labels and began to enjoy mainstream success in the album charts.[citation needed] A number of these bands were seen as a more aggressive offshoot of emo and given the often vague label of screamo.[282]

Garage rock and post-punk revivals

Main articles:
Garage rock revival and Post-punk revival
a color photograph of members of the group the Strokes performing on stage
The Strokes performing in March 2006

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.[283][284][285][286] Because the bands came from across the globe, cited diverse influences (from traditional blues, through New Wave to grunge), and adopted differing styles of dress, their unity as a genre has been disputed.[287] 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.[288]

The commercial breakthrough from these scenes was led by four bands:

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).[289] They were christened by the media as the "The" bands, and dubbed "The saviours of rock 'n' roll", leading to accusations of hype.[290] A second wave of bands that gained international recognition due to the movement included Black Rebel Motorcycle Club, the Killers, Interpol and Kings of Leon from the US,[291] the Libertines, Arctic Monkeys, Bloc Party, Kaiser Chiefs and Franz Ferdinand from the UK,[292] Jet and Wolfmother from Australia,[293] and the Datsuns and the D4 from New Zealand.[294]

Digital electronic rock

Main article: Electronic rock
See also:
Indietronica, Electroclash, Dance-punk, New rave, and Synth-pop

In the 2000s, as computer technology became more accessible and

indie electronic, electroclash, dance-punk and new rave.[citation needed
]

2010s–present: Commercial stagnation and revival scenes

Swedish hard rock band Ghost performing live in 2015

During the 2010s, rock music declined from its position as the major popular music genre, now sharing with

Genius suggested that hip-hop became more popular because it is a more transformative genre and does not need to rely on past sounds and that there is a direct connection to the stagnation of rock music and changing social attitudes during the 2010s.[299] Bill Flanagan, in a 2016 opinion piece for The New York Times, compared the state of rock during this period to the state of jazz in the early 1980s, "slowing down and looking back."[302]

The rock bands which had chart success in the 2010s were mostly associated with the trends that had been popular in the 2000s and earlier decades rather than reflecting new scenes and sounds.

Coachella, Glastonbury and Roskilde, and smaller-scale local festivals expanding.[307]

In 2020, the COVID-19 pandemic brought extreme changes to the rock scene worldwide. Restrictions, such as quarantine rules, caused widespread cancellations and postponements of concerts, tours, festivals, album releases, award ceremonies, and competitions.[308][309][310][311][312] Some artists resorted to giving online performances to keep their careers active.[313] Another scheme to circumvent the quarantine limitations was used at a concert of Danish rock musician Mads Langer: the audience watched the performance from inside their cars, much like in a drive-in theater.[314] Musically, the pandemic led to a surge in new releases from the slower, less energetic, and more acoustic subgenres of rock music.[315][316] The industry raised funds to help itself through efforts such as Crew Nation, a relief fund for live music crews organised by Livenation.[317]

Psychedelic and progressive revivals

Main articles: Neo-psychedelia and Neo-prog
See also: Stoner rock, Palm Desert Scene, and Psychedelic rock in Australia and New Zealand
EDM, and world music.[321] A 2014 article in The Guardian described Australia as a place where "independently minded rock bands are free to develop at their own pace".[322] Other Australian psychedelic and progressive revival acts of the 2010s and 2020s include King Gizzard & the Lizard Wizard, Psychedelic Porn Crumpets, Rolling Blackouts Coastal Fever, Bananagun, Jay Watson, The Murlocs, Stonefield, and Tropical Fuck Storm.[323][324]

Psychedelic trends in rock have also seen a revival in Europe, with European and American stoner rock groups such as Uncle Acid & the Deadbeats, Graveyard, Kadavar, All Them Witches, and True Widow performing a heavier, more riff-based version of neo-psychedelia containing stronger blues and metal influences.[325] Europe has been described as "really good" for new psychedelic music, with many American stoner rock bands choosing to tour in Europe as opposed to North America.[326]

Pop-punk and post-punk revivals

At the start of the 2020s, recording artists in both pop and rap music released popular pop-punk-influenced recordings, many of them produced or assisted by Blink-182 drummer Travis Barker. Representing a commercial resurgence for the genre, these acts included Machine Gun Kelly, Willow Smith, Trippie Redd, Halsey, Yungblud, and Olivia Rodrigo. The popularity of the social media platform TikTok helped spark nostalgia for the angst-driven musical style among young listeners during the pandemic. Among the most successful of these releases have been Machine Gun Kelly's 2020 album Tickets to My Downfall, which topped the Billboard 200, and Rodrigo's number-one hit single "Good 4 U" (2021).[327]

In the mid-to-late 2010s and early 2020s, a new wave of post-punk bands from Britain and Ireland emerged. The groups in this scene have been described with the term "Crank Wave" by NME and The Quietus in 2019, and as "Post-Brexit New Wave" by NPR writer Matthew Perpetua in 2021.[328][329][330] Artists that have been identified as part of the style include Black Midi, Wet Leg, Squid, Black Country, New Road, Dry Cleaning, Shame, Sleaford Mods, Fontaines D.C., The Murder Capital, Idles and Yard Act.[328][329][330][331] Post-punk artists that attained prominence in the 2010s and early 2020s from other countries besides the UK included Parquet Courts, Protomartyr and Geese (United States), Preoccupations (Canada), Iceage (Denmark), and Viagra Boys (Sweden).[332][333][334]

Social impact

Main article: Social effects of rock music
Woodstock Festival in August 1969 was seen as a celebration of the countercultural
lifestyle.

Different subgenres of rock were adopted by, and became central to, the identity of a large number of

sub-cultures. In the 1950s and 1960s, respectively, British youths adopted the Teddy Boy and Rocker subcultures, which revolved around US rock and roll.[335] The counterculture of the 1960s was closely associated with psychedelic rock.[335] The mid-late 1970s punk subculture began in the US, but it was given a distinctive look by British designer Vivienne Westwood, a look which spread worldwide.[336] Out of the punk scene, the Goth and Emo subcultures grew, both of which presented distinctive visual styles.[337]

When an international rock culture developed, it supplanted cinema as the major sources of fashion influence.[338] Paradoxically, followers of rock music have often mistrusted the world of fashion, which has been seen as elevating image above substance.[338] 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.[338][339] Rock has also been associated with various forms of drug use, including the amphetamines taken by mods in the early to mid-1960s, through the LSD, mescaline, hashish and other hallucinogenic drugs linked with psychedelic rock in the mid-late 1960s and early 1970s; and sometimes to cannabis, cocaine and heroin, all of which have been eulogised in song.[340][341]

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.[342][343] While rock music has absorbed many influences and introduced Western audiences to different musical traditions,[344] the global spread of rock music has been interpreted as a form of cultural imperialism.[345] 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.[346] 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 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.[347]

Since its early development, rock music has been associated with rebellion against social and political norms, most in early rock and roll's rejection of an adult-dominated culture, the counterculture's rejection of consumerism and conformity and punk's rejection of all forms of social convention,[348] however, it can also be seen as providing a means of commercial exploitation of such ideas and of diverting youth away from political action.[349][350]

Role of women

Main article: Women in music § Popular music
See also:
Women in heavy metal
Suzi Quatro, a singer, bassist, bandleader, and one of the first prominent women instrumentalists and bandleaders

Professional women instrumentalists are uncommon in rock genres such as heavy metal although bands such as Within Temptation have featured women as lead singers with men playing instruments. According to Schaap and Berkers, "playing in a band is a male homosocial activity, that is, learning to play in a band is a peer-based ... experience, shaped by existing sex-segregated friendship networks.[351] They note that rock music "is often defined as a form of male rebellion vis-à-vis female bedroom culture."[352] (The theory of "bedroom culture" argues that society influences girls to not engage in crime and deviance by virtually trapping them in their bedroom; it was identified by a sociologist named Angela McRobbie.) In popular music, there has been a gendered "distinction between public (male) and private (female) participation" in music.[352] "Several scholars have argued that men exclude women from bands or from the bands' rehearsals, recordings, performances, and other social activities".[353] "Women are regarded as passive and private consumers of slick, prefabricated – hence, inferior – pop music ..., excluding them from participating as high status rock musicians".[353] One of the reasons that there are mixed gender bands is that "bands operate as tight-knit units in which homosocial solidarity – social bonds between people of the same sex ...  – plays a crucial role".[353] In the 1960s rock music scene, "singing was sometimes an acceptable pastime for a girl, but playing an instrument ... simply wasn't done".[354]

"The rebellion of rock music was a male rebellion; the women – often, in the 1950s and '60s, girls in their teens – in rock sang songs as personæ dependent on their macho boyfriends ...". Philip Auslander says that "Although there were many women in rock by the late 1960s, most performed only as singers, a feminine position in popular music". Though some women played instruments in American

all-female garage rock bands, none of these bands achieved more than regional success. So they "did not provide viable templates for women's on-going participation in rock".[355] In relation to the gender composition of heavy metal bands, it has been said that "[h]eavy metal performers are almost exclusively male"[356] "...at least until the mid-1980s"[357] apart from "...exceptions such as Girlschool".[356] However, "...now [in the 2010s] maybe more than ever–strong metal women have put up their dukes and got down to it",[358] "carv[ing] out a considerable place for [them]selves."[359] When Suzi Quatro emerged in 1973, "no other prominent female musician worked in rock simultaneously as a singer, instrumentalist, songwriter, and bandleader".[355] According to Auslander, she was "kicking down the male door in rock and roll and proving that a female musician ... and this is a point I am extremely concerned about ... could play as well if not better than the boys".[355]

An

female musicians. This is distinct from a girl group, in which the female members are vocalists, though this terminology is not universally followed.[360]

See also

Notes

  1. ^ The terms "pop-rock" and "power pop" have been used to describe more commercially successful music that uses elements from, or the form of, rock music.[59] 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."[60] 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.[61]
  2. Shep and the Limelights.[65] 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.[66] 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.[67]
  3. ^ 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.[71]
  4. ^ In Detroit, garage rock's legacy remained alive into the early 1970s, with bands such as the MC5 and the Stooges, who employed a much more aggressive approach to the form. These bands began to be labelled punk rock and are now often seen as proto-punk or proto-hard rock.[100]

References

  1. ^ "Power Pop Guide: A Brief History of Power Pop". MasterClass. 4 March 2022. Archived from the original on 24 May 2022. Retrieved 23 May 2022.
  2. ^ Azerrad, Michael (16 April 1992). "Grunge City: The Seattle Scene". Rolling Stone. Archived from the original on 20 September 2023. Retrieved 2 November 2018.
  3. ^
    ISBN 0-7890-0151-9
    p.xi
  4. Vulture.com. New York Media, LLC. Archived
    from the original on 11 March 2021. Retrieved 19 March 2017.
  5. ISBN 0-87972-369-6
    , pp. 68–73.
  6. ^
    ISBN 978-0-534-64295-2
    .
  7. ^ R.C. Brewer, "Bass Guitar" in Shepherd 2003, p 56.
  8. ^ R. Mattingly, "Drum Set" in Shepherd 2003, p 361.
  9. ISBN 0-8195-6309-9
    , pp. 69–70.
  10. ^ D. Laing, "Quartet" in Shepherd 2003, p 56.
  11. ^
    ISBN 0-8160-5266-2
    , pp. 251–52.
  12. ^ Campbell & Brody 2007, p. 117
  13. ISBN 0-7914-6715-5
    , p. 40.
  14. ISBN 1-86064-090-7
    , p. xi.
  15. ISBN 0-521-39914-9
    , p. x.
  16. ISBN 0-89919-025-1. Archived
    from the original on 6 April 2023. Retrieved 16 October 2021 – via robertchristgau.com.
  17. ^
    ISBN 0-89919-025-1. Archived
    from the original on 2 April 2019. Retrieved 6 April 2019 – via robertchristgau.com.
  18. ISBN 978-0-275-99164-7
    .
  19. ISBN 0-393-04700-8
    .
  20. ISBN 978-0-253-35408-2
    .
  21. ISBN 0-674-00547-3
    , p. 176.
  22. ISBN 978-0-7546-2679-4. Archived
    from the original on 6 April 2023. Retrieved 27 March 2023.
  23. ^ Christgau, Robert (11 June 1972). "Tuning Out, Tuning In, Turning On". Newsday. Archived from the original on 20 September 2023. Retrieved 17 March 2017.
  24. ^
    ISBN 0-7546-3132-X
    , pp. 3–4.
  25. ISBN 0-8223-2900-X
    , p. 7.
  26. ISBN 0-679-73015-X. Archived
    from the original on 9 July 2023. Retrieved 6 April 2019.
  27. ^ R. Unterberger, "Birth of Rock & Roll", in Bogdanov et al., 2002, pp. 1303–04.
  28. ISBN 9780807009895
    .
  29. ^ "World's First Rock-and-Roll Song Identified - Seeker". 23 January 2021. Archived from the original on 23 January 2021. Retrieved 18 April 2024.
  30. ^ "The First Rock and Roll Song". LiveAbout. Archived from the original on 27 October 2022. Retrieved 11 November 2022.
  31. ^ Will the creator of modern music please stand up? Alexis Petridis The Guardian 16 April 2004
  32. ISBN 0-8223-1265-4
  33. ^ Bill Dahl, "Jimmy Preston", AllMusic, archived from the original on 20 May 2016, retrieved 27 April 2012
  34. ^
    ISBN 978-0-495-50530-3
    .
  35. ISBN 0-87972-468-4
    , p. 170.
  36. ^ Gilliland 1969, show 55, track 2.
  37. ISBN 0-87972-821-3
    , p. 358.
  38. ISBN 0-88738-618-0
    , p. 13.
  39. ^ "Rockabilly", AllMusic, archived from the original on 11 February 2011.
  40. ^ Lucero, Mario J. (3 January 2020). "The problem with how the music streaming industry handles data". Quartz. Archived from the original on 31 March 2023. Retrieved 14 February 2020.
  41. ISBN 0-87972-369-6
    , p. 73.
  42. ^ Davis, Lance (8 March 2011). "Get It Low: The Dirty Guitar of Junior Barnard". The Adios Lounge. Archived from the original on 12 July 2018. Retrieved 11 November 2022.
  43. ISBN 978-1-85410-873-9. Archived
    from the original on 8 February 2023. Retrieved 17 October 2015.
  44. ISBN 0-252-06915-3
    .
  45. ^ Campbell 2008, p. 99
  46. ISBN 978-0719083662
    .
  47. ISBN 0-7190-1489-1
    .
  48. ^ a b Mitchell, G. A. M. (2011). "A Very 'British' Introduction to Rock 'n' Roll: Tommy Steele and the Advent of Rock 'n' Roll Music in Britain, 1956–1960". Contemporary British History, 25(2), 205–225.
  49. ^ a b Meyers, J. P. (2015). "The Beatles in Buenos Aires, Muse in Mexico City: Tribute Bands and the Global Consumption of Rock Music". Ethnomusicology Forum (Vol. 24, No. 3, pp. 329–348). Routledge.
  50. ISSN 0261-3077
    . Retrieved 18 April 2024.
  51. ^ Vuletic, D. (2008). "Generation Number One: Politics and Popular Music in Yugoslavia in the 1950s". Nationalities Papers, 36(5), 861–879.
  52. ^ Rauth, R. (1982). "Back in the USSR—Rock and roll in the Soviet Union". Popular Music & Society, 8(3–4), 3–12.
  53. ^
    ISBN 978-0-7546-5580-0
    .
  54. ISBN 0-8225-4998-0
    .
  55. ^
    ISBN 0-87930-736-6
    .
  56. ^
    ISBN 0-521-55660-0
    , pp. 93–108.
  57. ^ a b "Early Pop/Rock", AllMusic, archived from the original on 17 February 2011.
  58. ISBN 0-415-23509-X
    , pp. 8–10.
  59. ISBN 0-415-34770-X
    , p. 207.
  60. ISBN 0-19-530053-X, archived from the original
    on 17 February 2011.
  61. ISBN 978-0-9797714-0-8
    .
  62. ^ Gilliland 1969, shows 20–21.
  63. ISBN 0-415-05306-4
    , p. 341.
  64. ^
    ISBN 0-521-55660-0
    , p. 116.
  65. ^ R. Unterberger, "Doo Wop", in Bogdanov et.al., 2002, pp. 1306–07.
  66. ISBN 0-905273-17-6
    , p. 106.
  67. ^ R. Unterberger, "Brill Building Sound", in Bogdanov et.al., 2002, pp. 1311–12.
  68. ^
    ISBN 0-87650-174-9
    , p. 2.
  69. ISBN 0-87650-174-9
    , p. 75.
  70. ^ "Throwback tune of the day: Nowhere to Go – The Four Freshmen". Buzz.ie. Archived from the original on 8 March 2021. Retrieved 25 February 2021.
  71. ^ a b W. Ruhlman, et al., "Beach Boys", in Bogdanov et al., 2002, pp. 71–75.
  72. ^ "Surf Music". Nostalgia Central. 3 July 2014. Archived from the original on 23 July 2019. Retrieved 29 July 2019.
  73. ISBN 0-85323-727-1
    , pp. 157–66.
  74. ISBN 0-333-34011-6
    , p. 75.
  75. ISBN 0-19-510005-0
    , p. 60.
  76. ^ a b R. Unterberger, "British Invasion", in Bogdanov et al., 2002, pp. 1316–17.
  77. ^ R. Unterberger, "British R&B", in Bogdanov et al., 2002, pp. 1315–16.
  78. ^ Gilliland 1969, show 28.
  79. ^ a b I.A. Robbins, "British Invasion", Encyclopædia Britannica, archived from the original on 21 December 2010
  80. ISBN 0-7137-1521-9
    , p. 66.
  81. ^ a b Gilliland 1969, show 29.
  82. ^ Gilliland 1969, show 30.
  83. ^ Gilliland 1969, show 48.
  84. ^ T. Leopold (5 February 2004), When the Beatles hit America CNN February 10, 2004, CNN, archived from the original on 11 April 2010
  85. ^ "British Invasion", AllMusic, archived from the original on 11 February 2011.
  86. ^ a b "Britpop", AllMusic, archived from the original on 12 February 2011.
  87. ISBN 0-521-55660-0
    , p. 117.
  88. ISBN 0-415-93835-X
    , p. 132.
  89. ISBN 0-415-34770-X
    , p. 35.
  90. ISBN 978-0-7391-7051-9. Archived
    from the original on 16 November 2023. Retrieved 4 June 2021.
  91. ^
    ISBN 0-415-34770-X
    , p. 140.
  92. ISBN 0-7864-2564-4
    , pp. 74–76.
  93. ^ a b c d e f g R. Unterberger, "Garage Rock", in Bogdanov et al., 2002, pp. 1320–21.
  94. ISBN 0-7486-1933-X
    , p. 213.
  95. ^ Otfinoski, Steven. "The Golden Age of Rock Instrumentals". Billboard Books, (1997), p. 36,
    ISBN 0-8230-7639-3
  96. ISBN 0-7890-0151-9
    , p. 213.
  97. ISBN 1-55652-572-9
    , p. 19.
  98. ISBN 978-0-520-25310-0
    .
  99. ISBN 0-415-93835-X
    , p. 873.
  100. ^
    ISBN 978-0-7486-1910-8
    .
  101. ISBN 1-85109-431-8
    , p. 626.
  102. ISBN 0-521-00040-8
    , p. 104.
  103. ^
    ISBN 0-87930-736-6
    , pp. 701–02.
  104. ISBN 0-7119-9094-8
    , p. 130.
  105. ISBN 0-7935-4042-9
    , p. 25.
  106. ^ a b c d e R. Unterberger, "Southern Rock", in Bogdanov et al., 2002, pp. 1332–33.
  107. ^ a b c "Blues-rock", AllMusic, archived from the original on 12 February 2011.
  108. ISBN 0-7935-4042-9
    , p. 113.
  109. ^
    ISBN 978-0-7546-5756-9
    .
  110. ^ Mitchell 2007, p. 72
  111. ISBN 0-313-32689-4
    , p. 37.
  112. ^ a b c d e f g R. Unterberger, "Folk Rock", in Bogdanov et al., 2002, pp. 1308–09.
  113. ISBN 978-0-275-99860-8
    .
  114. ^ R. Unterberger, "The Beatles: I'm a Loser", AllMusic, archived from the original on 12 February 2011.
  115. ^ Unterberger, Richie (31 December 2018). "2018". Folkrocks. Archived from the original on 20 September 2023. Retrieved 3 June 2021.
  116. ISBN 0-7546-3282-2
    , p. 97.
  117. ISBN 1-882267-04-4
    , p. 869.
  118. ISBN 0-520-21800-0
    , p. 201.
  119. ISBN 0-521-55660-0
    , p. 121.
  120. ^
    ISBN 0-252-06915-3
    , pp. 59–60.
  121. ^ a b c d e f g R. Unterberger, "Psychedelic Rock", in Bogdanov et al., 2002, pp. 1322–23.
  122. ^ Gilliland 1969, shows 41–42.
  123. ISBN 978-1610605137
    .
  124. ISBN 9780898201550
    .
  125. ^ Pareles, Jon (5 January 1997). "All That Music, and Nothing to Listen To". The New York Times. Archived from the original on 27 December 2017. Retrieved 10 March 2020.
  126. ^ a b c d e f g R. Unterberger, "Progressive Rock", in Bogdanov et al., 2002, pp. 1330–31.
  127. ISBN 0-634-02861-8
    , p. 191.
  128. ISBN 0-19-509887-0
    , pp. 34–35.
  129. ISBN 0-19-509887-0
    , p. 64.
  130. ^ "Prog rock", AllMusic, archived from the original on 12 February 2011.
  131. ISBN 0-19-509887-0
    , p. 129.
  132. ISBN 978-0-9796163-3-4
    .
  133. ISBN 0-7546-4019-1
    .
  134. ISBN 0-7546-3282-2
    , p. 96.
  135. ^ B. Eder, "Renaissance", AllMusic, archived from the original on 12 February 2011.
  136. ISBN 0-8153-3715-9
    , p. 9.
  137. ISBN 0-8108-5295-0
    , pp. 249–50.
  138. ISBN 0-946719-70-5
    , pp. 15–17.
  139. ISBN 0-8153-3715-9
    , p. 92.
  140. ^ Knight, Brian L., "Rock in the Name of Progress (Part VI -"Thelonius Punk")", The Vermont Review, archived from the original on 17 July 2011
  141. ^ T. Udo, "Did Punk kill prog?", Classic Rock Magazine, vol. 97, September 2006.
  142. ^ a b c "Jazz-Rock Music Genre Overview", AllMusic, archived from the original on 16 February 2011
  143. ^ a b c R. Unterberger, "Jazz Rock", in Bogdanov et al., 2002, pp. 1328–30.
  144. ISBN 1-84353-256-5
    , p. iii.
  145. ISBN 978-0-415-77353-9
    .
  146. ^
    ISBN 1-85828-534-8
    , p. 392.
  147. ^ R. Unterberger, "The Band", and S.T. Erlewine, "Creedence Clearwater Revival", in Bogdanov et al., 2002, pp. 61–62, 265–66.
  148. ISBN 978-0-470-12777-3
    .
  149. ^ Christgau, Robert (18 June 1970). "Consumer Guide (11)". The Village Voice. Archived from the original on 6 April 2023. Retrieved 18 February 2020 – via robertchristgau.com.
  150. ^ a b c d e f g R. Unterberger, "Country Rock", in Bogdanov et al., 2002, p. 1327.
  151. ISBN 1-85828-201-2
    , pp. 612–13.
  152. ISBN 0-8108-5295-0
    , p. 227–28.
  153. ^
    ISBN 0-415-34770-X
    , pp. 124–25.
  154. ISBN 0-7546-4057-4
    , pp. 57, 63, 87 and 141.
  155. ^ "Glam rock", AllMusic, archived from the original on 12 February 2011.
  156. ISBN 0-472-06868-7
    , p. 34.
  157. ISBN 0-7119-9293-2
    , pp. 180–181.
  158. ^
    ISBN 0-7546-4057-4
    , p. 72.
  159. ^
    ISBN 0-7546-4057-4
    , p. 80.
  160. ^ D. Thompson, "Glitter Band" and S. Huey, "Gary Glitter", in Bogdanov et al., 2002, p. 466.
  161. ISBN 0-415-27815-5
    , p. 161.
  162. ISBN 0-7546-4057-4
    , p. 227.
  163. ^ Billboard. 27 June 1970 https://books.google.com/books?id=eikEAAAAMBAJ&q=pacific+high+recording+studioas&pg=PA55. Retrieved 24 August 2015. {{cite magazine}}: Missing or empty |title= (help)
  164. ^ referred to as career suicide, as recalled in a 2013 interview by drummer and album co-producer Michael Shrieve
  165. ^ Gleason, Ralph J. (8 December 1976). "Santana: Caravanserai : Music Reviews : Rolling Stone". Rolling Stone. Archived from the original on 5 June 2017. Retrieved 14 April 2012.
  166. ^ La Herencia Del Norte (in Spanish). Gran Via. 1998. Retrieved 14 February 2020.
  167. ISBN 978-1-351-54414-6. Archived
    from the original on 10 June 2024. Retrieved 14 February 2020.
  168. ^ Hurricane, Al Jr. "Flor De Las Flores". Frontera Project. Archived from the original on 20 September 2023. Retrieved 14 February 2020.
  169. ^ Christgau, Robert (1995). "The Move: Great Move! The Best of the Move". Details. Archived from the original on 9 July 2023. Retrieved 10 September 2018.
  170. ^
    ISBN 0-87972-369-6
    , p. 236.
  171. ISBN 1-85828-201-2
    , pp. 323–24.
  172. ^ a b c d "Hard Rock", AllMusic, archived from the original on 12 February 2011.
  173. ^ S.T. Erlewine, "Queen", AllMusic, archived from the original on 12 February 2011.
  174. ^ J. Dougan, "Thin Lizzy", AllMusic, archived from the original on 12 February 2011.
  175. ISBN 0-8195-6260-2
    , p. 7.
  176. ISBN 0-8195-6260-2
    , p. 9.
  177. ^
    ISBN 0-8195-6260-2
    , p. 10.
  178. ISBN 0-8195-6260-2
    , p. 3.
  179. ISBN 1-55022-421-2
    , pp. 30–31.
  180. ISBN 0-8131-9086-X
    , p. 30.
  181. ISBN 0-8131-9086-X
    , pp. 43–44.
  182. ISBN 1-55022-421-2
    , pp. 66–67 and 159–161.
  183. ISBN 0-8135-1607-2
    , p. 134.
  184. ISBN 1-55022-421-2
    , pp. 206–07.
  185. ISBN 978-0-275-98938-5
    .
  186. ^ Thompson 2007, p. 138
  187. ^ a b c d "Heartland Rock", AllMusic, archived from the original on 13 February 2011.
  188. ^ J.A. Peraino (30 August 1987), "Heartland rock: Bruce's Children", The New York Times, archived from the original on 12 May 2011
  189. ^ A. DeCurtis (18 October 2007), "Kid Rock: Rock n' Roll Jesus", Rolling Stone, archived from the original on 14 May 2011
  190. ^ S.T. Erlewine, "The Killers: Sam's Town", Rolling Stone, archived from the original on 29 April 2011
  191. ^ S. Peake, "Heartland Rock", About.com, archived from the original on 12 May 2011
  192. ^ a b c J. Dougan, "Punk Music", in Bogdanov et al., 2002, pp. 1335–36.
  193. ISBN 0-415-94365-5
    , pp. 235–56.
  194. ^ Savage (1992), pp. 260, 263–67, 277–79; Laing (1985), pp. 35, 37, 38.
  195. ^ Young, Charles M. (20 October 1977). "Rock Is Sick and Living in London". Rolling Stone. Archived from the original on 14 September 2006. Retrieved 10 October 2006.
  196. ISBN 0-415-17029-X
    , p. 206.
  197. ISBN 978-1-4426-0992-1
    .
  198. ISBN 0-8265-1451-0
    , pp. 168–86.
  199. ^ Waksman 2009, p. 157
  200. ISBN 0-415-96589-6
    , p. 358.
  201. ^ Campbell 2008, pp. 273–74
  202. ISBN 0-415-34770-X
    , pp. 185–86.
  203. ISBN 0-313-32943-5
    , p. 75.
  204. ISBN 0-7425-4444-3
    , p. 174.
  205. ^ Borack 2007, p. 25
  206. ^ S.T. Erlewine, "New Wave", in Bogdanov et al., 2002, pp. 1337–38.
  207. ISBN 0-7486-1745-0, archived
    from the original on 10 June 2024, retrieved 19 November 2020
  208. ISBN 0-14-303672-6
    , pp. 340, 342–43.
  209. ISBN 0-7494-4826-1
    , p. 54.
  210. ISBN 978-0-415-97501-8
    .
  211. ^ a b c d e f S.T. Erlewine, "Post Punk", in Bogdanov et al., 2002, pp. 1337–8.
  212. ^ Goodlad & Bibby 2007, p. 239
  213. ISBN 1-86189-143-1
    , p. 172.
  214. ^ "Industrial rock", AllMusic, archived from the original on 1 January 2011
  215. ISBN 0-415-93835-X
    , p. 1135.
  216. ^ D. Hesmondhaigh, "Indie: the institutional political and aesthetics of a popular music genre" in Cultural Studies, 13 (2002), p. 46.
  217. ^
    ISBN 0-87930-653-X
    , pp. 1344–6.
  218. ^
    ISBN 0-87930-653-X
    , pp. 1346–47.
  219. ISBN 0-631-21710-X
    , pp. 94–105.
  220. ^ S.T. Erlewine, "The Smiths", AllMusic, archived from the original on 16 July 2011
  221. ^ S.T. Erlewine, "R.E.M.", AllMusic, archived from the original on 28 June 2011
  222. ^ "College rock", AllMusic, archived from the original on 29 December 2010
  223. ^ N. Abebe (24 October 2005), "Twee as Fuck: The Story of Indie Pop", Pitchfork Media, archived from the original on 3 February 2011
  224. ^ "Shoegaze", AllMusic, archived from the original on 24 February 2011
  225. ISBN 0-415-34770-X
    , p. 7.
  226. ^ a b c d "Grunge", AllMusic, archived from the original on 13 February 2011.
  227. ^ E. Olsen (4 September 2004), 10 years later, Cobain continues to live on through his music, MSNBC, archived from the original on 11 March 2011
  228. ISBN 1-903364-96-5
    , p. 136.
  229. ISBN 0-316-78753-1
    , pp. 452–53.
  230. ^ a b c d "Post-grunge", AllMusic, archived from the original on 13 February 2011.
  231. ISBN 0-8223-2737-6
    , p. 541.
  232. ^ E. Kessler, "Noelrock!", NME, 8 June 1996.
  233. ISBN 0-415-23808-0
    , pp. 92–96.
  234. ^ a b c d T. Grierson, "Post-Grunge: A History of Post-Grunge Rock", About.com, archived from the original on 14 May 2011
  235. ^ S.T. Erlewine, "Foo Fighters", in Bogdanov et al., 2002, p. 423.
  236. ^ S.T. Erlewine, "Alanis Morissette", in Bogdanov et al., 2002, p. 761.
  237. ^ a b c d W. Lamb, "Punk Pop", About.com, archived from the original on 16 May 2011
  238. ^ "Punk Pop", AllMusic, archived from the original on 17 February 2011.
  239. ^ S.T. Erlewine, "Weezer", AllMusic, archived from the original on 13 February 2011.
  240. ^ S.T. Erlewine, "Green Day", and "Offspring", in Bogdanov et al., 2002, pp. 484–85, 816.
  241. ^ a b c d "Indie rock", AllMusic, archived from the original on 5 January 2011
  242. ISBN 978-0-7546-3862-9
    .
  243. ISBN 0-415-17028-1
    , pp. 101–03.
  244. ISBN 0-8264-8217-1
    , pp. 154–55.
  245. ^ "Post rock", AllMusic, archived from the original on 14 February 2011.
  246. ^ "Math rock", AllMusic, archived from the original on 14 February 2011.
  247. ^ "Space rock", AllMusic, archived from the original on 12 June 2022
  248. ^ "Sadcore", AllMusic, archived from the original on 14 February 2011.
  249. ^ "Chamber pop", AllMusic, archived from the original on 14 February 2011.
  250. ^ a b "Alternative Metal", AllMusic, archived from the original on 14 February 2011.
  251. ^ W. Ruhlmann, "Blondie", AllMusic, archived from the original on 15 January 2011
  252. ^ D.A. Guarisco, "The Clash: The Magnificent Seven", AllMusic, archived from the original on 14 February 2011.
  253. ^ K. Sanneh (3 December 2000), "Rappers Who Definitely Know How to Rock", The New York Times, archived from the original on 14 July 2012
  254. ISBN 0-252-07201-4
    , p. 108.
  255. ^ W.E. Ketchum III (15 October 2008), "Mayor Esham? What?", Metro Times, archived from the original on 4 May 2011
  256. ^ a b c d "Rap-Metal", AllMusic, 15 October 2008, archived from the original on 2 April 2012
  257. ^ S. T. Erlewine, et al., "Faith No More", in Bogdanov et al., 2002, pp. 388–89.
  258. ^ T. Grierson, "What Is Rap-Rock: A Brief History of Rap-Rock" Archived 29 December 2016 at the Wayback Machine, About.com. Retrieved 31 December 2008.
  259. ^ C. Nixon (16 August 2007), "Anything goes", The San Diego Union-Tribune, archived from the original on 4 May 2011
  260. ^ T. Potterf (1 October 2003), "Turners blurs line between sports bar, dance club", The Seattle Times, archived from the original on 3 May 2011
  261. ^ "Long Live Rock n' Rap: Rock isn't dead, it's just moving to a hip-hop beat. So are its mostly white fans, who face questions about racial identity as old as Elvis", Newsweek, 19 July 1999, archived from the original on 1 February 2022, retrieved 7 January 2019
  262. ISBN 0-7119-9209-6
    , p. 10.
  263. ^ B. Reesman, "Sustaining the success", Billboard, 23 June 2001, 113 (25), p. 25.
  264. ^ a b J. D'Angelo, Will Korn, Papa Roach and Limp Bizkit evolve or die: a look at the Nu Metal meltdown, MTV, archived from the original on 21 December 2010
  265. ISBN 0-306-81367-X
    , pp. 369–70.
  266. ISBN 0-7486-1745-0
    , p. 188.
  267. ^ "British Trad Rock", AllMusic, archived from the original on 17 February 2011.
  268. ^ A. Petridis (14 February 2004), "Roll over Britpop ... it's the rebirth of art rock", The Guardian, archived from the original on 25 June 2010
  269. ^ M. Wilson, "Stereophonics: You Gotta Go There to Come Back", AllMusic, archived from the original on 14 February 2011.
  270. ^ a b H. Phares, "Travis", AllMusic, archived from the original on 14 February 2011.
  271. ISBN 978-0-7546-5373-8
    .
  272. ^ A. Begrand (17 May 2007), "Travis: The boy with no name", Pop Matters, archived from the original on 19 February 2011
  273. ^ S. Dowling (19 August 2005), "Are we in Britpop's second wave?", BBC News, archived from the original on 17 March 2010
  274. ^ A. Petridis (26 February 2004), "And the bland played on", The Guardian, archived from the original on 21 April 2010
  275. ISBN 0-7119-9601-6
    , pp. 42, 45.
  276. ^ A. Ogg, "Stereophonics", AllMusic, archived from the original on 21 January 2011
  277. ^ A. Leahey, "Coldplay", AllMusic, archived from the original on 14 January 2011
  278. ^ "Post-hardcore", AllMusic, archived from the original on 5 May 2011
  279. ^ a b "Emo", AllMusic, archived from the original on 15 February 2011.
  280. ^ a b J. DeRogatis (3 October 2003), "True Confessional?", Chicago Sun-Times, archived from the original on 1 May 2011
  281. ^ H.A.S. Popkin (26 March 2006), What exactly is 'emo,' anyway?, MSNBC, archived from the original on 7 August 2017, retrieved 10 November 2019
  282. ^ "Screamo", AllMusic, archived from the original on 21 March 2012, retrieved 25 May 2011
  283. ^ H. Phares, "Franz Ferdinand: Franz Ferdinand (Australia Bonus CD)", AllMusic, archived from the original on 16 February 2011.
  284. ISBN 0-634-05548-8
    , p. 373.
  285. ^ "New Wave/Post-Punk Revival", AllMusic, archived from the original on 16 February 2011.
  286. ISBN 0-7119-9601-6
    , p. 86.
  287. ISBN 0-7864-2564-4
    , pp. 108–12.
  288. ISBN 1-84353-229-8
    , p. 42.
  289. ISBN 1-84353-105-4
    , pp. 498–99, 1024–26, 1040–41, 1162–64.
  290. ISBN 978-0-19-537371-4
    .
  291. ISBN 0-335-20072-9
    , p. 90.
  292. ISBN 978-1-74104-565-9
    .
  293. ISBN 978-1-74059-740-1
    .
  294. ISBN 978-1-74104-816-2
    .
  295. ^
    ISBN 978-0-7546-5548-0
    .
  296. ISBN 0-415-34770-X
    , pp. 145–48.
  297. ^ Emmerson 2007, p. 115
  298. ^ McIntyre, Hugh. "Report: Hip-Hop/R&B Is The Dominant Genre In The U.S. For The First Time". Forbes. Archived from the original on 17 July 2017. Retrieved 27 November 2019.
  299. ^ a b "Why Rock Can't Compete With Hip-Hop in 2017". Genius. Archived from the original on 20 September 2023. Retrieved 15 August 2020.
  300. ^ Whitecloud, Shane (15 May 2018). "Why Did Rock Music Decline and Can It Make a Comeback?". KDOT. Archived from the original on 11 July 2018. Retrieved 11 July 2018.
  301. ^ Ross, Danny. "Rock 'N' Roll Is Dead. No, Really This Time". Forbes. Archived from the original on 9 April 2023. Retrieved 27 November 2019.
  302. ISSN 0362-4331. Archived
    from the original on 20 September 2023. Retrieved 27 November 2019.
  303. ^ "Hot Rock Songs – Decade-End". Billboard. Archived from the original on 16 December 2019. Retrieved 25 June 2021.
  304. ^ Team, uDiscover (24 August 2020). "Maroon 5". uDiscover Music. Archived from the original on 28 March 2024. Retrieved 28 March 2024.
  305. ^ McDermott, Maeve. "News & views: How Imagine Dragons' faceless rock music became the genre's future". USA Today. Archived from the original on 27 February 2024. Retrieved 28 March 2024.
  306. ^ Baltin, Steve. "Why Twenty One Pilots Are Such A Vital Band For Rock". Forbes. Archived from the original on 8 July 2023. Retrieved 28 March 2024.
  307. ^ Curtis-Horsfall, Thomas. "Festival Trends of The 2010s: Representation and Inclusivity". FestTicket. Retrieved 10 February 2023.[permanent dead link]
  308. ^ "Here Are All the Major Music Events Canceled Due to Coronavirus (Updating)". Billboard. 3 April 2020. Archived from the original on 11 April 2020. Retrieved 4 April 2020.
  309. ^ Yang, Rachel; Huff, Lauren; Nolfi, Joey; Kinane, Ruth (26 March 2020). "BTS, Madonna, Khalid, Billie Eilish, and more artists canceling shows over coronavirus". Entertainment Weekly.
  310. ^ "Concerts Canceled Due To Coronavirus: Ongoing List". Billboard. 3 March 2020. Retrieved 2 April 2020.
  311. ^ "Coronavirus: Updated List of Tours and Festivals Canceled or Postponed Due to COVID-19". Pitchfork. 20 March 2020. Retrieved 3 April 2020.
  312. ^ Leight, Elias (30 March 2020). "They Were Going to Be Spring's Biggest Albums – Until COVID-19 Hit". Rolling Stone. Retrieved 1 April 2020.
  313. ^ Blistein, Jon; Legaspi, Althea (19 March 2020). "Common Performs Classics, Freestyles During 'Together at Home' Concert". Rolling Stone. Retrieved 5 April 2020.
  314. ^ Nikel, David (29 April 2020). "In Photos: Denmark's Drive-In Venue Gets Around Coronavirus Event Ban". Forbes.
  315. ^ Hissong, Samantha (7 April 2020). "'Hey Siri, Play Songs to Calm Me Down': What the World Is Listening to Amid COVID-19". Rolling Stone. Retrieved 7 May 2020.
  316. ^ Joven, Jason; Rosenborg, Rutger A.; Seekhao, Nuttiiya; Yuen, Michelle (23 April 2020). "COVID-19's Effect on the Global Music Business, Part 1: Genre". Chartmetric.
  317. ^ Millman, Ethan (12 August 2020). "Aerosmith, BTS, U2 Among Contributors to Live Nation Charity Fund". Rolling Stone. Retrieved 21 September 2020.
  318. ^ Bassil, Ryan (19 September 2012). "Tame Impala - "Elephant" Music Video". Vice (in Swedish). Retrieved 7 April 2024.
  319. ^ "Tame Impala: Lonerism". Pitchfork. Retrieved 7 April 2024.
  320. ^ Cox, Jamieson (14 July 2015). "Review: Tame Impala's Currents is a journey to the center of a single mind". The Verge. Retrieved 7 April 2024.
  321. ^ Keith, Cup of (9 October 2023). "King Gizzard and the Lizard Wizard have Set a Path to World Domination". Medium. Retrieved 7 April 2024.
  322. ^ True, Everett (13 November 2014). "Tame Impala kickstart the Australian psychedelic explosion". The Guardian.
  323. ^ "Jay Watson takes us through the recording of Gum's new album". Mixdown Magazine. 16 June 2020. Retrieved 7 April 2024.
  324. ^ "Psychedelic Porn Crumpets - Fronzoli". DIY. 8 November 2023. Retrieved 7 April 2024.
  325. ^ "Panorama: A brief guide to Neo-psychedelia in Europe". Europavox. Retrieved 7 April 2024.
  326. ^ "Doomed & Stoned". doomedandstoned.com. Retrieved 18 April 2024.
  327. ^ Jefferson, J'na (5 June 2021). "Olivia Rodrigo, MGK and Willow Smith among pop-punk revivalists". USA Today. Retrieved 9 June 2021.
  328. ^ a b Beaumont, Mark (10 September 2019). "Mark, My Words: I give you crank wave, the start of the subculture revival". NME. Retrieved 7 December 2021.
  329. ^ a b Doran, John (26 November 2019). "The Quietus: Black Sky Thinking - Idle Threat: Who Are The True Champions Of DIY Rock In 2020?". The Quietus. Retrieved 7 December 2021.
  330. ^ a b Perpetua, Matthew (6 May 2021). "The Post-Brexit New Wave". NPR. Retrieved 7 December 2021.
  331. ^ DeVille, Chris (22 April 2022). "We Dug Through The Pile Of British And Irish Buzz Bands On Callin Me Maybe". Stereogum. Retrieved 23 April 2022.
  332. ^ Dolan, Jon (28 October 2021). "Geese Are Legit Indie-Rock Prodigies, Straight Out of High School". Rolling Stone. Retrieved 31 December 2021.
  333. ^ "Deeper, espoirs post-punk à Chicago". RTBF radio (in French). 5 December 2021. Retrieved 31 December 2021.
  334. ^ "Viagra Boys Set the Bar High with Brash Post-Punk Hijinks on 'Welfare Jazz' (ALBUM REVIEW)". Glide Magazine. 7 January 2021. Retrieved 31 December 2021.
  335. ^
    ISBN 0-415-05108-8
    , pp. 73–79, 90–100.
  336. ISBN 0-87972-507-9
    , p. 83.
  337. ISBN 978-0-8223-3921-2
    .
  338. ^
    ISBN 0-415-20685-5
    , p. 260.
  339. ISBN 0-8166-3881-0
    , p. 123.
  340. ISBN 90-5702-188-9
    , p. 44.
  341. ISBN 1-932857-00-1
    , p. 252.
  342. ISBN 978-0-375-50907-0
    .
  343. ISBN 0-252-02586-5
    , pp. 95–96.
  344. ISBN 0-521-55660-0
    , pp. 272–89.
  345. ISBN 0-415-10723-7
    , p. 44.
  346. ISBN 0-87972-468-4
    , pp. 119–20.
  347. ISBN 0-8264-6321-5
    , p. 209.
  348. ISBN 0-521-39914-9
    , pp. 91–114.
  349. ISBN 0-7623-1446-X
    , pp. 109–14.
  350. ISBN 978-0-7623-1446-1
    .
  351. ^ J. Schaap and P. Berkers, "Grunting Alone? Online Gender Inequality in Extreme Metal Music", IASPM Journal, vol.4(1) (2014), pp. 101–02.
  352. ^ a b J. Schaap and P. Berkers. "Grunting Alone? Online Gender Inequality in Extreme Metal Music", IASPM Journal, Vol.4 (1), (2014), p. 102,
  353. ^ a b c J. Schaap and P. Berkers, "Grunting Alone? Online Gender Inequality in Extreme Metal Music", IASPM Journal, Vol.4(1), (2014), p. 104.
  354. ^ White, Erika (28 January 2015). "Music History Primer: 3 Pioneering Female Songwriters of the '60s | REBEAT Magazine". Rebeatmag.com. Retrieved 20 January 2016.
  355. ^
    S2CID 191508078. Archived from the original
    (PDF) on 24 May 2013. Retrieved 25 April 2012.
  356. ^ a b Brake, Mike (1990). "Heavy Metal Culture, Masculinity and Iconography". In Frith, Simon; Goodwin, Andrew (eds.). On Record: Rock, Pop and the Written Word. Routledge. pp. 87–91.
  357. ^ Walser, Robert (1993). Running with the Devil:Power, Gender and Madness in Heavy Metal Music. Wesleyan University Press. p. 76.
  358. ^ Eddy, Chuck (1 July 2011). "Women of Metal". Spin (Magazine). SpinMedia Group.
  359. ^ Kelly, Kim (17 January 2013). "Queens of noise: heavy metal encourages heavy-hitting women". The Telegraph.
  360. ^ For example, vocalists Girls Aloud are referred to as a "girl band" in OK magazine Archived 1 November 2012 at the Wayback Machine and the Guardian, while Girlschool are termed a "girl group" at the imdb and Belfast Telegraph.

Further reading and listening

External links

Library resources about
Rock music
Retrieved from "https://en.wikipedia.org/w/index.php?title=Rock_music&oldid=1228223443"