Article: Rock music
From: Wikipedia, the free encyclopedia.Rock musicRock music is a genre of popular music that entered the mainstream in the 1960s. It has its roots in 1940s and 1950s rock and roll, rhythm and blues, country music and also drew on folk music, jazz and classical music.DefinitionsThe sound of rock often revolves around the guitar and it uses a strong back beat laid down by a rhythm section of electric bass guitar, drums, and keyboard instruments such as organ, piano, or, since the 1970s, synthesizers. Along with the guitar or keyboards, saxophone and blues-style harmonica are sometimes used as soloing instruments. In its "purest form", it "has three chords, a strong, insistent back beat, and a catchy melody."
allmusic - Rock and Roll1950s-early 1960sRock and rollRock and roll evolved in the United States in the late 1940s and early 1950s, and quickly spread to much of the rest of the world. Its immediate origins lay in a mixing together of various popular musical genres of the time, including rhythm and blues, gospel music, and country and western.[M. Campbell, ed., Popular Music in America: And the Beat Goes on (Cengage Learning, 3rd edn., 2008), pp. 157-8.] Four years later, Bill Haley's " Rock Around the Clock" (1955) became the first rock and roll song to top Billboard magazine's main sales and airplay charts, and opened the door worldwide for this new wave of popular culture.[P. Browne, The guide to United States popular culture (Popular Press, 2001), p. 358.] Rolling Stone magazine argued in 2004 that " That's All Right (Mama)" (1954), Elvis Presley's first single for Sun Records in Memphis, was the first rock and roll record.
Elvis Presley at Sun Studios in 1954[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 Berry, Link Wray, and Scotty Moore.][J. M. Curtis, Rock eras: interpretations of music and society, 1954-1984 (Popular Press, 1987), p. 73.] It also saw major developments in recording technology such as multitrack recording developed by Les Paul, the electronic treatment of sound by such innovators as Joe Meek, and the Wall of Sound productions of Phil Spector. All these developments were important influences on later rock music.[K. Keightley, "Reconsidering rock" S. Frith, W. Straw and J. Street, eds, The Cambridge companion to pop and rock (Cambridge: Cambridge University Press, 2001), p. 116.]The social effects of rock and roll were worldwide and massive. Far beyond simply a musical style, rock and roll influenced lifestyles, fashion, attitudes, and language.[G. C. Altschuler, ''All shook up: how rock 'n' roll changed America (Oxford: Oxford University Press US, 2003), p. 121.] In addition, rock and roll may have helped the cause of the civil rights movement because both African American teens and white American teens enjoyed the music.[G. C. Altschuler, All shook up: how rock 'n' roll changed America'' (Oxford: Oxford University Press US, 2003), p. 35.] Motown played an important role in the racial integration of popular music, as it was the first record label owned by an African American to primarily feature African-American artists who achieved crossover success. In the early 1960s, Motown and its soul-based subsidiaries were the most successful proponents of what came to be known as The Motown Sound, a style of soul music with a distinct pop influence. From 1961 to 1971, Motown had 110 top 10 hits, and artists such as Stevie Wonder, Marvin Gaye, The Supremes, The Four Tops, and The Jackson 5, were all signed to Motown labels. All of these acts have been inducted into the Rock and Roll Hall of Fame.Surf musicThe instrumental rock and roll pioneered by performers such as Duane Eddy, Link Wray, and The Ventures was developed by Dick Dale who added distinctive "wet" reverb, rapid alternate picking, as well as Middle Eastern and Mexican influences, producing the regional hit " Let's Go Trippin'" in 1961 and launching the surf music craze. Like Dale and his Del-Tones, most early surf bands were formed in Southern California, including the Bel-Airs, the Challengers, and Eddie & the Showmen.[J. Blair, The Illustrated Discography of Surf Music, 1961-1965 (Pierian Press, 2nd edn., 1985), p. 2.] The Chantays scored a top ten national hit with " Pipeline" in 1963 and probably the single most famous surf tune hit was 1963's " Wipe Out", by the Surfaris, which hit # 2 and # 10 on the Billboard charts in 1965.[J. Blair, The Illustrated Discography of Surf Music, 1961-1965 (Pierian Press, 2nd edn., 1985), p. 75.]The growing popularity of the genre led groups from other areas to try their hand. These included The Astronauts, from Boulder, Colorado, The Trashmen, from Minneapolis, Minnesota, who had a number 4 hit with "Surfin Bird" in 1964 and The Rivieras from South Bend, Indiana, who reached #5 in 1964 with "California Sun".[V. Bogdanov, C. Woodstra and S. T. Erlewine, All music guide to rock: the definitive guide to rock, pop, and soul (Backbeat Books, 3rd edn., 2002), pp. 1313-4.] The Atlantics, from Sydney, Australia, made a significant contribution to the genre, with their hit "Bombora" (1963).[ European instrumental bands around this time generally focused more on the more rock and roll style played by The Shadows, but The Dakotas, who were the British backing band for Merseybeat singer Billy J. Kramer, gained some attention as surf musicians with "Cruel Sea" (1963), which was later covered by American instrumental surf bands, including The Ventures.][J. Blair, The Illustrated Discography of Surf Music, 1961-1965 (Pierian Press, 2nd edn., 1985), p. 126.]Surf music achieved its greatest commercial success as vocal music, particularly the work of the Beach Boys, formed in 1961 in Southern California. Their early albums included both instrumental surf rock (among them covers of music by Dick Dale) and vocal songs, drawing on rock and roll and doo wop and the close harmonies of vocal pop acts like the Four Freshmen.[ Their first chart hit, " Surfin'" in 1962 reached the Billboard top 100 and helped make the surf music craze a national phenomenon.][V. Bogdanov, C. Woodstra and S. T. Erlewine, All music guide to rock: the definitive guide to rock, pop, and soul (Backbeat Books, 3rd edn., 2002), pp. 71-2.] From 1963 the group began to leave surfing behind as subject matter as Brian Wilson became their major composer and producer, moving on to the more general themes of male adolescence including cars and girl in songs like " Fun, Fun, Fun" (1964) and " California Girls" (1965).[ Other vocal surf acts followed, including one-hit wonders like Ronny & the Daytonas with "G. T. O." (1964) and Rip Chords with "Hey Little Cobra", which both reached the top ten, but the only other act to achieve sustained success with the formula were Jan & Dean, who had a number 1 hit with "Surf City" (co-written with Brian Wilson) in 1963.][ The surf music craze and the careers of almost all surf acts, was effectively ended by the arrival of the British Invasion from 1964.][ 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 Pet Sounds in 1966, which made them, arguably, the only American rock or pop act that could rival the Beatles.]Early British rock and roll and the British InvasionIn the United Kingdom, the trad jazz and folk movements brought visiting blues music artists to Britain.[R. F. Schwartz, How Britain Got the Blues: the Transmission and Reception of American Blues Style in the United Kingdom (Aldershot: Ashgate, 2007), p. 22.] Lonnie Donegan's 1955 hit " Rock Island Line" was a major influence and helped to develop the trend of skiffle music groups throughout the country, many of which, including John Lennon's The Quarrymen, moved on to play rock and roll.[J. Roberts, The Beatles (Lerner Publications, 2001), p. 13.] Cliff Richard had the first British rock 'n' roll hit with " Move It", effectively ushering in the sound of British rock.[D. Hatch, S. Millward, From Blues to Rock: an Analytical History of Pop Music (Manchester: Manchester University Press, 1987), p. 78.] At the start of the 1960s, his backing group The Shadows was one of a number of groups having success with instrumentals.[A. J. Millard, The electric guitar: a history of an American icon (JHU Press, 2004), p. 150.] While rock 'n' roll was fading into lightweight pop and ballads, British rock groups at clubs and local dances, heavily influenced by blues-rock pioneers like Alexis Korner, were starting to play with an intensity and drive seldom found in white American acts.[V. Bogdanov, C. Woodstra, S. T. Erlewine, eds, All Music Guide to the Blues: The Definitive Guide to the Blues (Backbeat, 3rd edn., 2003), p. 700.]By the end of 1962, the British rock scene had started with beat groups like the Beatles drawing on a wide range of American influences including soul music, rhythm and blues and surf music.[R. Stakes, "Those boys: the rise of Mersey beat", in S. Wade, ed., Gladsongs and Gatherings: Poetry and its Social Context in Liverpool Since the 1960s (Liverpool: Liverpool University Press, 2001), pp. 157-66.] Initially, they reinterpreted standard American tunes, playing for dancers doing the twist, for example. These groups eventually infused their original rock compositions with increasingly complex musical ideas and a distinctive sound. In mid-1962 The Rolling Stones started as one of a number of groups increasingly showing blues influence, along with The Animals and The Yardbirds.[British rock broke through to mainstream popularity in the United States in January 1964 with the success of the Beatles. " I Want to Hold Your Hand" was the band's first number-one hit on the Billboard Hot 100 chart, starting the British Invasion of the American music charts.][http://www.britannica.com/EBchecked/topic/80244/British-Invasion Encyclopedia Britannica Article.] The song entered the chart on January 18 1964 at number 45 before it became the number one single for 7 weeks and went onto last a total of 15 weeks in the chart.
"I WANT TO HOLD YOUR HAND". Retrieved June 3, 2004.[V. Bogdanov, C. Woodstra and S. T. Erlewine, All music guide to rock: the definitive guide to rock, pop, and soul (Backbeat Books, 3rd edn., 2002), pp. 1316-7.]In late 1964, The Kinks, The Who and The Pretty Things represented the new Mod style.[I. Inglis, The Beatles, Popular Music and Society: a Thousand Voices (Basingstoke: Macmillan, 2000), p. 44.] The Rolling Stones broke in late 1964 as well. Their first international number-1 hit was " (I Can't Get No) Satisfaction", recorded in May 1965 during the band's third North American tour. Released as a US single in June 1965, it spent four weeks at the top of the charts there, and established the Stones as a worldwide premier act.[Wyman 2002. pg. 187] Towards the end of the decade, British rock groups began to explore psychedelic musical styles that made reference to the drug subculture and hallucinogenic experiences.Garage rockGarage rock was a form of amaturish rock music, particularly prevalent in North America in the mid-1960s and so called because of the perception that it was rehearsed in a suburban family garage.[R. Shuker, Popular music: the key concepts (Routledge, 2nd edn., 2005), p. 140.][E. J. Abbey, Garage rock and its roots: musical rebels and the drive for individuality (McFarland, 2006), pp. 74-6.] Garage rock songs revolved around the traumas of high school life, with songs about "lying girls" being particularly common.[ The lyrics and delivery were notably more aggressive than was common at the time, often with growled or shouted vocals that dissolved into incoherent screaming.][ They ranged from crude one-chord music (like the Seeds and the Keggs) 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.][ The Pacific Northwest states of Washington and Oregon had perhaps the most defined regional sound.][N. Campbell, American youth cultures (Edinburgh University Press, 2nd edn., 2004), p. 213.]The style had been evolving from regional scenes as early as 1958. "Tall Cool One" (1959) by The Wailers and " Louie Louie" by The Kingsmen (1963) are mainstream examples of the genre in its formative stages.[P. Scaruffi, A History of Rock Music: 1951-2000 (iUniverse, 2003), p. 29.] By 1963, garage band singles were creeping into the national charts in greater numbers, including Paul Revere and the Raiders (Boise),[W. E. Studwell and D. F. Lonergan, The classic rock and roll reader: rock music from its beginnings to the mid-1970s (Routledge, 1999), p. 213.] the Trashmen (Minneapolis)[J. Austen, TV-a-go-go: rock on TV from American Bandstand to American Idol (Chicago Review Press, 2005), p. 19.] and the Rivieras (South Bend, Indiana).[Steve Waksman, ''This ain't the summer of love: conflict and crossover in heavy metal and punk (University of California Press, 2009), p. 116.] Other influential garage bands, such as the Sonics (Tacoma, Washington), never reached the Billboard 100.[F. W. Hoffmann and H. Ferstler, Encyclopedia of recorded sound, Volume 1 (CRC Press, 2nd edn, 2004), p. 873.] In this early period many bands were heavily influenced by surf rock and there was a cross-pollination between garage rock and frat rock, sometimes viewed as merely a sub-genre of garage rock.[R. Sabin, Punk rock: so what? : the cultural legacy of punk (Routledge, 1999), p. 159.]The " British Invasion" of 1964-6 greatly influenced garage bands, providing them with a national audience, leading many (often surf or hot rod groups) to adopt a British Invasion lilt, and encouraging many more groups to form.[ Thousands of garage bands were extant in the USA and Canada during the era and hundreds produced regional hits.][V. Bogdanov, C. Woodstra and S. T. Erlewine, All music guide to rock: the definitive guide to rock, pop, and soul'' (Backbeat Books, 3rd end., 2002), pp. 1320-1.] Examples include: "I Just Don't Care" by New York City's The D-Men (1965), "The Witch" by Seattle's The Sonics (1965), "Where You Gonna Go" by Detroit's Unrelated Segments (1967), "Girl I Got News for You" by Miami's Birdwatchers (1966) and "1-2-5" by Montreal's The Haunted. Despite scores of bands being signed to major or large regional labels, most were commercial failures. It is generally agreed that garage rock peaked both commercially and artistically around 1966.[ By 1968 the style largely disappeared from the national charts and at the local level as amateur musicians faced college, work or the draft.][ New styles had evolved to replace garage rock (e.g., progressive rock, country rock, Bubblegum, etc.).][ In Detroit garage rock stayed alive until the early 70s, with bands like the MC5 and The Stooges, who employed a much more aggressive style. These bands began to be labelled punk rock and are now often seen as proto-punk or proto- hard rock.][G. Thompson, American culture in the 1980s (Edinburgh University Press, 2007), p. 134.]Golden age (1963–1974)In the late 1950s the US beatnik counterculture was associated with the wider anti-war movement building against the threat of the atomic bomb, notably CND in Britain. Both were associated with the jazz scene and with the growing folk song movement.Pop rockPop rock is a mix of pop music and rock music that uses catchy pop style, with light lyrics over top of guitar-based songs. There are varying definitions of the term, ranging from it being classed as a slower and mellower form of rock music to a subgenre of pop music. Scholars have noted that pop and rock are usually depicted as opposites; the detractors of pop often deride it as a slick, commercial product along with advocates of rock who claim that rock music is a more authentic, sincere form of music.The textbook American Popular Music defines pop rock as an "upbeat variety of rock music represented by artists such as The Beatles, Elton John, Paul McCartney, The Everly Brothers, Wings ( Paul McCartney and Wings), Rod Stewart, Chicago, and Peter Frampton."Folk rockThe folk scene was made up of folk music lovers who liked acoustic instruments, traditional songs, and blues music with a socially progressive message. The folk genre was pioneered by Woody Guthrie. Bob Dylan came to the fore in this movement, and his hits with '' Blowin' in the Wind and Masters of War brought " protest songs" to a wider public.Inspired by the success of the Beatles to mix folk and rock, Roger McGuinn had already been playing Beatles songs acoustically in Los Angeles folk clubs when Gene Clark approached him to form an act.[ Richie Unterberger, ]Turn! Turn! Turn!: The '60s Folk-Rock Revolution'', 2002 The Byrds, playing Bob Dylan's Mr. Tambourine Man, helped start the trend of folk rock, and helped stimulate the development of psychedelic rock. Dylan continued, with his " Like a Rolling Stone" becoming a US hit single. Neil Young's lyrical inventiveness and wailing electric guitar attack created a variation of folk rock. Other folk rock artists include Simon & Garfunkel, Arlo Guthrie, Joan Baez, The Mamas & the Papas, Joni Mitchell, Bobby Darin and The Band. In Britain, Fairport Convention began applying rock techniques to traditional British folk songs, followed by groups such as Steeleye Span, Lindisfarne, Pentangle, and Trees. Alan Stivell in Brittany had the same approach.Psychedelic rock Jimi Hendrix live at the [[Royal Albert Hall, February 18, 1969.]]Psychedelic music's LSD-inspired vibe began in the folk scene, with the Holy Modal Rounders popularizing the term in 1964. With a background including folk and jug band music, bands like the Grateful Dead and Big Brother & the Holding Company became two famous bands of the genre. The Fillmore was a regular venue for groups like another former jug band, Country Joe and the Fish, and Jefferson Airplane. Elsewhere, The Byrds had a hit with Eight Miles High. The 13th Floor Elevators titled their album The Psychedelic Sounds of the 13th Floor Elevators. The music increasingly became associated with opposition to the Vietnam War.In England, Pink Floyd had been developing psychedelic rock since 1965 in the underground culture scene. In 1966 the band Soft Machine was formed. Donovan had a folk music-influenced hit with Sunshine Superman, one of the early psychedelic pop records. In August 1966 The Beatles released their Revolver album, which featured psychedelia in " Tomorrow Never Knows" and in " Yellow Submarine", along with the memorable album cover. The Beach Boys responded in the U.S. with Pet Sounds. From a blues rock background, the British supergroup Cream debuted in December, and Jimi Hendrix became popular in Britain before returning to the US.The psychedelic scene took off in 1967, with The Doors and Jefferson Airplane releasing drug-themed LPs and the Beatles releasing '' Sgt. Pepper's Lonely Hearts Club Band and The Rolling Stones released Their Satanic Majesties Request''. As the Summer of Love reached its peak, the Monterey Pop Festival featured Jefferson Airplane and introduced Janis Joplin and Jimi Hendrix. The culmination of the socially unifying trend was the rock festivals such as Woodstock in 1969. The Paisley Underground bands of Los Angeles epitomized the role played by 1960s psychedelia and folk-rock in American New Wave.Glam rockGlam rock emerged out of the English Psychedelic and art rock scene of the late 1960s, defined by artists such as T. Rex, Roxy Music, Steve Harley & Cockney Rebel, and David Bowie, also with origins in the theatrics of groups such as The Cockettes, performers such as Lindsay Kemp, and acts such as Syd Barrett's Pink Floyd (as represented in David Bowie's cover of See Emily Play) and Eddie Cochran (as represented by T. Rex's cover of " Summertime Blues"). The commonly accepted origin of Glam rock was when Tyrannosaurus Rex - a band produced by Tony Visconti and championed by the legendary John Peel - frontman/singer Marc Bolan changed the band's name to T. Rex, releasing the number 1 UK single Ride A White Swan in December 1970, ushering in Glam rock and the band as a pop phenomenon. Following soon after were other notable acts such as Slade and Roxy Music, and eventually David Bowie's Ziggy Stardust persona, who brought Glam rock its relatively novel and modest popularity in America, and leading to American artists such as Lou Reed, Iggy Pop, New York Dolls, Jobriath, and Alice Cooper adopting Glam or Glam-influenced styles.Glam itself was a nostalgic mesh of various styles, both visual art and music, ranging from 1930s Hollywood glamor, to 1950s pin-up sex appeal and rock n' roll teenage rebellion, to pre-war Cabaret theatrics, to Victorian literary and Symbolist styles, to ancient and occult mysticism and mythology (such as Bowie's references to Aleister Crowley's "starman" in his song of the same name, and themes of reincarnation and self-invention in T. Rex's Cosmic Dancer). Glam is most noted for its sexual and gender ambiguity and androgyny, and use of theatrics.Throughout glam rock's popularity, many bubble-gum acts - such as Elton John, Slade, Gary Glitter, and Alvin Stardust - adopted raunchier and more sexual takes on Glam style. Other previously famous acts such as The Rolling Stones and Lou Reed re-invented themselves in a glam fashion, often to great success (including Reed's biggest hit single, " Walk on the Wild Side"). However, glam's success in America was modest at best, with artists such as T. Rex and Roxy Music having only a fraction of the success they had in the UK. However, glam went on to influence many other genres, including punk, new wave, goth, jangle pop, college rock, and grunge, with artists as diverse as Siouxsie Sioux, Johnny Rotten, Billy Corgan, Peter Murphy (whose band Bauhaus covered T. Rex's Telegram Sam and Bowie's Ziggy Stardust), and Adam Ant citing glam artists as key influences. Glam has since enjoyed sporadic modest revivals through bands such as Chainsaw Kittens and The Darkness.Progressive rock Yes performing in concert in Indianapolis, 1977 Progressive rock bands went beyond the established rock music formulas by experimenting with different instruments, song types, and musical forms. Some bands such as The Beatles, Pink Floyd, The Moody Blues and Procol Harum experimented with new instruments including wind sections, string sections, and full orchestras. Many of these bands moved well beyond the formulaic three-minute rock songs into longer, increasingly sophisticated songs and chord structures. With inspiration from these earlier artists, referred to as "proto-prog", it flowered into its own genre, initially based in the UK, after King Crimson's 1969 genre-defining debut album, In the Court of the Crimson King.Progressive rock bands pushed "rock's technical and compositional boundaries"[ ] by going beyond the standard rock or popular verse- chorus-based song structures. Additionally, the arrangements often incorporated elements drawn from classical, jazz, and world music. Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy. Progressive rock bands sometimes used " concept albums that made unified statements, usually telling an epic story or tackling a grand overarching theme."Christian rockChristian rock began to develop in the late 1960s and emerged as a sub-genre in the 1970s with artist like Larry Norman, usually seen as the first major "star" of Christian rock.[J. R. Howard and J. M. Streck, Apostles of Rock: The Splintered World of Contemporary Christian Music (University Press of Kentucky, 2004), p. 30.] The genre has been particularly popular in the United States.[J. R. Howard and J. M. Streck, Apostles of Rock: The Splintered World of Contemporary Christian Music (University Press of Kentucky, 2004), pp. 43-44.] Many Christian rock performers have ties to the contemporary Christian music scene, while other bands and artists are closely linked to independent music. Since the 1980s a number of Christian rock performers have gained mainstream success, including figures like Amy Grant and in Britain Cliff Richard.[J. Bowden, Christianity: the complete guide (Continuum, 2005), p. 811.] From the 1990s there were increasing numbers of acts who attempted to avoid the Christian band label, preferring to be seen as groups who were also Christians, including P.O.D and Collective Soul.[J. J. Thompson, Raised by wolves: the story of Christian rock & roll (ECW Press, 2000), pp. 206-7.]Mid to late 1970sHard rock and heavy metal:Main article heavy metal and hard rock Led Zeppelin live at Chicago Stadium, January 1975.A second wave of British and American rock bands became popular during the early 1970s. Bands such as The Who, Deep Purple, Led Zeppelin, Thin Lizzy, Grand Funk Railroad, Black Sabbath, Alice Cooper, Aerosmith, Mountain, Queen, Kiss, Judas Priest and AC/DC played highly amplified, guitar-driven hard rock, marked by aggressive overdriven electric guitars and an insistent 4/4 drumbeat. As the decade progressed, bands began incorporating different sounds into their music such as the use of synthesizers and using influences from progressive rock and disco in their records. Although it remained popular throughout the decade, music critics overwhelmingly disliked the heavy metal genre. In the 1980s bands such as Metallica, Iron Maiden, Slayer, Megadeth, and Anthrax continued the popularity of the style.Arena rock eraThe arena rock era can be traced to the late 1960s, when bands such as The Rolling Stones, The Who and Led Zeppelin garnered audiences large enough to fill stadiums. Those bands set the stage for huge live performances in stadiums and arenas around the globe.Punk rock The Clash, performing in 1980Punk rock 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. They created fast, hard-edged music, typically with short songs, stripped-down instrumentation, and often political, anti-establishment lyrics. Punk embraces a DIY (do it yourself) ethic, with many bands self-producing their recordings and distributing them through informal channels.By late 1976, acts such as the Ramones and Patti Smith, in New York City, and the Sex Pistols and The Clash, in London, were recognized as the vanguard of a new musical movement. The following year saw punk rock spreading around the world. Punk quickly, though briefly, became a major cultural phenomenon in the United Kingdom. For the most part, punk took root in local scenes that tended to reject association with the mainstream. An associated punk subculture emerged, expressing youthful rebellion and characterized by distinctive clothing styles and a variety of anti-authoritarian ideologies.By the beginning of the 1980s, faster, more aggressive styles such as hardcore and Oi! had become the predominant mode of punk rock. Musicians identifying with or inspired by punk also pursued a broad range of other variations, giving rise to post-punk and the alternative rock movement.Since punk rock's initial popularity in the 1970s and the renewed interest created by the punk revival of the 1990s, punk rock continues to have a strong underground cult following. This has resulted in several evolved strains of hardcore punk, such as D-beat (a distortion-heavy subgenre influenced by the UK band Discharge), anarcho-punk (such as Crass), grindcore (such as Napalm Death), and crust punk.New WavePunk rock 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.If punk rock was a social and musical phenomenon, it garnered little in the way of record sales (small specialty labels such as Stiff Records had released much of the punk music to date) or American radio airplay, as the radio scene continued to be dominated by mainstream formats such as disco and album-oriented rock.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.Many of these bands, such as The Cars and The Go-Go's were essentially pop bands dressed up in New Wave regalia; others, including The Police and The Pretenders managed to parlay the boost of the New Wave movement into long-lived and artistically lauded careers.Between 1982 and 1985, influenced by Kraftwerk, David Bowie, and Gary Numan, New Wave went in the direction of such New Romantics as Spandau Ballet, Ultravox, Duran Duran, A Flock of Seagulls, Culture Club, Talk Talk and the Eurythmics, sometimes using the synthesizer to replace all other instruments.This period coincided with the rise of MTV and led to a great deal of exposure for this brand of synthpop. Some rock bands reinvented themselves and profited too from MTV's airplay, for instance Golden Earring, who had a second round of success with " Twilight Zone", but in general the times of guitar-oriented rock were over. Although many "Greatest of New Wave" collections feature popular songs from this era, New Wave more properly refers to the earlier "skinny tie" rock bands such as The Knack or Blondie.Post-punkAlongside New Wave, post-punk developed as an outgrowth of punk rock. In a way it was tied to punk rock. Sometimes thought of as interchangeable with New Wave, post-punk was typically more challenging, arty, and abrasive. The movement was effectively started by the debut of Public Image Ltd., The Psychedelic Furs, and Siouxsie & the Banshees and was soon joined by bands such as Joy Division, The Fall, Gang of Four, The Cure, and Echo & the Bunnymen. Predominantly a British phenomenon, the genre continued into the 1980s with some commercial exposure domestically and overseas, but the most successful band to emerge from post-punk was Ireland's U2, which by the late 1980s had become one of the biggest bands in the world.1980sIn the 1980s, popular rock diversified. This period also saw the New Wave of British Heavy Metal with bands such as Iron Maiden and Def Leppard gaining popularity. The early part of the decade saw Eddie Van Halen achieve musical innovations in rock guitar, while vocalists David Lee Roth (of Van Halen) and Freddie Mercury (of Queen as he had been doing throughout the 1970s) raised the role of frontman to near performance art standards. Concurrently, pop-New Wave bands remained popular, with performers like Billy Idol and The Go-Go's gaining fame.American working-class oriented heartland rock gained a strong following, exemplified by Bruce Springsteen, Bob Seger, John (Cougar) Mellencamp and others. Led by the American folk singer-songwriter Paul Simon and the British former progressive rock star Peter Gabriel, rock and roll fused with a variety of folk music styles from around the world; this fusion came to be known as " world music", and included fusions like aboriginal rock. Rhythm and blues acts like Prince and Rick James expperimented with rock sounds and both had crossover appeal. Also, more extreme forms of rock music began to evolve; in the early eighties, the harsh and aggressive sounds of thrash metal attracted large underground audiences and a few bands, including Metallica and Megadeth, went on for mainstream success.By the mid to late 80's, the teen band Renegade coined the term Commercial Metal to signify a combination of heavy metal instrumentation with pop rock melodies. The term caught on and remains a viable genre description to this day.New Wave of British Heavy Metal Iron MaidenThe New Wave of British Heavy Metal (frequently abbreviated as NWOBHM) was a heavy metal music movement that started in the late 1970s, in Britain, and achieved some international attention by the early 1980s. The era developed as a reaction in part to the decline of early heavy metal bands such as Deep Purple, Led Zeppelin, Black Sabbath and Judas Priest. NWOBHM bands toned down the blues influences of earlier acts, increased the tempos, and adopted a "tougher", harder-edged sound. The era is considered to be a main foundation for heavy metal sub-genres with acts such as Metallica citing NWOBHM bands like Diamond Head and Motörhead as a major influence on their musical style.Glam metal Twisted Sister wore long, hairspray-teased hair, metal studded leather outfits, and makeup. Glam metal was popular in the 1980s. Combining a heavy metal musical style and a glam rock visual look influenced from various artists such as: Queen, Sweet and the New York Dolls, the earliest glam metal bands to gain notability included: Mötley Crüe, Ratt and Quiet Riot. They became known for their debauched lifestyles, teased hair and use of make-up and clothing. Their songs were bombastic and often defiantly macho, with lyrics focused on sex, drinking and drugs. In 1987 a second wave of glam metal acts emerged including Warrant, L.A. Guns, Poison and Faster Pussycat.Heartland rockAmerican working-class oriented heartland rock, characterized by a straightforward musical style, a concern with the average, blue collar American life, gained a strong following in the US during the 1980s.While the genre emerged recognizably into the mainstream in the late 1970s with the commercial success of Bruce Springsteen, Bob Seger, and Tom Petty, the genre's antecedents appeared throughout pop chart history, via popular artists like Bob Dylan, Creedence Clearwater Revival, Mitch Ryder and the Detroit Wheels and Van Morrison, and lesser-known examples ( The Flaming Ember, whose 1971 hit "Westbound Number Nine" was an example of the mixing of garage rock, rhythm and blues and rock influences that would later exemplify the genre) and earlier ones like Eddie Cochran and Del Shannon.The genre reached its commercial, artistic and influential peak in the mid-1980s, with John Mellencamp joining Springsteen, Seger, and Petty as its most prominent artists.In concert, heartland rock often took the form of crowd-rousing anthems, leading to comparisons with Midwestern arena rock groups such as REO Speedwagon and Head East, whose style however owed more to seventies pop rock.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. Many heartland rock artists continue to record today with critical and commercial success, most notably Bruce Springsteen, Tom Petty and John Mellencamp, although their works have become more personal and experimental and do not fit easily into a single genre anymore. Newer artists whose music would clearly have been labeled heartland rock had it been released in the 1970s or 1980s, such as Pittsburgh's Tom Breiding, often find themselves these days labeled alt-country and finding little more than a cult following.The emergence of alternative rock R.E.M. was a successful [[alternative rock band in the 1980s.]]The term alternative rock was coined in the early 1980s to describe rock artists which didn't fit into the mainstream genres of the time. Bands dubbed "alternative" could be most any style not typically heard on the radio; however, most alternative bands were unified by their collective debt to punk rock. Important bands of the 1980s alternative movement included R.E.M., Jane's Addiction, Sonic Youth, The Smiths, the Pixies, Hüsker Dü, The Cure and countless others. Artists largely were confined to independent record labels, building an extensive underground music scene based around college radio, fanzines, touring, and word-of-mouth. Although these groups never generated spectacular album sales, they exerted a considerable influence on the generation of musicians who came of age in the 80s and ended up breaking through to mainstream success in the 1990s. Notable styles of alternative rock during the 1980s include jangle pop, gothic rock, college rock, and indie pop. The next decade would see the success of grunge in the United States and Britpop in the United Kingdom, bringing alternative rock into the mainstream.Alternative goes mainstream (early–mid 1990s)Grunge The grunge group Nirvana, performing live on MTV in 1992.By the early 1990s, rock was dominated by commercialized and highly produced pop, rock, and "hair metal" artists. MTV had arrived and promoted excessive focus on image and style. Disaffected by this trend, in the mid-1980s, bands in Washington state (particularly in the Seattle area) formed a new style of rock music which sharply contrasted the mainstream rock of the time.[Lyons, p. 136] The popular breakthrough of these grunge bands prompted Rolling Stone to nickname Seattle "the new Liverpool."[Marin, Rick. "Grunge: A Success Story." The New York Times. November 15, 1992.] Major record labels signed most of the remaining major grunge bands in Seattle, while a second influx of bands moved to the city in hopes of success.[Azerrad (2001), p. 452–53]Britpop Oasis performing in 2005While the American mainstream was focused on grunge, post-grunge, and hip hop, numerous British groups launched a 1960s revival in the mid-1990s, often called Britpop, with bands such as Oasis, Suede, The Auteurs, Supergrass, Manic Street Preachers, Pulp and Blur among the front-runners. These bands drew on myriad styles from the 80s British rock underground, including twee pop, shoegazing and space rock as well as traditional British guitar influences like the Beatles and glam rock. For a time, the Oasis-Blur rivalry was similar to the Beatles-Rolling Stones rivalry, or the Nirvana-Pearl Jam rivalry in America. While bands like Blur tended to follow on from the Small Faces and The Kinks, Oasis mixed the attitude of the Rolling Stones with the melody of the Beatles. The Verve and Radiohead, though not Britpop but at the forefront of the British revival of the rock, took inspiration from performers like Elvis Costello, Pink Floyd and R.E.M. with their progressive rock music, manifested in Radiohead's most heralded album, OK Computer.Britpop's popularity in America was short, with the exception of Oasis, whose second album sold 19 million copies worldwide, but the movement slowed down after numerous band breakups and publicity disasters weakened popular support in the US. The Verve disbanded after on-going turmoil in the band between singer Richard Ashcroft and guitarist Nick McCabe, and Radiohead has since gone in a more experimental, less radio-friendly direction.Indie rockBy the mid-1990s, the term "alternative music" had lost much of its original meaning as rock radio and record buyers embraced increasingly slick, commercialized, and highly marketed forms of the genre. At the end of the decade, hip hop music had pushed much of alternative rock out of the mainstream, and most of what was left played pop punk and highly polished versions of a grunge/rock mishmash. Many acts that, by choice or fate, remained outside the commercial mainstream became part of the indie rock movement. Indie rock acts placed a premium on maintaining complete control of their music and careers, often releasing albums on their own independent record labels and relying on touring, word-of-mouth, and airplay on independent or college radio stations for promotion. Linked by an ethos more than a musical approach, the indie rock movement encompasses a wide range of styles, from hard-edged, grunge influenced bands like The Cranberries and Superchunk to do-it-yourself experimental bands like Pavement to punk-folk singers such as Ani DiFranco. Currently, many countries have an extensive local indie scene, flourishing with bands with much less popularity than commercial bands, just enough of it to survive inside the respective country, but virtually unknown outside them.Hybrid genres (mid-late 1990s)Pop punk Green DayOne result of the 1970s punk explosion was pop punk. Championed by bands such as The Buzzcocks and The Ramones, the genre was never as commercially successful as the name may have suggested, but its influence can be still be heard in many artists today; the fusion of pop melodies, rapid-fire playing of instruments, and the raw and visceral lyrics and sound of punk rock is apparent in everyone from Nirvana to Oasis. In the 2000s, pop punk is used to describe modern rock bands with a heavy pop influence such as Green Day and The Offspring are common examples of the sub-genre, while Blink-182 brought the sub-genre to new commercial heights in the late nineties to early 2000s.Post-grungeIn the wake of Nirvana singer Kurt Cobain's death, a new style of music called post-grunge evolved. Similar to the relationship between pop punk and punk rock, post-grunge differed from grunge in its more radio-friendly pop-oriented sound. After Australia's Silverchair achieved international success with their debut album Frogstomp record labels began to actively search for the "next Nirvana". Former Nirvana drummer Dave Grohl's new band the Foo Fighters helped further popularize the genre, and other bands such as Bush, Creed, Audioslave, Candlebox, Collective Soul, Goo Goo Dolls, Everclear and Live helped cement post-grunge as one of the most commercially viable sub-genres of the late 1990s. Female solo artist Alanis Morissette also found success while being labeled under the post-grunge tag. In 1995, her album Jagged Little Pill became a major hit by featuring blunt, revealing songs such as " You Oughta Know". Combining the confessional, female-centered lyrics of artists such as Tori Amos with a post-grunge, guitar-based sound created by producer Glen Ballard, it succeeded in moving the introspection that had become so common in grunge to the mainstream. The success of Jagged Little Pill influenced successful more pop-oriented female artists during the late 90s including Fiona Apple, Jewel and Liz Phair.In the beginning of the 21'st century more post-grunge bands began to emerge including Breaking Benjamin, Seether, 3 Doors Down.Nu metal and rap rock Slipknot performing at 2008's Mayhem Festival. Hip hop and rap gained attention from rock acts in the early 80's. The Clash ("The Magnificent Seven") and Blondie ("Rapture") were the first two rock acts to merge their sounds with hip hop. Early crossover acts include Run DMC and the Beastie Boys. In 1990, Faith No More broke into the mainstream with their success of the single 'Epic', which combined heavy metal with rap. This paved ways for bands like Rage Against the Machine and later Limp Bizkit, Korn and Slipknot. This brought a fresh sound by combining the turntable scratching of rap and with the distorted guitars of metal-oriented rock. Later in the decade this style, which contained a mix of grunge, metal, and hip-hop, became known as rap rock and spawned a wave of successful bands like Linkin Park and P.O.D.. Many of these bands also considered themselves a part of the similar genre nu metal.Through the turn of the century, more bands broke out like Papa Roach whose major label debut Infest became a platinum hit. Other bands like P.O.D and Disturbed also had mainstream success. By 2001 nu metal reached its peak as record labels signed many nu metal bands. Though new bands were breaking out, established bands who started the genre had massive successful hit albums like Staind ( Break the Cycle), P.O.D ( Satellite), Slipknot ( Iowa) and Linkin Park ( Hybrid Theory).By 2002, signs that nu metal's mainstream popularity was weakening were apparent. Korn's long awaited fifth album Untouchables and Papa Roach's second album Lovehatetragedy didn't sell as well as their previous albums. Nu metal bands became less played on rock radio stations and MTV began focusing less on these bands and more on pop punk/ Emo bands. Since then, many bands have changed their sound to more conventional Rock music/ Heavy metal music. Rock music in the new millenium (2000s)In the early 2000s the entire music industry was shaken by claims of massive piracy using online music file-sharing software such as Napster, resulting in lawsuits against private file-sharers by the recording industry group the RIAA. During much of the 2000s, rock has not featured as prominently in album sales in the US as in other countries such as the UK and Australia. Another reason for the decline in album sales is the rise in popularity of Hip Hop on many music charts.The biggest factor that affected the production and distribution of rock music was the rise of paid digital downloads in the 2000s. During the 1990s, the importance of the buyable music single faded when Billboard allowed singles without buyable, album-separate versions to enter its Hot 100 chart (charting only with radio airplay). The vast majority of songs bought on paid download sites are singles bought from their albums; songs that are bought on a song-by-song basis off artist's albums are considered sales of singles, even though they have no official buyable single.EmoIn the mid-1980s, the term emo described a subgenre of hardcore punk which stemmed from the Washington, D.C. music scene. In later years, the term emocore, short for "emotional hardcore", was also used to describe the emotional performances of bands in the Washington, D.C. scene and some of the offshoot regional scenes such as Rites of Spring, Embrace or Moss Icon. In the mid-1990s, the term emo began to refer to the indie scene that followed the influences of Fugazi, which itself was an offshoot of the first wave of emo. Bands including Sunny Day Real Estate, Jimmy Eat World, and Texas Is the Reason had a more indie rock style of emo, more melodic and less chaotic.While Jimmy Eat World had played emocore-style music early in their career, by the time of the release of their 2001 album Bleed American, the band had downplayed its emo influences, releasing more pop-oriented singles such as " The Middle" and " Sweetness". Newer bands that sounded like Jimmy Eat World (and, in some cases, like the more melodic emo bands of the late 90s) were soon included in the genre.[DeRogatis, Jim.]
"Emo (The Genre That Dare Not Speak Its Name)".2003 saw the success of Chris Carrabba, the former singer of emo band Further Seems Forever, and his project Dashboard Confessional. Carraba found himself part of the emerging "popular" emo scene. Carrabba's music featured lyrics founded in deep diary-like outpourings of emotion. While certainly emotional, the new "emo" had a far greater appeal amongst adolescents than its earlier incarnations.[DeRogatis, Jim. ]
"True Confessional?". October 3, 2003.At the same time, use of the term "emo" expanded beyond the musical genre, which added to the confusion surrounding the term. The word "emo" became associated with open displays of strong emotion. Common fashion styles and attitudes that were becoming idiomatic of fans of similar "emo" bands also began to be referred to as "emo." As a result, bands that were loosely associated with "emo" trends or simply demonstrated emotion began to be referred to as emo.[Popkin, Helen A.S. ]
"What exactly is 'emo,' anyway?" MSNBC.com. March 26, 2006In a strange twist, screamo, a more aggressive sub-genre of emo that began in the early 1990s, also had a reformulation of sound and has found greater popularity in recent years through bands such as Glassjaw.
"Screamo", by Jim DeRogatis, Guitar World Magazine, November 2002[In a 2003 interview by Mark Prindle, Guy Picciotto of Fugazi and Rites of Spring was asked how he felt about "being the creator of the emo genre." He responded:]Garage rock revivalIn the early 2000s, a garage rock revival gained mainstream appeal and commercial airplay, something that had eluded garage rock bands of the past. This was led by four bands, The Hives (from Sweden), The Vines (from Australia), The Strokes (from New York), and The White Stripes (From Detroit), christened by the media as the "The" bands, or "The saviours of rock 'n' roll".[C. Smith, 101 Albums That Changed Popular Music (Oxford: Oxford University Press, 2009), p. 240.] Other products of the Detroit rock scene included; The Von Bondies, Electric 6, The Dirtbombs and The Detroit Cobras[P. Buckley, The rough guide to rock (Rough Guides, 2003), p. 1144.] Elsewhere, other lesser-known acts such as Billy Childish and The Buff Medways from Britain,[P. Buckley, The rough guide to rock (Rough Guides, 2003), pp. 189-90.] The (International) Noise Conspiracy from Sweden,["Review: The (International) Noise Conspiracy, A New Morning; Changing Weather", New Music Monthly Nov-Dec 2001, p. 69.] The 5.6.7.8's from Japan,[C. Rowthorn, Japan (Lonely Planet, 8th edn., 2003), p. 37.] and the Oblivians from Memphis[E. True, The White Stripes and the sound of mutant blues (Omnibus Press, 2004), p. 59.] enjoyed moderate underground success and appeal. Other notable bands that enjoyed commercial success, were The Libertines, Black Rebel Motorcycle Club, The Datsuns and the Kings of Leon.[S. J. Blackman, Chilling out: the cultural politics of substance consumption, youth and drug policy (McGraw-Hill International, 2004), p. 90.]Post-punk revivalAdditionally, the retro trend has led to a post-punk revival with bands like The Hives, The Libertines, The Killers, Arctic Monkeys, Bloc Party, Franz Ferdinand, Interpol, and Editors, which were often heavily influenced by 1990s bands such as Radiohead and Nirvana, as well as the punk genre, and post-punk bands such as Joy Division.Originally, the term "post-punk" was coined to describe those groups which in the late seventies and early eighties took punk and started to experiment with more challenging musical structures, lyrical themes, and a self-consciously art-based image, while retaining punk's initial iconoclastic stance, such as Public Image Ltd., Gang of Four, and Joy Division. At the turn of the century, the term "post-punk" began to appear in the music press again, with a number of critics reviving the label to describe a new set of bands that shared some of the aesthetics of the original post-punk era. The Rapture, Interpol, The Killers, Arctic Monkeys, and Franz Ferdinand were the first commercially successful projects to revive media interest in the movement.
The Rapture - The Rapture: Get Myself Into It - Track Reviews - NME.COM
Perfect Sound Forever: Simon Reynolds interview, on post-punkMetalcore and contemporary heavy metal Metalcore, an originally American hybrid of thrash metal and hardcore punk,[Weinstein (2000), p. 288; Christe (2003), p. 372] emerged as a commercial force in the mid-2000s. It is rooted in the crossover thrash style developed two decades earlier by bands such as Suicidal Tendencies, Dirty Rotten Imbeciles, and Stormtroopers of Death.[Christe (2003), p. 184] Through the 1990s, metalcore was mostly an underground phenomenon. By 2004, melodic metalcore—influenced as well by melodic death metal—was popular enough that Killswitch Engage's The End of Heartache and Shadows Fall's The War Within debuted at numbers 21 and 20, respectively, on the Billboard album chart.[ ] Bullet for My Valentine, from Wales, broke into the top 5 in both the U.S. and British charts with Scream Aim Fire (2008). In recent years, metalcore bands have received prominent slots at Ozzfest and the Download Festival. Lamb of God, with a related blend of metal styles, hit the Billboard top 10 in 2006 with Sacrament. The success of these bands and others such as Trivium, which has released both metalcore and straight-ahead thrash albums, and Mastodon, which plays in a progressive/sludge style, has inspired claims of a metal revival in the United States, dubbed by some critics the " New Wave of American Heavy Metal."[Sharpe-Young, Garry, New Wave of American Heavy Metal ]
(link). Masters of Rock festival">Children of Bodom, performing at the 2007 Masters of Rock festivalThe term "retro-metal" has been applied to such bands as England's The Darkness
The Darkness. Allmusic. Retrieved on June 11, 2007.
Wolfmother. Rolling Stone, April 18, 2006. Retrieved on March 31, 2007.[ (In German).] The Swedish act In Flames took both Come Clarity (2006) and A Sense of Purpose (2008) to number 6 in Germany;[ (In Swedish).]Electronic rock Justice.">Justice (french band)">Justice.As computer technology has become more accessible and music software had advanced, interacting with music production technology became possible using means that bear no relationship to traditional musical performance practices:[Emmerson 2007, 111–13.] for instance, laptop performance (laptronica)[Emmerson 2007, 80-81.] and live coding.[Emmerson 2007, 115; Collins 2003.]In the last decade a number of software-based virtual studio environments have emerged, with products such as Propellerhead's Reason and Ableton Live finding popular appeal.[ ]
23rd Annual International Dance Music Awards: Best Audio Editing Software of the Year - 1st Abelton Live , 4th Reason. Best Audio DJ Software of the Year - Abelton Live.Such tools provide viable and cost-effective alternatives to typical hardware-based production studios, and thanks to advances in microprocessor technology, it became possible to create high quality music using little more than a single laptop computer. Such advances have led to a massive increase in the amount of home-produced electronic music available to the general public via the internet.[ url=http://www.cababstractsplus.org/abstracts/Abstract.aspx?AcNo=19941801813| title=Electronically produced music and its economic effects on the performing musician and music industry.| authors | C. M. Colonna, P. M. Kearns, and J. E. Anderson.| journal = Journal of Cultural Economics] Bands such as The Prodigy, Pendulum, Ratatat, and Nine Inch Nails are a few of the most popular electronic rock bands.The industrial rock band Nine Inch Nails' album " Year Zero" utilized a heavily edited and distorted guitar sound modified via laptop computer. Allmusic's review described the album's laptop-mixed sound: "guitars squall against glitches, beeps, pops, and blotches of blurry sonic attacks. Percussion looms large, distorted, organic, looped, screwed, spindled and broken."Dance-punkMany groups in the post-punk era adopted a more rhythmic tempo, conducive to dancing. These bands were influenced by disco, funk, and other dance musics popular at the time, as well as being anticipated by some of the 1970s work of David Bowie,[Stephen Thomas Erlewine, Young Americans review, Allmusic. ]
* Access date: September 8, 2008. Brian Eno, and Iggy Pop, and some recordings by the German groups referred to as Krautrock.The music style re-emerged under the name dance-punk at the beginning of the 21st century.[Swaminathan, Nikhil (2003-12-25) - ]
Dance-punk ends scenester dormancy The style was championed by rock- and punk-oriented bands such as Liars, The Rapture and Radio 4, as well as dance-oriented acts such as Out Hud. Other groups, such as !!! and The Faint fell somewhere in the middle. There has since been a crystallization of musical forms within dance-punk, with bands such as Death from Above 1979, Test Icicles, Fake Shark - Real Zombie!, and Q and Not U exploring aspects of dance-punk, along with post-hardcore and other musical styles. DFA Records can be seen as the current center of the dance-punk genre. As well as James Murphy's LCD Soundsystem, the label is currently home to The Juan MacLean, Hot Chip, Hercules & Love Affair, Brinvonda, Shit Robot, Delia Gonzalez & Gavin Russom, Prinzhorn Dance School, Booji Boy High, Shocking Pinks, Holy Ghost!, Still Going, Syclops and YACHT.New Rave The Ting Tings, March 2009. New Rave is a term applied to several types of music that go from fusing elements of electronic, rock, indie
Rousing Rave from the Grave[The Observer. October 5, 2006]
Rousing Rave from the Grave; retrieved January 9, 2008[BBC News. January 3, 2007; ]
Sound of 2007: Klaxons; retrieved March 31, 2007[The Observer. January 28, 2007;]
New Rave is Dead; Long Live the Klaxons; retrieved March 31, 2007 Trash Fashion,[Times Online. November 12, 2006; ]
Here we glo again; retrieved February 11, 2009 New Young Pony Club,[The Guardian. October 13, 2006;]
New Rave? Old Rubbish; retrieved March 31, 2007[The Guardian. January 5, 2007; ]
2007's original soundtrack; retrieved April 12, 2007[Boston Globe. April 6, 2007; ]
Meet the NEW rave. Same as the old rave?; retrieved April 12, 2007[Sunday Life. February 4, 2007; ]
Music: Having a blast; retrieved April 12, 2007, Hadouken!, Late of the Pier, Test Icicles, Bono Must Die[The Guardian. January 5, 2007]
Music: Rave on, just don't call it 'new rave'; retrieved September 2, 2008 and SHITDISCO[The Guardian. February 3, 2007; ]
The future's bright...; retrieved March 31, 2007 Indeed, many consider New Rave to be defined more by the image and aesthetic of its bands and supporters, than by the somewhat vague sonic criteria. Trash Fashion lead singer, Jet Storm has been described as the scenes very own pin up.[Times Online. November 12, 2006; ]
Here we glo again; retrieved February 12, 2009[BigShinyThing. October 12, 2006; ]
God Help Us All: New Rave; retrieved February 11, 2009. Nevertheless, the usage of electronic instruments, a musical fusion of rock and dance styles, and a particular anarchic, trashy energy are certainly key elements.Social impactThe influence of rock music is far-reaching, and has had significant impact worldwide on fashion and film styles. Its impact has been positive as well, with the trend of many rock stars facilitating charity events such as Live Aid. There are also spiritual aspects tied to rock music. Songwriters like Pete Townshend have explored these in their work. The common usage of the term rock god acknowledges the religious quality of the adulation some music celebrities and rock stars receive.See also
* Music
* Origins of rock and roll
* Pop music
* Popular music pedagogyReferencesExternal links
* http://www.nytimes.com/2006/04/27/arts/music/27sann.html?pagewanted=print
* http://www.time.com/time/magazine/article/0,9171,983999,00.html
* http://www.cnn.com/2009/SHOWBIZ/Music/09/11/righteous.rocker/index.html
*
(2008). In Encyclopædia Britannica. Retrieved June 10, 2008, from Encyclopædia Britannica Online.
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ar: موسيقى الروك
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