Garage rock
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Garage rock (sometimes called garage punk or '60s punk) is a raw and energetic style of rock and roll that flourished in the mid-1960s, most notably in the United States and Canada, and has experienced a series of subsequent revivals. The style is characterized by basic chord structures played on electric guitars and other instruments, sometimes distorted through a fuzzbox, as well as often unsophisticated and occasionally aggressive lyrics and delivery. Its name derives from the perception that groups were often made up of young amateurs who rehearsed in the family garage, although many were professional.
In the US and Canada,
During the 1960s, garage rock was not recognized as a distinct genre and had no specific name, but critical hindsight in the early 1970s—and especially the 1972
In the early to mid-1980s, several revival scenes emerged featuring acts that consciously attempted to replicate the look and sound of 1960s garage bands. Later in the decade, a louder, more contemporary garage subgenre developed that combined garage rock with modern punk rock and other influences, sometimes using the
Social milieu and stylistic features
The term "garage rock", often used in reference to 1960s acts, stems from the perception that many performers were young amateurs who rehearsed in the family garage.[2] While numerous bands were made up of middle-class teenagers from the suburbs, others were from rural or urban areas or were composed of professional musicians in their twenties.[3][4]
Referring to the 1960s, Mike Markesich commented "teenage rock & roll groups (i.e. combos) proliferated Everywheresville USA".[5] Though it is impossible to determine how many garage bands were active in the era, their numbers were extensive[6] in what Markesich has characterized as a "cyclonic whirlwind of musical activity like none other".[7] According to Mark Nobles, it is estimated that between 1964 and 1968 over 180,000 bands formed in the United States,[8] and several thousand US garage acts made records during the era.[9][a]
Garage bands performed in a variety of venues. Local and regional groups typically played at parties, school dances, and teen clubs.[10] For acts of legal age (and in some cases younger), bars, nightclubs, and college fraternity socials also provided regular engagements.[11] Occasionally, groups had the opportunity to open at shows for famous touring acts.[12] Some garage rock bands went on tour, particularly those better-known, but even more obscure groups sometimes received bookings or airplay beyond their immediate locales.[13] Groups often competed in "battles of the bands", which allowed musicians to gain exposure and a chance to win a prize, such as free equipment or recording time in a local studio.[14] Contests were held, locally, regionally and nationally, and three of the most prestigious national events were held annually by the Tea Council of the US,[15] the Music Circus,[16] and the United States Junior Chamber.[17]
Performances often sounded amateurish, naïve, or intentionally raw, with typical themes revolving around the traumas of high school life and songs about "lying girls" being particularly common.
Garage rock acts were diverse in both musical ability and style, ranging from crude and amateurish to near-studio level musicianship. There were also regional variations in flourishing scenes, such as in California and Texas.[24] The north-western states of Idaho, Washington and Oregon had a distinctly recognizable regional sound with bands such as the Sonics and Paul Revere & the Raiders.[25]
Recognition and classification
In the 1960s, garage rock had no name and was not thought of as a genre distinct from other rock and roll of the era.
"Garage rock" was not the initial name applied to the style.[29] In the early 1970s such critics used the term "punk rock" to characterize it,[30] making it the first musical form to bear the description.[31] While the coinage of the term "punk" in relation to rock music is unknown,[32] it was sometimes used then to describe primitive or rudimentary rock musicianship,[4][b] but more specifically 1960s garage as a style.[28] In the May 1971 issue of Creem, Dave Marsh described a performance by ? and the Mysterians as an "exposition of punk rock".[34] Conjuring up the mid-1960s, Lester Bangs in June 1971 wrote "...then punk bands started cropping up who were writing their own songs but taking the Yardbirds' sound and reducing it to this kind of goony fuzztone clatter ... oh, it was beautiful, it was pure folklore, Old America, and sometimes I think those were the best days ever".[35]
Much of the revival of interest in 1960s garage rock can be traced to the release of the 1972 album
Though the phrase "punk rock" was the favored generic term in the early 1970s,
1958–1964: Origins
Regional rock & roll, instrumental, and surf
In the late 1950s, the initial impact of
Numerous young people were inspired by musicians such as Chuck Berry,[49] Little Richard,[50] Bo Diddley,[50] Jerry Lee Lewis,[49] Buddy Holly,[51] and Eddie Cochran,[52] whose recordings of relatively unsophisticated and hard-driving songs from a few years earlier[49] proclaimed personal independence and freedom from parental controls and conservative norms.[53] Ritchie Valens' 1958 hit "La Bamba" helped jump-start the Chicano rock scene in Southern California and provided a three-chord template for the songs of numerous 1960s garage bands.[54] By the end of the 1950s regional scenes were abundant around the country and helped set the stage for garage rock the 1960s.[55]
Guitarist
According to Lester Bangs, "the origins of garage rock as a genre can be traced to California and the Pacific Northwest in the early Sixties".[44] The Pacific Northwest, which encompasses Washington, Oregon, and Idaho, played a critical role in the inception of garage rock, hosting the first scene to produce a sizable number of acts, and pre-dated the British Invasion by several years. The signature garage sound that eventually emerged in the Pacific Northwest is sometimes referred to as "the Northwest Sound" and had its origins in the late 1950s, when a handful of R&B and rock & roll acts sprang up in various cities and towns in an area stretching from Puget Sound to Seattle and Tacoma, and beyond.[61]
There and elsewhere, groups of teenagers were inspired directly by touring
Other regional scenes of teenage bands playing R&B-oriented rock were well-established in the early 1960s, several years before the
Frat rock and initial commercial success
As a result of cross-pollination between surf rock, hot rod music, and other influences, a new style of rock sometimes referred to as frat rock emerged, which has been mentioned as an early subgenre of garage rock.
Though often associated with Pacific Northwest acts such as the Kingsmen, frat rock also thrived elsewhere.
1964–1968: Peak years
Impact of the Beatles and the British Invasion
During the mid-1960s, garage rock entered its most active period, prompted by the influence of
In the wake of the Beatles' first visit, a subsequent string of successful British
Height of success and airplay
In the wake of the British Invasion, garage rock experienced a boom in popularity. With thousands of garage bands active in the US and Canada, hundreds produced regional hits during the period,
It is generally agreed that the garage rock boom peaked around 1966.
"
Female garage bands
Garage rock was not an exclusively male phenomenon—it fostered the emergence of
San Francisco's
Regional scenes in the United States and Canada
Pacific Northwest
In 1964 and 1965, the impact of the Beatles and the British Invasion shifted the musical landscape, presenting not only a challenge, but also a new impetus, as previously established acts in the Pacific Northwest adapted to the new climate, often reaching greater levels of commercial and artistic success, while scores of new bands formed. After relocating to Portland, Paul Revere & the Raiders in 1963 became the first rock-and-roll act to be signed to Columbia Records, but did not achieve their commercial breakthrough until 1965 with the song "Steppin Out", which was followed by string of chart-topping hits such as "Just Like Me" (originally recorded by the Wilde Knights) and "Kicks".[128]
The Sonics from Tacoma had a raunchy, hard-driving sound that influenced later acts such as Nirvana and the White Stripes.[129] According to Peter Blecha, they "were the unholy practitioners of punk rock long before anyone knew what to call it".[130] Founded in 1960, they eventually enlisted the services of vocalist Gerry Rosalie and saxophonist Rob Lind and proceeded to cut their first single, "The Witch" in 1964.[131] The song was re-issued again in 1965, this time with the even more intense "Psycho" on the flip side.[132] They released several albums and are also known for other "high-octane" rockers such as "Cinderella" and "He's Waitin'".[133] Prompted by the Sonics, the Wailers entered the mid-1960s with a harder-edged sound in the fuzz-driven "Hang Up" and "Out of Our Tree".[134]
New England and Mid-Atlantic
The Barbarians from Cape Cod, wearing sandals and long hair and cultivating an image of "noble savages", recorded an album and several singles, such as "Are You a Boy or Are You a Girl".[135] In 1964, the group appeared on the T.A.M.I. Show on same bill as the Rolling Stones and James Brown.[136] In the film of the show, their drummer, Victor "Moulty" Moulton, is seen holding one of his drumsticks with a prosthetic clamp while playing—the result of a previous accident in which he lost his left hand.[136][137] In 1966, Moulton recorded "Moulty", a spoken monologue set to music, in which he recounted the travails of his disfigurement, released under the Barbarians' name, but backed by future members of the Band.[136][138]
Boston's
California
The garage craze came into full swing in California, particularly in Los Angeles.[145] The Sunset Strip was the center of L.A. nightlife, providing bands with high-profile venues to attract a larger following and possibly capture the attention of record labels looking to sign a new act.[91] Exploitation films such as Riot on Sunset Strip, Mondo Hollywood, captured the musical and social milieu of life on the strip.[146] In Riot on Sunset Strip, several bands make appearances at the Pandora's Box, including the Standells who are seen during the opening credits performing the theme song, as well as San Jose's the Chocolate Watchband.[147] The Seeds and the Leaves were favorites with the "in-crowd" and managed to achieve national hits with songs that have come to be regarded as garage classics: the Seeds with "Pushin' Too Hard"[148] and the Leaves with their version of "Hey Joe", which became a staple in countless bands' repertoires.[149]
San Jose and the
Midwest
Chicago, known for electric blues, continued to have a strong recording industry in the 1960s and was also a hotbed of activity for garage rock. Chicago blues as well as the Rolling Stones,
Michigan had one of the largest scenes in the country. In early 1966, Detroit's MC5 released a version of "I Can Only Give You Everything" before they went on to greater success at the end of the decade.[170] The Unrelated Segments recorded a string of songs beginning with local hit "The Story Of My Life",[171] followed by "Where You Gonna Go".[172] In 1966, the Litter from Minneapolis released the guitar-overdriven "Action Woman", a song which Michael Hann described as "one of garage's gnarliest, snarliest, most tight-trousered pieces of hormonal aggression".[173]
Other US Regions
In Texas,
The
From Florida, Orlando's We the People came about as the result of the merger of two previous bands and featured songwriters Tommy Talton and Wane Proctor.[188] They recorded a string of self-composed songs, such as primitive rockers, "You Burn Me Upside Down" and "Mirror of my Mind", as well as the esoteric "In the Past", later covered by the Chocolate Watchband.[188] Evil from Miami, had a hard, sometimes thrashing sound and a reputation for musical mayhem, typified in songs such as "From a Curbstone" and "I'm Movin' On".[189]
Canada, islands, and territories
Like the United States, Canada experienced a large and vigorous garage rock movement. Vancouver's the Northwest Company, who recorded "Hard to Cry", had a power chord-driven approach.[190] The Painted Ship were known for primal songs such as the angst-ridden "Frustration" and "Little White Lies", which Stansted Montfichet called a "punk classic".[191] Chad Allan and the Reflections from Winnipeg, Manitoba, began in 1962 and had a hit in the mid-1960s, Johnny Kidd & the Pirates' "Shakin' All Over", then went on to greater success in the late 1960s and early 1970s as the Guess Who.[192]
In 1966,
Outside of the mainland, garage rock became a fixture in the islands and territories adjacent to the continent.[199] The Savages from Bermuda recorded the album Live 'n Wild,[200] which features "The World Ain't Round It's Square", an angry song of youthful defiance.[201]
Variants in regions outside of the US and Canada
The garage phenomenon, though most often associated with North America, was not exclusive to it.[202] As part of the international beat trend of the 1960s, other countries developed grass-roots rock movements that closely mirrored what was happening in North America, which have sometimes been characterized as variants of garage rock or as closely related forms.[203][204][205][206]
United Kingdom
Although Britain did not develop a distinct garage rock genre in the same way as the United States, many British beat groups shared important characteristics with the American bands who often attempted to emulate them, and the music of certain UK acts has been mentioned in particular relation to garage.[207][208]
Beat music emerged in Britain in the early 1960s, as musicians who originally came together to play rock and roll or skiffle assimilated American rhythm and blues influences. The genre provided the model for the format of many later rock groups.[209] The Liverpool area had a particularly high concentration of acts and venues,[210] and the Beatles emerged from this thriving music scene.[211] In London and elsewhere, certain groups developed a harder-driving, distinctively British blues style.[212] Nationally popular blues- and R&B- influenced beat groups included the Rolling Stones and the Yardbirds from London, the Animals from Newcastle, and Them, from Belfast, Northern Ireland, featuring Van Morrison.
Coinciding with the "British Invasion" of the US, a musical cross-fertilization developed between the two continents. In their 1964 transatlantic hits "
By 1965, bands such as
Some commentators have branded the Troggs as garage rock.[208][224][225] Extolling the virtues of their seemingly unrepentant primitivism and sexually charged innuendo, in 1971 Lester Bangs memorialized the Troggs as a quintessential "punk" [i.e. garage] band of the 1960s.[226] They had a worldwide hit in 1966 with "Wild Thing", written by American Chip Taylor.[227] The Equals, a racially integrated band from North London whose membership included guitarist Eddy Grant, later a popular solo artist, specialized in an upbeat style of rock—their 1966 recording "Baby Come Back" was a hit in Europe before becoming a British number one in 1968.[228]
Continental Europe
The beat boom swept through continental Europe, resulting in the emergence of national movements sometimes cited as European variants of garage rock.[229][230] The Netherlands had one of the largest scenes, sometimes retroactively described as Nederbeat.[230][231] From Amsterdam, the Outsiders, who Richie Unterberger singled out as one of the most important 1960s rock acts from a non-English speaking country, featured Wally Tax on lead vocals and specialized in an eclectic R&B and folk-influenced style.[232][233] Q65 from the Hague had a diverse but primitive sound, particularly on their early records.[234][235] Also from the Hague, the Golden Earrings, who later gained international fame in the 1970s and 1980s as Golden Earring, had a top ten hit in the Netherlands in 1965 with "Please Go", followed by "That Day", which went to number two on the Dutch charts.[236][237]
Having nurtured the Beatles' early development in Hamburg, Germany was well-positioned to play a key role as beat music overtook the continent. Bands from Britain and around Europe traveled there to gain exposure, playing in clubs and appearing on popular German television shows such as
Latin America
Latin America got swept up in the worldwide beat trend and developed several of its own national scenes. Mexico experienced its own equivalent to North American garage.[204] The nation's proximity to the United States was detectable in the raw sounds produced by a number of groups while the country simultaneously embraced the British Invasion.[244] One of Mexico's most popular acts were Los Dug Dug's, who recorded several albums and stayed active well into the 1970s.[245]
The beat boom flourished in
Asia
The Far East was not immune to the beat craze, and Japan was no exception; this was particularly true after the Beatles' 1966 visit, when they played five shows at Tokyo's
Despite famine, economic hardship, and political instability, India experienced its own proliferation of garage bands in the 1960s, persisting into the early 1970s with the 1960s musical style still intact even after it fallen out of favor elsewhere.[258][259][f] Mumbai, with its hotels, clubs, and nightlife, had a bustling music scene. The Jets, who were active from 1964 to 1966, were perhaps the first beat group to become popular there.[260] Also popular in Mumbai were the Trojans, featuring Biddu, originally from Bangalore, who later moved to London and become a solo act.[261] Every year the annual Simla Beat Contest was held in Bombay by the Imperial Tobacco Company.[262] Groups from all over India, such as the Fentones and Velvet Fogg, competed in the event.[263][259]
Australia and New Zealand
Australia and New Zealand experienced a garage/beat explosion in the mid-1960s.[264] Before the British Invasion hit, the region enjoyed a sizable surf rock scene, with popular bands such as the Atlantics, who had several instrumental hits, as well as the Aztecs and the Sunsets.[265][266] In late 1963 and early 1964 British Invasion influence began to permeate the music scenes there.[266][267] In June 1964 the Beatles visited Australia as part of their world tour and were greeted by a crowd of an estimated 300,000 in Adelaide.[267] In response, many prior Australian surf bands adapted by adding vocals over guitars, and a host of new bands formed.[267] The first wave of British-inspired bands tended towards the pop-oriented sound of the Merseybeat.[268] With rise in popularity of bands such as the Rolling Stones and the Animals, a second wave of Australian bands emerged that favored a harder, blues-influenced approach.[268]
Sydney was the host to numerous acts.
From Brisbane came
From New Zealand,
Integration with psychedelia and counterculture
Historical and cultural associations
Increasingly throughout 1966, partly due to the growing influence of drugs such as
By the mid-1960s, numerous garage bands began to employ tone-altering devices such as
In 1965, the influence of artists such as
Garage-based psychedelic rock
Tapping into the psychedelic zeitgeist, musicians sonically pushed barriers and explored new horizons. Garage acts, while generally lacking the budgetary means to produce musical extravaganzas on the scale of the Beatles'
Primitivist avant-garde acts
Certain acts conveyed a world view markedly removed from the implicit innocence of much psychedelia and suburban garage, often infusing their work with
The Velvet Underground, whose roster included Lou Reed, are now generally considered the foremost experimental rock group of the period.[317] At the time of recording their first album, they were involved with Andy Warhol, who produced some its tracks, and his assemblage of "scenesters" at the Factory, including model-turned-singer Nico.[323] She shared billing with them on the resulting album, The Velvet Underground & Nico.[323] The album's lyrics, though generally apolitical, depict the world of hard drugs in songs such as "I'm Waiting for the Man" and "Heroin", and other topics considered taboo at the time.[323]
Outside of New York were
Decline
Even at the height of garage rock's popularity in the mid-1960s, the success of most of its records, in spite of a handful of notable exceptions, was relegated to local and regional markets.[93] In the wake of psychedelia, as rock music became increasingly sophisticated, garage rock began to fade.[327] After the release of Sgt. Pepper's Lonely Hearts Club Band and other late-1960s big-production spectaculars, rock albums became increasingly elaborate and were expected to display a high level of maturity and complexity, while the 45-RPM single ceded to the long-play album as the preferred medium.[328][329]
Album-oriented
Later developments
1969–1975: Garage-based proto-punk
Though the garage rock boom faded at the end of the 1960s, a handful of maverick acts carried its impetus into the next decade, seizing on the style's rougher edges, while brandishing them with increased volume and aggression.[339][340] Such acts, often retroactively described as "proto-punk", worked in a variety of rock genres and came from various places, most notably Michigan, and specialized in music that was often loud, but more primitive than the typical hard rock of the time.[341]
In the late 1960s and early 1970s, several Michigan bands rooted in garage rock[342][343][186] recorded works that became highly influential, particularly with the 1970s punk movement.[344] In 1969, MC5 issued their live debut LP, Kick Out the Jams, which featured a set of highly energetic, politically charged songs.[170][340][345] The Stooges, from Ann Arbor were fronted by lead singer Iggy Pop,[340] Describing their approach, Stephen Thomas Erlewine commented: "Taking their cue from the over-amplified pounding of British blues, the primal raunch of American garage rock, and the psychedelic rock (as well as the audience-baiting) of the Doors, the Stooges were raw, immediate, and vulgar."[340] The group released three albums during this period, beginning with the self-titled The Stooges in 1969[340][346] and culminating with Raw Power (now billed as Iggy and the Stooges) in 1973, which featured the cathartic "Search and Destroy" as its opening track.[347] The Alice Cooper band (previously the Spiders) relocated to Detroit, where they began to gain success with a new "shock rock" image, and recorded 1971's Love It to Death, which featured their breakout hit "I'm Eighteen".[187][186]
Two bands that formed during the waning days of the Detroit scene in the early 1970s were
In Boston,
Between 1969 and 1975, other movements further removed from the American garage rock tradition emerged, that nonetheless displayed hallmarks of proto-punk, such as
Mid-1970s: Emergence of the punk movement
Identification of garage rock by certain critics in the early 1970s (and their use of the term "punk rock" to describe it), as well as the 1972 Nuggets compilation exerted a marked degree of influence on the punk movement that emerged in the mid-to-late 1970s.[366] As a result of the popularity of Nuggets and critical attention paid to primitive-sounding rock of the past and present, a self-conscious musical aesthetic began to emerge around the term "punk"[367] that eventually manifested in the punk scenes of New York, London, and elsewhere between 1975 and 1977, and in the process transformed into a new musical and social movement having its own separate subculture, identity, and values.[368]
The mid- to late-1970s saw the arrival of the acts now most commonly identified as punk rock. Frequently mentioned as the first of these[369] were the Ramones from New York, some of whose members earlier played in 1960s garage bands.[370] They were followed by the Sex Pistols in London, who struck a far more defiant pose and effectively heralded the arrival punk as a cause célèbre in the larger public mind.[371] Both bands spearheaded the popular punk movement from their respective locations.[372][371] Simultaneously, Australia developed its own punk scene,[373] which derived some of its inspiration from the 1960s Australian garage/beat movement.[373] One of its leading bands the Saints, from Brisbane, included a rendition of the Missing Links' 1965 song "Wild About You" on their 1977 debut album.[373]
Despite the influence of garage rock and proto-punk on the originating musicians of these scenes,[374] punk rock emerged as a new phenomenon, distinct from its prior associations,[375] and the garage band era of the 1960s came to be viewed as a distant forerunner.[376][377]
1970s–2000s: Revivalist and hybrid movements
Garage rock has experienced various revivals in the ensuing years and continues to influence numerous modern acts who prefer a "back to basics" and "do it yourself" musical approach.[378]
Retro revival acts 1970s-1980s
The earliest group to attempt to revive the sound of 1960s garage was the Droogs, from Los Angeles, who formed in 1972 and pre-dated many of the revival acts of the 1980s.[379] In the early 1980s, revival scenes linked to the underground music movements of the period sprang up in Los Angeles, New York, Boston, and elsewhere, with acts such as the Chesterfield Kings, the Fuzztones, the Pandoras, and Lyres earnestly attempting to replicate the sound and look of the 1960s garage bands.[380] This trend fed in into the alternative rock movement and future grunge explosion, which embraced influences by 1960s garage bands such as the Sonics and the Wailers.[381]
Other movements
Out of the garage revival, a more aggressive form of garage rock known as
2000s garage rock revival
The 2000s was identified as having another wave of garage rock revivalism, with
Detroit's garage rock scene included the White Stripes,
The mid-2000s saw several underground bands achieve mainstream prominence. Acts such as
Compilations
According to Peter Aaron, there are over a thousand garage rock
The
There are numerous collections featuring garage/beat music from outside of North America. Rhino's
Los Nuggetz Volume Uno is devoted primarily to Latin American groups of the 1960s and is available in a single-CD edition,[204] as well as an expanded 4-CD box set.[427] GS I Love You: Japanese Garage Bands of the 1960s[205] and its companion piece GS I Love You Too: Japanese Garage Bands of the 1960s[256] Both sets feature GS acts from Japan.[205][256] The Simla Beat 70/71 compilation consists of recordings by garage rock acts from India that competed in the 1970 and 1971 Simla Beat contests.[259] Though its tracks were recorded at the turn of the 1970s, most of them bear a striking resemblance to music made in the West several years earlier.[259]
List of bands
See also
- American rock
- List of 1960s one-hit wonders in the United States
- List of garage rock bands
- Nederpop
Notes
- ^ On page 49, Markesich mentions that the book's core discography (consisting almost exclusively of US acts) includes approximately 16,000 recordings made by over 4500 groups. Release dates for records generally range from 1963 to 1972 (with several later exceptions), but the vast bulk of the discography is composed of records released between 1964 and 1968).
- ^ Used in this sense, the term is detectable as early as 1968 in Frank Zappa and the Mothers of Invention's song "Flower Punk", which, amongst other things, parodies amateur musicians and mimics the lyrics of garage rock staple "Hey Joe".[33]
- ^ Letters in title were not capitalized.[1]
- the Dead Boys in an article appearing in the October 24 edition of The Village Voice.[43] Bangs describes the Dead Boys as "classic trashy garage rock". However, it is difficult to determine whether it was used in quite the same generic sense it is now. Bangs' subsequent 1981 essay "Protopunk: The Garage Bands", which appeared in The Rolling Stone Illustrated History of Rock & Roll, does use the term "garage bands" to describe 1960s groups,[44]but not the term "garage rock", indicating that a consensus may not have yet (in 1981) coalesced around the term "garage rock" as the name for the 1960s genre.
- ^ Not to be confused with Alice Cooper's American band of the same name.
- ^ On pages 10 and 51 the author indicates that the term often used for many the Indian bands of the 1960s is "garage bands".
- Miserlou" (1962), Dick Dale used a Phrygian scale.[293] The first musical act to use the term "psychedelic was the New York-based folk group the Holy Modal Rounders on their version of Lead Belly's "Hesitation Blues" (there pronounced as "psycho-delic") in 1964.[295]
- ^ Commenting on the 1960s youth generation, as well as garage bands, Lenny Kaye mentions in his liner notes to Nuggets (1972): "The social situation similarly set the pace, doing its part by opening once rigid-boundaries of individual musics — folk, jazz, more exotic foreign forms — as well as cracking open the door to a world in which the youth felt that they had too long suffered a pat on the head ad a kick in the ass. Lastly you might take into account the players and audiences themselves, nurtured on a steady diet of rock for as long as they could remember, the former sure that a piece of plutonian pie could easily be theirs by as simple act of faith as picking up a guitar..."
- ^ Progressive rock and AOR are two examples of FM rock radio formats that became prominent in the late 1960 and 1970s.
References
Citations
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- ^ Markesich 2012, p. 5.
- ^ Markesich 2012; Nobles 2012, p. 21.
- ^ Markesich 2012, p. 9.
- ^ Nobles 2012, p. 21.
- ^ Markesich 2012, p. 49.
- ^ Markesich 2012, p. 16; Tupica 2013.
- ^ Markesich 2012, p. 16; Fensterstock 2013.
- ^ Nobles 2012, p. 75.
- ^ Nobles 2012, pp. 75, 83–88.
- ^ Markesich 2012, p. 20; Hicks 1999, p. 25; Lemlich 1992, pp. 17–18, 30.
- ^ Lemlich 1992, pp. 17–18, 30.
- ^ Lemlich 1992, pp. 17–18, 30; Tupica 2013; Markesich 2012, p. 20.
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- ^ Shuker 2005, p. 140; Tupica 2013; Bogdanov, Woodstra & Erlewine 2002, p. 3.
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- ^ Blecha 2009, pp. x, 169–188; Campbell 2004, pp. 213–214.
- ^ Markesich 2012, pp. 5, 294.
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Books
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- Hall, Ron (2001). Playing for a Piece of the Door: A History of Garage & Frat Bands in Memphis 1960–1975 (1st ed.). Memphis: Sharngri-La Projects. ISBN 978-0-9668575-1-1.
- Joynson, Vernon (2004) Fuzz, Acid and Flowers Revisited: A Comprehensive Guide to American Garage, Psychedelic and Hippie Rock (1964-1975). Borderline ISBN 978-1-899855-14-8.
- Kristiansen, Lars J. (2010). Screaming for Change: Articulating a Unifying Philosophy of Punk Rock. Rowman & Littlefield Publishers Inc. ISBN 978-0-7391-4274-5.
- Medina, Cuahtémoc (Autumn 2005). Pellizzi, Francesco (ed.). Res: Anthropology and Aesthetics, 48: Autumn 2005: Permanent/Impermanent - Henry Flynt. Harvard University Press. p. 187. ISBN 978-0-87365-766-2. Retrieved June 7, 2017.
- Murrells, Joseph (1978). The Book of Golden Discs (2nd ed.). London: Barrie and Jenkins Ltd. ISBN 978-0-214-20512-5.
- Rogan, Johnny (1998). The Byrds: Timeless Flight Revisited (2nd ed.). Rogan House. ISBN 978-0-9529540-1-9.
- Rosenberg, Stuart (2008). Rock and Roll and the American Landscape: The Birth of an Industry and the Expansion of the Popular Culture, 1955–1969. iUniverse. ISBN 978-1-4401-6458-3.
- Swenson, John (2012). New Atlantis: Musicians Battle for the Survival of New Orleans. Oxford, UK: Oxford University Press. ISBN 978-0-19-993171-2.
- Thompson, Dave (September 1, 2002). The Music Lover's Guide to Record Collecting. San Francisco: Backbeat Books. ISBN 978-0-87930-713-4.
- Unterberger, Richie (2000). Urban Spacemen and Wayfaring Strangers: Overlooked Innovators and Eccentric Visionaries of '60s Rock. Hal Leonard Corporation. ISBN 978-0-87930-616-8.
- Whitburn, Joel (2004). The Billboard Book of Top 40 Hits: Eighth Edition. Record Research. p. 499. ISBN 978-0-8230-8554-5.
- Wickham, Barry G.; Richman, Geoffrey M. (2008). Price and Reference Guide for 1960s Garage, Psychedelic and Uncharted Rock 45s. Petaluma, California: Richman and Wickham. ISBN 9780615260211.
News
- Christgau, Robert (October 14, 1971). "Consumer Guide (20)". The Village Voice. Retrieved July 23, 2016 – via www.robertchristgau.com.
- Gordon, Robert (August 16, 2013). "Memphis: Where to Find the Blues". The Guardian. Archived from the original on August 17, 2013. Retrieved July 16, 2016.
- Wilonsky, Robert (June 3, 2011). "Journey Through Tyme, or: Finally a History of Dallas' Great Garage Rock Scene of the 1960s". Dallas Observer. Archived from the original on July 15, 2015. Retrieved February 8, 2017.
Websites
- Eder, Bruce. "The Music Machine". AllMusic. Retrieved June 12, 2017.
- Skelly, Richard. "The Syndicate of Sound". AllMusic. Retrieved June 9, 2017.
- Unterberger, Richie. "Kenny & the Kasuals". AllMusic. Retrieved July 8, 2015.
- Unterberger, Richie. "The Wheels". AllMusic. Retrieved July 10, 2015.
External links
- '60s Garage Bands – histories of local and regional bands of the 1960s
- Beyond the Beat Generation – interviews with former members of 1960s garage bands
- Everett True's Australian Garage Rock Primer – covers Australian garage rock bands of the 1960s and later
- G45 Central – website and blog which hosts discussions on various topics related to garage rock
- Garage Hangover – garage bands of the 1960s by state, province and country
- GS Archived January 20, 2014, at the Wayback Machine – covers the group sounds ("G.S.") garage/beat boom in Japan
- It's Psychedelic Baby! Magazine - articles, interviews, and reviews of 1960s psychedelic and garage acts
- Start – Website devoted to covering as many as 1400 Dutch Nederbeat bands of the 1960s (in both Dutch and English)
- Ugly Things – magazine that provides information on garage rock and vintage music from the 1960s and other eras