British rock music
British rock describes a wide variety of forms of music made in the United Kingdom. Since around 1964, with the "British Invasion" of the United States spearheaded by the Beatles, British rock music has had a considerable impact on the development of American music and rock music across the world.[1]
Initial attempts to emulate American rock and roll took place in Britain in the mid-1950s, but the terms "rock music" and "rock" usually refer to the music derived from the blues rock and other genres that emerged during the 1960s. The term is often used in combination with other terms to describe a variety of hybrids or subgenres, and is often contrasted with pop music, with which it shares many structures and instrumentation. Rock music has tended to be more orientated toward the albums market, putting an emphasis on innovation, virtuosity, performance and song writing by the performers.[2]
Although much too diverse to be a genre in itself, British rock has produced many of the most significant groups and performers in rock music internationally, and has initiated or significantly developed many of the most influential subgenres, including beat music, progressive rock, art rock, hard rock, heavy metal, punk, post-punk, new wave, and indie rock.
Early British rock and roll
In the 1950s, Britain was well placed to receive American rock and roll music and culture. It shared a common language, had been exposed to American culture through the stationing of troops in the country, and shared many social developments, including the emergence of distinct youth sub-cultures, which in Britain included the
The initial response of the British music industry was to attempt to produce copies of American records, recorded with session musicians and often fronted by teen idols. British rock and rollers soon began to appear, including
Development in the 1960s and early 1970s
Beat music
In late 1950s Britain a flourishing culture of groups began to emerge, often out of the declining skiffle scene, in major urban centres in the UK like Liverpool, Manchester, Birmingham and London. This was particularly true in Liverpool, where it has been estimated that there were around 350 different bands active, often playing ballrooms, concert halls and clubs.[10]
These beat bands were heavily influenced by American groups of the era, such as
British blues boom
In parallel with beat music, in the late 1950s and early 1960s a British blues scene was developing recreating the sounds of American
The Beatles and the "British Invasion"
The Beatles themselves were less influenced by blues music than the music of later American genres such as soul and Motown. Their popular success in Britain in the early 1960s was matched by their new and highly influential emphases on their own song writing, and on technical production values, some of which were shared by other British beat groups. On 7 February 1964, the CBS Evening News with Walter Cronkite ran a story about the Beatles' United States arrival in which the correspondent said "The British Invasion this time goes by the code name Beatlemania".[15] A few days later, they appeared on The Ed Sullivan Show.[16] Seventy five per cent of Americans watching television that night viewed their appearance thus "launching"[17] the invasion with a massive wave of chart success that would continue until the Beatles broke up in 1970. On 4 April 1964, the Beatles held the top 5 positions on the Billboard Hot 100 singles chart, the only time to date that any act has accomplished this.[17][18] During the next two years, Peter and Gordon, The Animals, Manfred Mann, Petula Clark, Freddie and the Dreamers, Wayne Fontana and the Mindbenders, Herman's Hermits, The Rolling Stones, The Troggs, and Donovan would have one or more number one singles in the US.[19] Other acts that were part of the "invasion" included The Who, The Kinks, and The Dave Clark Five;[17] these acts were also successful within the UK, although clearly the term "British Invasion" itself was not applied there except as a description of what was happening in the USA. So-called "British Invasion" acts influenced fashion, haircuts and manners of the 1960s of what was to be known as the "Counterculture". In particular, the Beatles' movie A Hard Day's Night and fashions from Carnaby Street led American media to proclaim England as the centre of the music and fashion world.[19] The success of British acts of the time, particularly that of the Beatles themselves, has been seen as revitalising rock music in the US and influenced many American bands to develop their sound and style.[1] The growth of the British music industry itself, and its increasingly prominent global role in the forefront of changing popular culture, also enabled it to discover and first establish the success of new rock artists from elsewhere in the world, notably Jimi Hendrix and, in the early 1970s, Bob Marley.[20]
Freakbeat
Freakbeat is a loosely defined
Psychedelic rock
Psychedelic music is a style of music that is inspired or influenced by
Mainstream and global success
By the early 1970s, rock music had become more mainstream, and internationalised, with many British acts becoming massively successful in the United States and globally. Some of the most successful artists, such as the individual members of The Beatles,
New subgenres in the 1970s
British folk rock
British folk rock developed in Britain during the mid to late 1960s by the bands
Progressive rock
Progressive or prog rock developed out of late 1960s
Glam rock
Glam or glitter rock developed in the UK in the post-hippie early 1970s. It was characterised by "outrageous" clothes, makeup, hairstyles, and platform-soled boots.[43] The flamboyant lyrics, costumes, and visual styles of glam performers were a campy, playing with categories of sexuality in a theatrical blend of nostalgic references to science fiction and old movies, all over a guitar-driven hard rock sound.[44] Pioneers of the genre included David Bowie, Roxy Music, Mott the Hoople, Marc Bolan and T. Rex.[44] These, and many other acts straddled the divide between pop and rock music, managing to maintain a level of respectability with rock audiences, while enjoying success in the UK singles chart, including Queen and Elton John. Other performers aimed much more directly for the popular music market, where they were the dominant groups of their era, including Slade, Wizzard, Mud and Sweet.[44] The glitter image was pushed to its limits by Gary Glitter and The Glitter Band. Largely confined to the British music scene where it originated, glam rock peaked during the mid-1970s, before it declined in the face of punk rock and new wave trends.[44][45] It has had a direct influence on acts that rose to prominence later.[46]
Hard rock/heavy metal
With roots in
Although NWOBHM inspired many new bands, in the late 1980s much of the creative impetus in the genre shifted towards America and continental Europe (particularly Germany and Scandinavia), which produced most of the major new subgenres of metal, which were then taken up by British acts. These included
Probably the most successful British metal band since the days of NWOBHM were Cradle of Filth, formed in 1991, and pursuing a form of extreme metal that is difficult to categorise.[51] The term "retro-metal" has been applied to such bands as The Darkness, whose mix of glam rock and heavy riffs earned them a string of singles hits and a quintuple platinum album with One Way Ticket to Hell... and Back (2005), which reached number 11 in the UK charts.[52] Bullet for My Valentine, from Wales, broke into the top 5 in both the U.S. and British charts with their metalcore, a mixture of metal and hardcore, with Scream Aim Fire (2008).[53]
Proto-punk, punk and new wave
Pub rock
Punk rock
Punk rock developed between 1974 and 1976, originally in the United States, where it was rooted in
New wave
As the initial punk impulse began to subside, with the major punk bands either disbanding or taking on new influences, the term "New Wave" began to be used to describe particularly British bands that emerged in the later 1970s with mainstream appeal. These included pop bands like XTC, Squeeze and Nick Lowe, the electronic rock of Gary Numan as well as songwriters like Elvis Costello, rock & roll influenced bands like the Pretenders, the reggae influenced music of bands like The Police, as well as bands of the mod revival like The Jam and of the ska revival like The Specials and Madness.[59] By the end of the decade many of these bands, most obviously the Police, were beginning to make an impact in American and world markets.[60]
Post-punk
Beside the development of mainstream new wave, there were also less commercial, darker and sub-culture acts, often classified as post-punk. Like new wave they incorporated a range of influences, including electronic music, Jamaican dub music (specifically in bass guitar), and American funk. Examples of post-punk outfits in Britain included The Smiths, Orange Juice, The Psychedelic Furs, Television Personalities, The Fall, Siouxsie and the Banshees, The Lords of the New Church, Joy Division, Killing Joke, Echo & the Bunnymen, Gang of Four, The Cure, Bauhaus, Magazine, Wire, The Jesus and Mary Chain, and Tubeway Army.[61] Post-punk would be a major element in the creation of the alternative rock and gothic rock genres.
2 tone
Two-tone or 2 tone is a genre of British popular music of the late 1970s and early 1980s that focused traditional Jamaican ska, rocksteady and reggae music with elements of punk rock and new wave music.[62] Its name derives from 2 Tone Records, a record label founded in 1979 by Jerry Dammers of the Specials,[63] and references a desire to transcend and defuse racial tensions in Thatcher-era Britain: many two-tone groups, such as the Specials, the Selecter and the Beat, featured a mix of black, white, and multiracial people. Originating in the Midlands city Coventry in England in the late 1970s, it was part of the second wave of ska music, following on from the first ska music that developed in Jamaica in the 1950s and 1960s, and infused with punk and new wave textures.
Folk punk
Folk punk or rogue folk is a fusion of
Electronic rock in the early 1980s
Synth rock
Many progressive rock bands had incorporated synthesizers into their sound, including
New Romantics
New Romantic emerged as part of the new wave music movement in London nightclubs including Billy's and The Blitz Club towards the end of the 1970s. Influenced by David Bowie and Roxy Music, it developed glam rock fashions, gaining its name from the frilly fop shirts of early Romanticism. New Romantic music often made extensive use of synthesizers. Pioneers included Visage, Japan and Ultravox and among the commercially most successful acts associated with the movement were Adam and the Ants, Culture Club, The Human League, Spandau Ballet and Duran Duran.[70] By about 1983 the original movement had dissolved, with surviving acts dropping most of the fashion elements to pursue mainstream careers.
The second British invasion
From its inception in 1981, the cable music channel MTV featured a disproportionate amount of music videos from image conscious British acts.
Oi!, street punk and punk/metal hybrids
Oi! and street punk
Oi! is a subgenre of punk rock that originated in the United Kingdom in the late 1970s.[75] The music and its associated subculture had the goal of bringing together punks, skinheads, and other disaffected working-class youth.[76][77] The movement was partly a response to the perception that many participants in the early punk rock scene were, in the words of The Business guitarist Steve Kent, "trendy university people using long words, trying to be artistic... and losing touch."[78] First-generation Oi! bands such as Sham 69 and Cock Sparrer were around for years before the word Oi! was used retroactively to describe their style of music. In 1980, writing in Sounds magazine, rock journalist Garry Bushell labelled the movement Oi!, taking the name from the garbled "Oi!" that Stinky Turner of Cockney Rejects used to introduce the band's songs.[79][80] The word is a British expression meaning hey or hey there! In addition to Cockney Rejects, other bands to be explicitly labeled Oi! in the early days of the genre included Angelic Upstarts, the 4-Skins, the Business, Anti-Establishment, Blitz, the Blood and Combat 84.[81]
A related scene was street punk which emerged from the style of Oi! and hardcore punk bands. A key band in defining the aesthetic was the Exploited.[82][83][84] The three most prominent UK82 bands, according to Ian Glasper, are the Exploited, Discharge,[85] and GBH.[86] Street punks generally have a much more ostentatious and flamboyant appearance than the working class or skinhead image cultivated by many Oi! groups.[87] Lyrics frequently denounced the Conservative leader Margaret Thatcher[88] in the same way that American hardcore punk bands addressed the Ronald Reagan administration.
Crust punk and grindcore
In the second half of the 1980s, it became increasingly normalised for
Indie rock
Indie or independent rock, particularly in America often known as alternative rock, was a scene that emerged from post-punk and new wave in the 1980s, eschewing the
Gothic rock
Gothic rock, often shortened to goth, developed out of the post-punk scene in the later 1970s. It combines dark, often keyboard-heavy music with introspective and depressing lyrics. Notable early gothic rock bands include Bauhaus (whose "Bela Lugosi's Dead" is often cited as the first goth record), Siouxsie and the Banshees (who may have coined the term), The Cure, The Sisters of Mercy, and Fields of the Nephilim.[96] Gothic rock gave rise to a broader goth subculture that included clubs, various fashion trends and numerous publications that grew in popularity in the 1980s, gaining notoriety by being associated with several moral panics over suicide and Satanism.[97]
Madchester
The independent rock scene that had developed in Manchester in the second half of the 1980s, based in
Dream pop and shoegazing
Dream pop had developed out of the indie rock scene of the 1980s, when bands like
Post-rock
Post-rock originated in the release of
Indie pop
Initially dubbed as '
have all acknowledged its influence.Britpop and Britrock
Britpop emerged from the British independent music scene of the early 1990s and was characterised by bands influenced by British guitar pop music of the 1960s and 1970s.[98] The movement developed as a reaction against various musical and cultural trends in the late 1980s and early 1990s, particularly the grunge phenomenon from the United States.[98] New British groups such as Suede and Blur launched the movement by positioning themselves as opposing musical forces, referencing British guitar music of the past and writing about uniquely British topics and concerns. These bands were soon joined by others including Oasis, Pulp, Supergrass, The Boo Radleys, Kula Shaker, Ash, Ocean Colour Scene and Elastica.[98] Other bands with a heavier sound were sometimes referred to by the sobriquet 'Britrock', including Skunk Anansie, The Wildhearts, Terrorvision, Reef, and Feeder. Britpop and Britrock groups brought British alternative rock into the mainstream and formed the backbone of a larger British cultural movement called Cool Britannia.[106] Although its more popular bands were able to spread their commercial success overseas, especially to the United States, the movement largely fell apart by the end of the decade.[98]
Post-Britpop
From about 1997, as dissatisfaction grew with the concept of Cool Britannia, and Britpop as a movement began to dissolve, emerging bands began to avoid the Britpop label while still producing music derived from it.[107][108] Many of these bands tended to mix elements of British traditional rock (or British trad rock),[109][110] with American influences, including grunge.[111][112] Radiohead, Placebo and Post-Britpop bands like The Verve, Travis, Stereophonics, Feeder, and particularly Coldplay, achieved much wider international success than most of the Britpop groups that had preceded them, and were some of the most commercially successful acts of the late 1990s and early 2000s.[112][113][114][115]
Garage rock revival and post-punk revival
In the 2000s British indie rock experienced a resurgence. Like modern American
Hardcore, post-hardcore and metalcore
In 1996, a hardcore scene in London began around the informal collective "London Black-Up", which include bands like
New rave
With developments in computer technology and
Early 2020s
In the mid-to-late 2010s and early 2020s, a new wave of post-punk bands from Britain and Ireland emerged. The groups in this scene have been described with the term "Crank Wave" by
See also
- List of British Invasion artists
- Music of the United Kingdom (1950s)
- Music of the United Kingdom (1960s)
- Music of the United Kingdom (1970s)
- Music of the United Kingdom (1980s)
- Music of the United Kingdom (1990s)
- Music of the United Kingdom (2000s)
- Swinging London
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