||This article's lead section may not adequately summarize key points of its contents. (June 2013)|
|Stylistic origins||Rock and roll, rockabilly, beat, rhythm and blues, soul, blues, surf rock, instrumental rock|
|Cultural origins||Late 1950s, United States and Canada|
|Typical instruments||Electric guitar, bass, drums, keyboards, tambourine, harmonica|
|Derivative forms||Punk rock, garage rock revival, garage punk, psychedelic rock, power pop, glam rock, hard rock, protopunk, punk blues, indie rock, psychobilly, heavy metal, Paisley underground|
|Acid punk - Garage punk
|Chicago, Detroit, Austin, San Antonio, Memphis, Grand Rapids, Cleveland, Ohio, Philadelphia, New York, Houston, Dallas, Los Angeles, Montreal, Portland, Seattle, Twin Cities, Southern Florida, Boston|
Garage rock is a raw form of rock and roll that was first popular in the United States and Canada from about 1963 to 1967. During the 1960s, it was not recognized as a separate music genre and had no specific name. In the 1970s, some critics referred to the style as punk rock, the first form of music to bear this description; although it is sometimes called garage punk, protopunk, or 1960s punk, the style has predominantly been referred to as garage rock.
The term garage rock comes from the perception that many such performers were young and amateurish, and often rehearsed in a family garage. Some bands were made up of middle-class teenagers from the suburbs, but some were from rural or urban areas, while others were composed of professional musicians in their twenties.
The performances were often amateurish, naïve or intentionally raw, with typical themes revolving around the traumas of high school life and 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. Instrumentation was often characterised by the use of guitars distorted through a fuzzbox. Nevertheless, garage rock acts were diverse in both musical ability and in style, ranging 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 America with flourishing scenes particularly in California, offering bands such as Strawberry Alarm Clock, The Electric Prunes, Dino, Desi & Billy, The Standells, and Texas, offering bands such as Sir Douglas Quintet, The 13th Floor Elevators, Sam the Sham (Wooly Bully never made #1 despite being on the Billboard Hot 100 for almost four and a half months in 1965), and Fever Tree. The Northwest states of Idaho, Washington and Oregon had perhaps the most defined regional sound with bands such as The Bootmen, The Sonics and Paul Revere & the Raiders.
The style had been evolving from regional scenes as early as 1958. Link Wray, with his innovative use of power chords and distortion, was an early influence. "Tall Cool One" (1959) by The Fabulous Wailers and "Louie Louie" by The Kingsmen (1963) are mainstream examples of the genre in its formative stages. By 1963, garage band singles were creeping into the national charts in greater numbers, including Paul Revere and the Raiders (Boise), the Trashmen (Minneapolis) and the Rivieras (South Bend, Indiana). Other influential garage bands, such as the Sonics (Tacoma, Washington), never reached the Billboard Hot 100 singles chart. In this early period many bands were heavily influenced by surf rock and there was a cross-pollination between garage rock and energetic and upbeat party frat rock, though the latter is sometimes viewed as merely a sub-genre of garage rock.
The "British Invasion" of 1964-66 greatly influenced garage bands, providing them with a national audience and leading many (often surf or hot rod groups) to respond. The Invasion also inspired new, and often very raw, bands to form. Garage rock bands were generally influenced by those British "beat groups" with a harder, blues-based attack, such as The Kinks, The Who, The Animals, The Yardbirds, The Small Faces, The Pretty Things, Them, and The Rolling Stones. A handful of British garage bands were formed, the most successful being the Troggs. Another influence was the folk-rock of the Byrds and Bob Dylan, especially on bands such as the Leaves.
Peak of popularity
Thousands of garage bands were extant in the USA and Canada during the era and hundreds produced regional hits. Usually thought to be the first to enjoy national success were The Beau Brummels with "Laugh, Laugh" and "Just a Little", which both reached the top 10 in 1964. Other examples include: "Fortune Teller" by Des Moines's The Image (1967), "The Witch" by Tacoma's The Sonics (1965), "Where You Gonna Go" by Detroit's Unrelated Segments (1967), "It's Cold Outside" by Cleveland's The Choir, "Girl I Got News for You" by Miami's Birdwatchers (1966), "Dirty Water" by Los Angeles-based The Standells (1966), "I Need Love" by Peoria's The Third Booth, and "1-2-5" by Montreal's The Haunted.The November 12, 1966 issue of Billboard cited that sales of the "96 Tears" single by Question Mark & the Mysterians, a band from Michigan, had attained sales of one million copies. Boston's Remains, though only able to make it onto Billboard's Bubbling Under charts, had enough of a following and reputation to open for the Beatles during their 1966 U.S. tour. Michigan's Shondells released a minor regional hit in 1964 before disbanding. When it was unearthed by a Pittsburgh DJ in 1965, the resulting success of "Hanky Panky" revived the moribund career of Tommy James, who formed a new group of Shondells and went on to chart twelve more Top 40 singles. The 1965 song "¡Demolición!" by Peruvian act is Los Saicos is considered a South American classic. Allmusic writing about Los Saicos noted "The guitars sound like nothing so much as fountains of sparks, the drums have a tribal post-surf throb, and the vocals are positively unhinged" and "These guys were a punk rock band, even if nobody outside Lima knew it at the time".
Despite scores of bands being signed to major or large regional labels, most were commercial failures. For instance, "Going All the Way" by The Squires was issued on a national label under (Atco) and is now regarded as a genre classic, but was not a hit anywhere. It is generally agreed that garage rock peaked both commercially and artistically around 1966. By 1968 the style largely disappeared from the national charts (the minor hit "Question of Temperature" by The Balloon Farm being a notable exception). It was also disappearing at the local level as amateur musicians faced college, work or the draft. New styles had either evolved out of garage rock or replaced it (e.g., psychedelic rock, progressive rock, heavy metal, country rock, bubblegum, etc.). In Detroit garage rock stayed alive well into the 1970s, with bands like the MC5, The Stooges, The Up and Death, who employed a much more aggressive style. These bands began to be labelled punk rock and are now often seen as protopunk or proto-hard rock.
The revival of garage rock can be traced to the release of the two disk Nuggets compilation in 1972 by future Patti Smith guitarist Lenny Kaye, which drew together both commercially successful and relatively obscure tracks from the mid-1960s and whose sleeve notes helped coin the phrase punk rock to describe the phenomenon. Iggy Pop and the Stooges, arguably the last garage band, carried garage rock into protopunk in the early 1970s. The mid-to-late 1970s saw the arrival of the quintessential garage punk bands, most notably The Ramones, who are usually considered the first punk band.
In the 1980s, another garage rock revival saw a number of bands linked to the underground music scene earnestly trying to replicate the sound, style, and look of the 1960s garage bands, including The Chesterfield Kings, The Fuzztones, The Pandoras, and Lyres. This trend coincided with a similar surf rock revival, and both styles fed in into the alternative rock movement and future grunge explosion, which some say was partially inspired by garage rock from the Tacoma area like The Sonics and The Wailers, but was largely unknown by fans outside the immediate circles of the bands themselves.
This movement also evolved into an even more primitive form of garage rock that became known as garage punk by the late 1980s, thanks to bands such as The Nouns (Los Angeles, CA), The Gories, Thee Mighty Caesars, The Mummies and Thee Headcoats. Bands playing garage punk differed from the garage rock revival bands in that they were less cartoonish caricatures of 1960s garage bands and their overall sound was even more loud and raw, often infusing elements of protopunk and 1970s punk rock (hence the "garage punk" term). The garage rock revival and garage punk coexisted throughout the 1990s and into the 2000s with many independent record labels releasing thousands of records by bands playing various styles of primitive rock and roll all around the world. Some of the more prolific of these independent record labels included Estrus, Get Hip, Bomp!, and Sympathy for the Record Industry.
In the early 2000s, a garage rock or post-punk revival achieved the airplay and commercial success that had eluded garage rock bands of the past. This was led by four bands: The Strokes of New York City, The Hives of Fagersta, Sweden, The Vines of Sydney, New South Wales, and The White Stripes from Detroit, Michigan, christened by the media as the The bands, or "The saviours of rock 'n' roll". Other products of the Detroit rock scene included; The Von Bondies, Electric 6, The Dirtbombs and The Detroit Cobras Elsewhere, other acts such as Billy Childish and The Buff Medways from Chatham, England, The (International) Noise Conspiracy from Umeå, Sweden, The 18.104.22.168's from Tokyo, Japan, and Jay Reatard and the Oblivians from Memphis, USA enjoyed moderate underground success and appeal. A second wave of bands that managed to gain international recognition as a result of the movement included The Black Keys, Black Rebel Motorcycle Club, Yeah Yeah Yeahs, The Killers, Interpol, and Kings of Leon from the US, The Libertines, Arctic Monkeys, Bloc Party, Editors, and Franz Ferdinand from the UK, Jet from Australia, and The Datsuns and The D4 from New Zealand.
The mid-2000s saw several underground bands achieve some mainstream prominence. Bands such as Black Lips and Jay Reatard, who initially released their records on traditionally garage punk labels such as In The Red Records, began signing to larger, more well-known independent labels. Several bands followed them in signing to larger labels such as Rough Trade and Drag City.
- American rock
- Group Sounds (Japan)
- List of 1960s one-hit wonders in the United States
- List of garage rock bands
- List of garage rock and psychedelic rock compilation albums
- Nederbeat and Nederpop
- Uruguayan Invasion
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- '60s Garage Bands – local and regional bands of the 1960s
- A Bit Like You And Me – '60s garage band biographies, song histories, lyrics, and music
- About .com A Brief History of Punk – early history of punk rock from garage era through the late 1970s
- About.com Profile of Garage Rock – another, slightly different, definition and history of garage rock
- Beyond the Beat Generation – interviews with former members of 1960s garage bands
- Down The Line – news, information, and reviews of 1960s bands
- Garage Hangover – garage bands of the 1960s by state, province and country
- Garage Music – biographies and reviews of garage rock bands
- Garage rock (Wikipedia article in Spanish) – Spanish language; covers Latin garage acts
- My First Band – biographies of 1960s garage rock bands
- Psychedelic Rock 'n' Roll – information (and reviews) about garage, British invasion, folk rock, and psychedelic bands
- Southern Garage Bands – information about '60s garage bands from the Southern United States
- Transparent Radiation – provides information about '60s garage rock bands (and other speciality genres)
- Trans World '60s Punk:Cutie Morning Moon – mostly about garage bands from outside of the United States