|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, Tacoma, Twin Cities, Southern Florida, Boston, Great Leighs|
Garage rock is a term retrospectively applied to a style of pop music that emerged in the United States and Canada in the mid 1960s. During the 1960s it was not recognized as a separate music genre and had no specific name. The 1972 compilation album Nuggets did much to define and memorialise the style.
The name derives from the perception that many groups were young amateurs who often rehearsed in a family garage, and the style, though related to contemporary psychedelic rock, is characterised by aggressive and unsophisticated lyrics and delivery, using guitars distorted through a fuzzbox. Surfing music and British beat music of 1964-66 motivated thousands of such bands in the USA and Canada during the era: hundreds produced regional hits and a handful had national chart hits. By 1968 such records largely disappeared from the national charts and the fad declined as amateur musicians faced college, work or the draft.
In the early 1970s some critics began to refer to the style as punk rock, the first form of music to bear this description; and it is sometimes called garage punk, protopunk or 1960s punk to distinguish it from the punk rock of the late 1970s.
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, others were from rural or urban areas or were composed of professional musicians in their twenties.
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 with flourishing scenes, particularly in California, the base of 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(whose "Wooly Bully" reached #2 on the Billboard Hot 100 and was charted for almost four and a half months in 1965), and Fever Tree. The north-western 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.
Precursors can be picked out 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 formative examples of the genre. By 1963 several such singles were creeping into the national charts, 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 subgenre 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 15 in 1965. 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 Canton, Illinois', 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. Tommy James And The Shondells followed up with twelve more top 40 singles. Tommy also had three top 40 singles as a soloist.
The 1965 song "¡Demolición!" by Peruvian act 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, such as psychedelic rock, progressive rock, heavy metal, country rock, and bubblegum. 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 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, 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 220.127.116.11'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
- 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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- Buckley, Peter (2003). The Rough Guide to Rock: The Definitive Guide to More than 1200 Artists and Bands] (3rd ed.). London: Rough Guides. ISBN 1843531054.
- Bangs, Lester (ed. Greil Marcus) (1987, 2003). Psychotic Reactions and Carburetor Dung. Anchor Books (a division of Random House). New York. ISBN 0-679-72045-6 - a partial compendium of Bangs' articles discussing various musical topics, including some of the earliest writings about this genre
- Hicks, Michael (2001) Sixties Rock: Garage, Psychedelic, and Other Satisfactions. University of Illinois Press. ISBN 0252069153 / ISBN 978-0252069154 - covers garage and psychedelic bands of the 60s
- Lemlich, Jeffrey M. (2001) Savage Lost: Florida Garage Bands: The '60s and Beyond. Distinctive Publishing Corp. ISBN 978-0942963120 - covers 60s Florida garage rock scene
- Marks, Ian D. and McIntyre, Iain. (2010) Wild About You: The Sixties Beat Explosion in Australia and New Zealand Verse Chorus Press. Portland, London, Melbourne. Foreword by Ian McFarlane. ISBN 978-1-891241-28-4 - covers 60s garage rock scene in Australia and New Zealand
- Nobles, Mark (2012) Fort Worth's Rock and Roll Roots (Images of America series). Arcadia Publishing. ISBN 0738584991 / ISBN 978-0738584997 - covers 60s Fort Worth garage rock scene
- Unterberger, Richie (1998) Unknown Legends of Rock 'n' Roll: Psychedelic Unknowns, Mad Geniuses, Punk Pioneers, Lo-Fi Mavericks & More. Backbeat Books. ISBN 0879305347 / ISBN 978-0879305345 - covers lesser known and overlooked rock artists from the 1960s, including garage and psychedelic
- Unterberger, Richie (2000) Urban Spacemen and Wayfaring Strangers: Overlooked Innovators and Eccentric Visionaries of '60s Rock. Backbeat Books. ISBN 0879306165 / ISBN 978-0879306168 - covers more lesser known and overlooked rock artists from the 1960s, including garage and psychedelic
- '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
- Everett True’s Australian Garage Rock Primer - covers Australian garage rock bands of the 1960s and later
- 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
- GS - covers the group sounds ("G.S.") garage/beat boom in Japan
- 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