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Garage rock

April 04, 2023

"Garage band" redirects here. For other uses, see Garage band (disambiguation).
"Garage punk" redirects here. For the hybrid style from the 1980s combining 1960s garage rock and 1970s punk rock, see Garage punk (fusion genre).
"'60s punk" redirects here. For more information regarding punk rock's 1960s roots, see Proto-punk and Origins of punk rock.
"Garage rock revival" redirects here. For the movement, genre, or wave of bands emerging in the early 2000s, see Post-punk revival.

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.

Garage rock
Other names
  • Garage punk
  • '60s punk
Stylistic origins
Cultural originsLate 1950s to early 1960s, United States and Canada
Derivative forms
Subgenres
Frat rock
Fusion genres
Garage punk
Regional scenes
  • United States
  • Canada
  • United Kingdom
  • Australia
  • Netherlands
  • Mexico
  • Uruguay
  • Peru
  • Japan
  • Iran
  • India
  • Cambodia
Other topics

In the US and Canada, surf rock—and later the Beatles and other beat groups of the British Invasion—motivated thousands of young people to form bands between 1963 and 1968. Hundreds of acts produced regional hits, and some had national hits, usually played on AM radio stations. With the advent of psychedelia, numerous garage bands incorporated exotic elements into the genre's primitive stylistic framework. After 1968, as more sophisticated forms of rock music came to dominate the marketplace, garage rock records largely disappeared from national and regional charts, and the movement faded. Other countries in the 1960s experienced similar grass-roots rock movements that have sometimes been characterized as variants of garage rock.

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 compilation album Nuggets—did much to define and memorialize the style. Between 1971 and 1973, certain American rock critics began to retroactively identify the music as a genre and for several years used the term "punk rock" to describe it, making it the first form of music to bear the description, predating the more familiar use of the term appropriated by the later punk rock movement that it influenced. The term "garage rock" gained favor amongst commentators and devotees during the 1980s. The style has also been referred to as "proto-punk" or in certain instances "frat rock".

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 garage punk label originally and otherwise associated with 1960s garage bands. In the 2000s, a wave of garage-influenced acts associated with the post-punk revival emerged, and some achieved commercial success. Garage rock continues to appeal to musicians and audiences who prefer a "back to basics" or "do-it-yourself" musical approach.

Social milieu and stylistic features

 
The D-Men (later the Fifth Estate) in 1964

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 gave musicians an opportunity 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.[2] The lyrics and delivery were frequently more aggressive than that of the more established acts of the time, often with nasal, growled, or shouted vocals, sometimes punctuated by shrieks or screams at climactic moments of release.[18] Instrumentation was characterized by basic chord structures played on electric guitars or keyboards often distorted through a fuzzbox, teamed with bass and drums.[19] Guitarists sometimes played using aggressive-sounding bar chords or power chords.[20] Portable organs such as the Farfisa were used frequently and harmonicas and hand-held percussion such as tambourines were not uncommon.[21][22] Occasionally, the tempo was sped up in passages sometimes referred to as "raveups".[23]

Garage rock acts were diverse in both musical ability and in 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

See also: Punk rock § Etymology and classification
 
The Music Machine, featuring Sean Bonniwell, in 1966

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.[26] Rock critic and future Patti Smith Group guitarist Lenny Kaye remarked that the period "dashed by so fast that nobody knew much of what to make of it while it was around".[27] In the early 1970s Kaye and other US rock critics, such as Dave Marsh, Lester Bangs, and Greg Shaw, began to retroactively draw attention to the music, speaking nostalgically of mid-1960s garage bands (and subsequent artists then perceived to be their stylistic inheritors) for the first time as a genre.[28]

"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 Nuggets compiled by Lenny Kaye.[36] In the liner notes, Kaye used "punk rock" as a collective term for 1960s garage bands and also "garage-punk" to describe a song recorded in 1966 by the Shadows of Knight.[27] In the January 1973 Rolling Stone review of Nuggets, Greg Shaw commented: "Punk rock is a fascinating genre ... Punk rock at its best is the closest we came in the 1960s to the original rockabilly spirit of rock & roll."[37] In addition to Rolling Stone and Creem, writings about the genre appeared in various independent "fanzine" publications during the period.[38] In May 1973, Billy Altman launched the short-lived punk magazine,[c][38] which pre-dated the more familiar 1975 publication of the same name, but, unlike the later magazine, was largely devoted to discussion of 1960s garage and psychedelic acts.[38] Greg Shaw's seasonal publication, Who Put the Bomp!, was influential amongst enthusiasts and collectors of the genre in the early 1970s.[39]

Though the phrase "punk rock" was the favored generic term in the early 1970s,[31] "garage band" was also mentioned in reference to groups.[4] In Rolling Stone in March 1971 John Mendelsohn made an oblique reference to "every last punk teenage garage band having its Own Original Approach".[4] The term "punk rock" was later appropriated by the more commonly-known punk rock movement that emerged in the mid-1970s[40] and is now most commonly applied to groups associated with that movement or who followed in its wake.[41] For the 1960s style, the term "garage rock" came into favor in the 1980s.[42][d] According to Mike Markesich: "Initially launched into the underground vernacular at the start of the '80s, the garage tag ... slowly sifted its way amid like-minded fans to finally be recognized as a worthy descriptive replacement".[29] The term "garage punk" has also persisted,[45] and style has been referred to as "'60s punk"[46] and "proto-punk".[44] "Frat rock" has been used to refer to the R&B- and surf rock- derived garage sounds of certain acts, such as the Kingsmen and others.[47]

1958–1964: Origins

Regional rock & roll, instrumental, and surf

See also: Rock and roll, Rhythm and blues, Surf rock, and Instrumental rock

In the late 1950s, the initial impact of rock and roll on mainstream American culture waned as major record companies took a controlling influence and sought to market more conventionally acceptable recordings.[48] Electric musical instruments (particularly guitars) and amplification were becoming more affordable, allowing young musicians to form small groups to perform in front of local audiences of their peers; and in some areas there was a breakdown, especially among radio audiences, of traditional black and white markets, with more white teenagers listening to and purchasing R&B records.

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]

 
Link Wray, pictured in 1993, who helped pioneer the use of guitar power chords and distortion as early as 1958 with the instrumental, "Rumble", has been cited as an early influence on garage rock.

Guitarist Link Wray has been cited as an early influence on garage rock and is known for his innovative use of guitar techniques and effects such as power chords and distortion.[56] He is best known for his 1958 instrumental "Rumble", which featured the sound of distorted, "clanging" guitar chords, which anticipated much of what was to come.[57] The combined influences of early-1960s instrumental rock and surf rock also played significant roles in shaping the sound garage rock.[58][55]

 
Chris Montez — "Let's Dance" (1962)
The 1962 hit "Let's Dance" by Chris Montez, with its use of "cheesy"-sounding Farfisa organ riffs and banging drums,[59] featured stylistic elements that anticipate the garage sound.[60]
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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 R&B performers such as Johnny Otis and Richard Berry, and began to play cover versions of R&B songs.[62] During the late 1950s and early 1960s other instrumental groups playing in the region, such as the Ventures, formed in 1958 in Tacoma, Washington, who came to specialize in a surf rock sound,[63] and the Frantics from Seattle.[64] The Blue Notes from Tacoma, Washington, fronted by "Rockin' Robin" Roberts, were one of the city's first teenage rock & roll bands.[65] The Wailers (often referred to as the Fabulous Wailers) had national chart hit in 1959, the instrumental "Tall Cool One".[66] After the demise of the Blue Notes, "Rockin' Robin" did a brief stint with the Wailers, and with him on vocals in 1962, they recorded a version of Richard Berry's 1957 song "Louie Louie"—their arrangement became the much-replicated blueprint for practically every band in the region,[67] including Portland's the Kingsmen who went on to achieve a major hit with it the following year.[68]

Other regional scenes of teenage bands playing R&B-oriented rock were well-established in the early 1960s, several years before the British Invasion, in places such as Texas and the Midwest.[69] At the same time, in southern California surf bands formed, playing raucous guitar- and saxophone-driven instrumentals.[44] Writer Neil Campbell commented: "There were literally thousands of rough-and-ready groups performing in local bars and dance halls throughout the US prior to the arrival of the Beatles ... [T]he indigenous popular music which functioned in this way ... was the proto-punk more commonly identified as garage rock".[70]

Frat rock and initial commercial success

"Frat rock" redirects here. For other uses, see Frat rock (disambiguation).
 
The Kingsmen – "Louie, Louie" (1963)
"Louie, Louie" was written by Richard Berry and provided a major hit for the Kingsmen.[71]
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As a result of cross-pollination between surf rock, hot rod music, and other influences, a new style rock sometimes referred to as frat rock emerged, which has been mentioned as an early subgenre of garage rock.[47] The Kingsmen's 1963 off-the-cuff version of "Louie Louie" [72] became the de facto "big bang" for three-chord rock, starting as a regional hit in Seattle, then rising to No. 1 on the national charts and eventually becoming a major success overseas.[73] The group unwittingly became the target of an FBI investigation in response to complaints about the song's alleged use of profanity in its nearly indecipherable lyrics.[74]

Though often associated with Pacific Northwest acts such as the Kingsmen, frat rock also thrived elsewhere.[55][75][76] In 1963 singles by several regional bands from other parts of the United States began appearing on the national charts, including "Surfin' Bird" by the Trashmen from Minneapolis,[77][78] which essentially fused together parts from two songs previously recorded by the Rivingtons, "The Bird is the Word" and "Papa Oom Mow Mow".[52] "California Sun" by the Rivieras, from South Bend, Indiana followed, becoming a hit in early 1964.[79] Frat rock persisted into the mid-1960s with acts such as the Swingin' Medallions, who had a top twenty hit with "Double Shot (Of My Baby's Love)" in 1966.[80]

1964–1968: Peak years

Impact of The Beatles and the British Invasion

Further information: Cultural impact of the Beatles and British Invasion
 
The Standells in 1965

During the mid-1960s garage rock entered its most active period, prompted by the influence of The Beatles and the British Invasion.[81] On February 9, 1964, during their first visit to the United States, the Beatles made an historic appearance on The Ed Sullivan Show watched by a record-breaking viewing audience of a nation mourning the recent death of President John F. Kennedy.[82] For many, particularly the young, the Beatles' visit re-ignited the sense of excitement and possibility that had momentarily faded in the wake of the assassination.[83] Much of this new excitement was expressed in rock music, often to the chagrin of parents and elders.[84]

In the wake of the Beatles' first visit, a subsequent string of successful British beat groups and acts achieved success in America between 1964 and 1966, often referred to in the US as "the British Invasion". Such acts had a profound impact, leading many (often surf or hot rod groups) to respond by altering their style, and countless new bands to form, as teenagers around the country picked up guitars and started bands by the thousands.[85] In many cases, garage bands were particularly influenced by the increasingly bold sound of a second wave of British groups with a harder, blues-based attack, such as The Kinks, The Who, The Animals, The Yardbirds, Small Faces, Pretty Things, Them,[86][87] and The Rolling Stones[88] often resulting in a raw and primitive sound. Numerous acts sometimes characterized as garage rock formed in countries outside North America, such as England's the Troggs.[89] Their 1966 worldwide hit "Wild Thing" became a staple in countless American garage bands' repertoires.[90] By 1965, the influence of the British Invasion prompted folk musicians such as Bob Dylan and members of the Byrds to adopt the use of electric guitars and amplifiers, resulting in what became termed folk rock.[91] The resulting success of Dylan, the Byrds, and other folk rock acts influenced the sound and approach of numerous garage bands.[91]

Height of success and airplay

 
Count Five in 1966

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,[92] often receiving airplay on local AM radio stations.[93] Several acts gained wider exposure just long enough to have one or occasionally more national hits in an era rife with "One-Hit Wonders".[94] In 1965 the Beau Brummels broke into the national charts with "Laugh, Laugh", followed by "Just a Little".[95] According to Richie Unterberger, they were perhaps the first American group to pose a successful response to the British Invasion.[96] That year, Sam the Sham & the Pharaohs' "Wooly Bully" went to No. 2, and they followed it up a year later with another No. 2 hit, "Little Red Riding Hood".[97] Also in 1965, the Castaways almost reached Billboard's top ten with "Liar, Liar", which was later included on the 1972 Nuggets compilation.[98] Featuring a lead vocal by Rick Derringer, "Hang On Sloopy" became a No. 1 hit for Indiana's the McCoys,[99] topping the Billboard charts in October 1965.[100] They were immediately signed to Bang Records and followed up with another hit in 1966, a cover of "Fever", originally recorded by Little Willie John.[99]

It is generally agreed that the garage rock boom peaked around 1966.[101] That April, the Outsiders from Cleveland hit No. 5 with "Time Won't Let Me",[102] which was later covered by acts such as Iggy Pop.[103] In July, the Standells from Los Angeles almost made it into the US top ten with "Dirty Water",[104] a song now often associated with Boston.[105] "Psychotic Reaction" by the Count Five went to No. 5 on Billboard's Hot 100 and was later memorialized by Lester Bangs in his 1971 piece "Psychotic Reactions and Carburetor Dung".[106]

 
Question Mark and the Mysterians – "96 Tears" (1966)
Musicologist Pete Dale notes "96 Tears" as a typical example of 1960s punk, containing a "basic beat, repetitive structure, and a hypnotically simple keyboard part".[107]
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"96 Tears" (1966) by Question Mark and the Mysterians, from Saginaw, Michigan, became a No. 1 hit in the US.[108] The song's organ riffs and theme of teenage heartbreak have been mentioned as a landmark recording of the garage rock era and recognized for influencing the works of acts as diverse as the B-52's, the Cramps, and Bruce Springsteen.[109] Two months later, the Music Machine, who reached the top 20 with fuzz guitar-driven "Talk Talk",[110] had a sound and image that helped pave the way for later acts such as the Ramones.[111] The Syndicate of Sound's "Little Girl", which featured a cocksure half-spoken lead vocal set over chiming 12-string guitar chords, reached No. 8 on the Billboard charts[112] and was later covered by acts such as the Dead Boys, the Banned, and the Chesterfield Kings.[113] Discovered by a Pittsburgh disc jockey in 1965, the resulting success of "Hanky Panky" by a defunct group, the Shondells, whose membership included Tommy James, revived James' career, where he assembled a new group under the name Tommy James and the Shondells.[114] They followed with twelve more top 40 singles.[115] In 1967, Strawberry Alarm Clock emerged from the garage outfit Thee Sixpence and had a No. 1 hit in 1967 with psychedelic "Incense and Peppermints".[116]

Female garage bands

 
The Pleasure Seekers in 1966 (Suzi Quatro far right)

Garage rock was not an exclusively male phenomenon—it fostered the emergence of all-female bands whose members played their own instruments. One of the first of such acts was New York's Goldie and the Gingerbreads, who appeared at New York's Peppermint Lounge in 1964 and accompanied the Rolling Stones on their American tour the following year.[117] They had a hit in England with a version of "Can't You Hear My Heartbeat".[117] The Continental Co-ets from Fulda, Minnesota, were active from 1963 to 1967 and had a hit in Canada with "I Don't Love You No More".[118] The Pleasure Seekers (later known as Cradle), from Detroit, featured Suzi Quatro and her sisters.[119][120] Quatro went on to greater fame as a musical solo act and television actress in the 1970s.[119] The Luv'd Ones, also from Michigan, signed with Chicago's Dunwich Records and cut records with a sometimes somber sound, such as "Up Down Sue".[121][122]

San Francisco's the Ace of Cups became a fixture in the Bay Area scene in the late 1960s.[123] Other notable 1960s female groups were the Daughters of Eve from Chicago[124][122] and She (previously known as the Hairem) from Sacramento, California.[125] All-female bands were not exclusive to North America. The Liverbirds were a beat group from the Beatles' home city of Liverpool, England, but became best known in Germany, often performing in Hamburg's Star-Club.[126] All-female groups of the 1960s anticipated later acts associated with the 1970s punk movement, such as the Runaways and the Slits.[127]

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 Remains in 1966

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, 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 the Remains (sometimes called Barry & the Remains), led by Barry Tashian, became one of the region's most popular bands and, in addition to issuing five singles and a self-titled album, toured with the Beatles in 1966.[139] Also from Boston, the Rockin' Ramrods released the distortion-driven "She Lied" in 1964, which Rob Fitzpatrick called "a truly spectacular piece of proto-punk, the sort of perfect blend of melody and aggression that the Ramones would go on to transform the planet with a dozen or more years later".[140] The Squires from Bristol, Connecticut, issued a song now regarded as a garage rock classic, "Going All the Way".[141] Garage rock flourished up and down the Atlantic coast, with acts such as the Vagrants, from Long Island,[142] and Richard and the Young Lions from Newark, New Jersey,[143] and the Blues Magoos from the Bronx,[144] who got their start in New York's Greenwich Village scene and had a hit in 1966 with "(We Ain't Got) Nothin' Yet", which appeared on their debut album, Psychedelic Lollipop, along with a lengthy rendition of the Nashville Teens' "Tobacco Road".[144]

California

See also: Sunset Strip, Surf rock, and Chicano rock

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]

Love, a racially integrated band headed by African-American musician Arthur Lee, was one of the most popular bands in the scene.[150] Their propulsive 1966 proto-punk anthem "7 and 7 Is" was another song often covered by other groups.[151] The Music Machine, led by Sean Bonniwell, employed innovative musical techniques, sometimes building their own custom-made fuzzboxes.[152] Their first album (Turn On) The Music Machine featured the hit "Talk Talk".[153] The Electric Prunes were one of the more successful garage bands to incorporate psychedelic influences into their sound,[154] such as in the hit "I Had Too Much to Dream (Last Night)", whose opening featured a buzzing fuzz-toned guitar, and which appeared on their self titled debut LP.[155] Garage rock was also present in the Latino community of East L.A.[156] The Premiers, who had a hit in 1964 with "Farmer John", and Thee Midniters are considered prominent figures in Chicano rock,[157][158] as are the San Diego-based, Cannibal & the Headhunters, who had a hit with Chris Kenner's "Land of a Thousand Dances".[44]

San Jose and the South Bay area had a bustling scene featuring the Chocolate Watchband, the Count Five, and the Syndicate of Sound.[159] The Chocolate Watchband released several singles in 1967, including "Are You Gonna Be There (at the Love In)", which was also featured on their debut album No Way Out.[160] The album's opening cut was a rendition of "Let's Talk About Girls", previously recorded by the Tongues of Truth (aka the Grodes).[161]

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, the Pretty Things, and the Yardbirds influenced the Shadows of Knight,[162] who recorded for Dunwich Records and were known for a tough, hard-driving sound.[163] In 1966 they had hits with versions of Them's Van Morrison-penned "Gloria" and Bo Diddley's "Oh Yeah", and also released the aggressive "I'm Gonna Make You Mine",[164] which Mike Stax remarked "was recorded live in the studio with the amps cranked beyond distortion, this is 60s punk at its sexually charged, aggressive best."[165] Also recording for Dunwich were the Del-Vetts and the Banshees, who released the cathartic "Project Blue".[166][167] Other notable Chicago acts were the Little Boy Blues[168] and the New Colony Six.[169]

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

 
The Five Americans from Oklahoma had a hit with "Western Union" 1967.

In Texas, The 13th Floor Elevators from Austin, featured Roky Erickson on guitar and vocals and are considered one of the prominent bands of the era.[174] They had a regional hit with "You're Gonna Miss Me" and a string of albums, but the band was hampered by drug busts and related legal problems that hastened their demise.[175][176] Richie Unterberger singled out The Zakary Thaks, from Corpus Christi, for their songwriting skills,[177] and they are best known for the frantic and sped-up "Bad Girl".[178] The Moving Sidewalks, from Houston, featured Billy Gibbons on guitar, later of ZZ Top.[179][180] The Gentlemen from Dallas cut the fuzz-driven "It's a Cry'n Shame", which in Mike Markesich's Teenbeat Mayhem is ranked as one of the top two garage rock songs of all time,[181] second only to "You're Gonna Miss Me", by the 13th Floor Elevators.[182] The Outcasts from San Antonio cut two highly regarded songs, "I'm in Pittsburgh and It's Raining", which became a local hit, and "1523 Blair", that Jason Ankeny described as "Texas psychedelia at its finest".[183]

The Five Americans were from Durant, Oklahoma, and released a string of singles, such as "Western Union", which became a top 10 US hit in 1967.[184] From Phoenix, Arizona, the Spiders featured Vincent Furnier, later known as Alice Cooper, and eventually adopted that name as the group's moniker.[185] As the Spiders they recorded two singles, most notably "Don't Blow Your Mind", which became a local hit in Phoenix in 1966.[186] The group ventured to Los Angeles in 1967 in hopes of achieving greater success, however they found it not there, but while in Detroit several years later, re-christened as Alice Cooper.[186][187]

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

 
The Paupers in 1967

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 the Ugly Ducklings from Toronto had a hit with "Nothin'" and toured with the Rolling Stones.[193][194] The Haunted from Montreal specialized in a gritty blues-based sound influenced by the Rolling Stones and released the single "1–2–5".[195] Two other bands from Toronto were the Paupers and the Mynah Birds. The Paupers released several singles and two albums.[196] The Mynah Birds featured the combination of Rick James on lead vocals and Neil Young on guitar, who both went on to fame as solo acts, as well as Bruce Palmer who later accompanied Young to California to join Buffalo Springfield in 1966.[197][198] They signed a contract with Motown Records and recorded several songs including "It's My Time".[198]

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

See also: British Invasion and Freakbeat
 
Them, featuring Van Morrison (center), in 1965

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 "You Really Got Me" and "All Day and All of the Night", the Kinks took the influence of the Kingsmen's version of "Louie Louie" and applied greater volume and distortion, which in turn, influenced the approach of many American garage bands.[213] With Van Morrison, Them recorded two songs widely covered by American garage bands: "Gloria", which became a big hit for Chicago's the Shadows of Knight, and "I Can Only Give You Everything".[214][215] Keith Richards's use of fuzz distortion in the Rolling Stones' 1965 hit, "(I Can't Get No) Satisfaction" affected the sound of countless American garage bands.[216] Also influential were the Pretty Things and the Downliners Sect, both of whom were known for a particularly raw approach to blues-influenced rock that has sometimes been compared to garage.[217][218][219]

 
The Troggs in 1966

By 1965, bands such as the Who and the Small Faces tailored their appeal to the mod subculture centered in London.[220][221] Some of the harder-driving and more obscure bands associated with the mod scene in the UK are sometimes referred to as Freakbeat, which is sometimes viewed as a more stylish British equivalent of garage rock.[222][203][223] Several bands often mentioned as Freakbeat are the Creation, the Action, the Move, the Smoke, the Sorrows, and Wimple Winch.[203]

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

See also: Nederbeat and Beat-Club
 
Q65 in 1967

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 Beat Club and Beat! Beat! Beat![238][239] The Lords, founded in Düsseldorf in 1959, pre-dated the British Invasion by several years, and adapted their sound and look to reflect the influence of the British groups, even singing in English, but providing a comic twist.[240] The Rattles from Hamburg also had a lengthy history, but were more serious in their approach.[241] There were numerous bands active in Spain, such as Los Bravos, who had a worldwide hit with "Black Is Black",[242] as well as los Cheyenes and others.[243]

Latin America

See also: Uruguayan Invasion
 
Los Mockers, from Uruguay in 1965

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 Uruguay during the mid-1960s in a period sometimes referred to as the Uruguayan Invasion. Two of the best known acts were Los Shakers[246] and Los Mockers.[247] In Peru, los Saicos were one of the first bands to gain national prominence.[248] Their 1965 song "¡Demolición!" with its humorously anarchistic lyrics was a huge hit in Peru.[248] About them Phil Freeman noted "These guys were a punk rock band, even if nobody outside Lima knew it at the time".[249] Los Yorks became one of Peru's leading groups.[250] Colombia hosted bands such Los Speakers and Los Flippers from Bogotá, Los Yetis from Medellín.[251] Los Gatos Salvajes, who came from Rosario, Argentina, were one of the country's first beat groups,[252] and two of their members went on to form Los Gatos, a popular act in Argentina during the late 1960s.[252]

Asia

See also: Group Sounds
 
The Spiders in 1966

The far East was not immune to the beat craze, and Japan was no exception, particularly after the Beatles' 1966 visit, when they played five shows at Tokyo's Budokan arena.[253] The popular 1960s beat/garage movement in Japan is often referred to as Group Sounds (or GS).[205] The Spiders[e] were one of the better-known groups.[205] Other notable bands were the Golden Cups[254][255] and the Tigers.[256][257]

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

See also: Australian rock
 
The Easybeats in 1966

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. The Atlantics switched to a vocal rock format and brought in veteran singer Johnny Rebb, formerly with Johnny Rebb and His Rebels.[269] "Come On" was their best-known song from this period.[269] The Easybeats, featuring vocalist Stevie Wright and guitarist George Young, the older brother of Angus and Malcolm Young of the later hard rock group AC/DC, became the most popular group in Australia during the mid-1960s.[270] One of Sydney's most notorious acts was the Missing Links, who throughout 1965 went through a complete and total lineup change between the release their first single in March and on the subsequent releases later that year, such as the primitivist anthems "Wild About You", as well as their self-titled LP.[271][272] In 1966, the Throb had a hit in Australia with their version of "Fortune Teller", and later that year released "Black", a brooding version of a traditional folk ballad noted for its expressionistic use of guitar feedback.[273] The Black Diamonds' "I Want, Need, Love You" featured an intense and hard-driving guitar sound that Ian D. Marks described as "speaker cone-shredding".[274]

From Brisbane came the Pleazers[275][276] and the Purple Hearts,[277] and from Melbourne the Pink Finks, the Loved Ones,[278] Steve and the Board,[279] and the Moods.[280] Like Sydney's the Missing Links, the Creatures were another notorious group of the period, who Iain McIntyre remarked "Thanks to their brightly coloured hair and bad-ass attitude, the Creatures left in their wake a legacy of multiple arrests, bloodied noses and legendary rave ups".[281][282] The Masters Apprentices' early sound was largely R&B-influenced garage and psychedelic.[283][284]

From New Zealand, the Bluestars cut the defiant "Social End Product", aimed at social oppression much in the manner of 1970s punk rock acts.[285][286] Chants R&B were known for a raw R&B-influenced sound.[287][288] The La De Das recorded a version of the Changin' Times' "How is the Air Up There?", which went to No. 4 on the nation's charts.[289]

Integration with psychedelia and counterculture

Historical and cultural associations

See also: Counterculture of the 1960s and Psychedelia
 
Count Five – "Psychotic Reaction" (1966)
"Psychotic Reaction" by the Count Five contains characteristics that came to typify much psychedelic and acid rock, such as the use of fuzz and feedback, as opposed to the clean guitar sounds prevalent in early rock.[290]
Problems playing this file? See media help.

Increasingly throughout 1966, partly due to the growing influence of drugs such as marijuana and LSD,[291] numerous bands began to expand their sound, sometimes employing eastern scales and various sonic effects to achieve exotic and hypnotic soundscapes in their music.[292] The development was nonetheless the result of a longer musical evolution growing out of folk rock and other forms, and prefigured even in certain surf rock recordings.[293][294][g] As the decade progressed, psychedelic influences became pervasive in much garage rock.[297][298]

By the mid-1960s numerous garage bands began to employ tone-altering devices such as fuzzboxes on guitars often for the purpose of enhancing the music's sonic palate, adding an aggressive edge with loudly amplified instruments to create a barrage of "clanging" sounds, in many cases expressing anger, defiance, and sexual frustration.[299] The genre came into its peak of popularity at a time when a collective sense of discontent and alienation crept into the psyche of the youth in the United States and elsewhere—even in the largely conservative suburban communities which produced so many garage bands.[300] Garage bands, though generally apolitical, nonetheless reflected the attitudes and tenor of the times.[301] Nightly news reports had a cumulative effect on the mass consciousness, including musicians.[302] Detectable in much of the music from this era is a disparate array of raw sounds and emotions, coinciding with surrounding events, such as the assassinations of major political figures and the ongoing escalation of troops sent to Vietnam,[303] yet certain commentators have also noted an apparent bygone innocence as part of the style's appeal to later generations.[304]

In 1965, the influence of artists such as Bob Dylan, who moved beyond political protest by experimenting with abstract and surreal lyrical imagery[305] and switched to electric guitar, became increasingly pervasive across the musical landscape, affecting a number of genres, including garage rock.[306] The members of garage bands, like so many musicians of the 1960s, were part of a generation that was largely born into the paradigm and customs of an older time, but grew up confronting a new set of issues facing a more advanced and technological age.[307] Postwar prosperity brought the advantages of better education, as well as more spare time for recreation, which along with the new technology, made it possible for an increasing number of young people to play music.[308] With the advent of television, nuclear weapons, civil rights, the Cold War, and space exploration, the new generation was more global in its mindset and began to conceive of a higher order of human relations, attempting to reach for a set of transcendent ideals, often expressed through rock music.[309] Though set to a backdrop of tragic events that proved increasingly disillusioning,[310] various forms of personal and musical experimentation held promise, at least for a time, in the minds of many.[53] While opening boundaries and testing the frontiers of what the new world had to offer, 1960s youth ultimately had to accept the limitations of the new reality, yet often did so while experiencing the ecstasy of a moment when the realm of the infinite seemed possible and within reach.[311][h]

Garage-based psychedelic rock

Main article: Psychedelic rock
See also: acid 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' Sgt. Pepper's Lonely Hearts Club Band or the instrumental virtuosity of acts such as Jimi Hendrix or Cream, nonetheless managed to infuse esoteric elements into basic primitive rock.[312] The 13th Floor Elevators from Austin, Texas, are usually thought to be first band to use the term "psychedelic"—in their promotional literature in early 1966.[175] They also used it in the title of their debut album released in November, The Psychedelic Sounds of the 13th Floor Elevators. In August 1966, the Deep traveled from New York to Philadelphia to record a set of hallucinogenic songs for the album Psychedelic Moods: A Mind-Expanding Phenomena, released in October 1966, one month before the 13th Floor Elevators' debut album, and whose all-night sessions produced mind-expanding stream of consciousness ramblings.[313] Other notable bands that incorporated psychedelia into garage rock were the Electric Prunes, the Music Machine, the Blues Magoos,[314] and the Chocolate Watchband. Garage rock helped lay the groundwork for the acid rock of the late 1960s.[315]

Primitivist avant-garde acts

See also: Experimental rock

Certain acts conveyed a world view markedly removed from the implicit innocence of much psychedelia and suburban garage, often infusing their work with subversive political or philosophical messages,[316] dabbling in experimental musical forms and concepts considered at the time to be decidedly out of the mainstream.[317] Such artists shared certain characteristics with the garage bands in their use of primitivistic instrumentation and arrangements, while displaying psychedelic rock's affinity for exploration—creating more urbanized, intellectual, and avant garde forms of primitivist rock, sometimes characterized as variants of garage rock.[318] New York City was the home to several such groups. The Fugs, who formed in 1963, were one of rock's first experimental bands and its core members were singer, poet, and social activist Ed Sanders, along with Tuli Kupferberg and Ken Weaver.[319] They specialized in a satirical mixture of amateurish garage rock, jug, folk, and psychedelic laced with leftist political commentary.[319][320][321] In a 1970 interview, Ed Sanders became the first known musician to describe his music as "punk rock".[34][322]

 
The Monks's music imbued garage rock with avant-garde elements.

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 the Monks from Germany, whose members were former US servicemen who chose to remain in Germany, where in 1965 they developed an experimental sound on their album Black Monk Time.[324][325][326] The group, who sometimes wore habits and partially shaven tonsures, specialized in a style featuring chanting and hypnotic percussion.[325]

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 FM radio stations[i] eventually overtook AM radio in popularity, and as the large major-label record companies became more powerful and less willing to sign new acts, the once plentiful local and regional independent labels of the mid-1960s began to fold.[330] Radio playlists became more regimented and disc jockeys began to have less freedom, making it increasingly difficult for local and regional bands to receive airplay.[37] Teen clubs and dance venues which previously served as reliable and steady engagements for young groups started to close.[331] The garage sound disappeared at both the national and local level, as band members graduated and departed for college, work, or the military.[332] Musicians in bands frequently faced the prospect of the Vietnam War draft, and many were selected for service.[333] Some died in action.[334][335] With the tumultuous political events of 1968, the tense mood of the country reached a breaking point, while increasing use of drugs and other factors intermingled with shifting musical tastes.[336] New styles either evolved out of garage rock or replaced it, such as acid rock, progressive rock, heavy metal, country rock, and bubblegum.[337][338] By 1969 the garage rock phenomenon had largely passed.[327]

Later developments

1969–1975: Garage-based proto-punk

See also: 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]

 
Iggy Pop was a member of the Stooges, who are considered one of the preeminent proto-punk acts.

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 the Punks and Death. The Punks had a sometimes thrashing sound that caught the attention of rock journalist Lester Bangs, and their song "My Time's Comin'" was retroactively featured in a 2016 episode of HBO's Vinyl.[348] In 1974, Death, whose membership was made up of brothers David, Bobby, and Dannis Hackney, recorded tracks for an album that remained unreleased for over 30 years, ...For the Whole World to See, which, along with the release of their other previously unissued tracks, finally earned them a reputation as pioneers in punk rock.[349][350][351] Death's music anticipated the arrival of later African American punk acts such as the Bad Brains.[350]

In Boston, the Modern Lovers, led by Velvet Underground devotee Jonathan Richman, gained attention with their minimalistic style.[352][353] In 1972, they recorded a set of demos that formed the basis of their belated Modern Lovers album in 1976.[352] In 1974, an updated garage rock scene began to coalesce around the Rathskeller club in Kenmore Square.[354][355] The Real Kids, a leading band in the scene, were founded by former Modern Lover John Felice.[356] The Electric Eels, who formed in 1972, were a fixture in the underground rock scene in Cleveland, Ohio, which has sometimes been mentioned as a precursor to the punk scenes in New York and London.[357][358] The Electric Eels were notorious for mayhem at their shows and had a markedly nihilistic approach suggestive of later acts[357] and recorded a set of demos in 1975, from which the single "Agitated" b/w "Cyclotron" was eventually released in 1978, several years after the group's demise.[357][359]

Between 1969 and 1975, other movements further removed from the American garage rock tradition emerged, that nonetheless displayed hallmarks of proto-punk, such as Glam and pub rock in Great Britain, as well as Krautrock in Germany.[360][361] Conversely, glam rock had an influence on the garage/proto-punk sound of the New York Dolls from New York, exhibited on their 1973 self-titled debut album and its follow-up, Too Much Too Soon.[362][363] The Dictators, fronted by Handsome Dick Manitoba, were another influential New York act of this period.[364] The music from these disparate scenes helped set the stage for the punk rock phenomenon of the mid- to late- 1970s.[365]

Mid-1970s: Emergence of the punk movement

Main articles: Punk rock and Punk subculture
 
The Ramones (pictured in 1977), who were influenced by garage rock, spearheaded the mid-1970s punk movement in New York.

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

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 the 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]

 
The Black Keys performing in 2011

Other movements

See also: Garage punk (fusion genre)

Out of the garage revival, a more aggressive form of garage rock known as garage punk emerged in the late 1980s. It differed from the "retro" revival in that its acts did not attempt to replicate the exact look and sound of 1960s groups, and their approach tended to be louder, often infusing garage rock with elements of Stooges-era proto-punk, 1970s punk rock, and other influences, creating a new hybrid.[382][383] Several notable garage punk bands were the Gories, thee Mighty Caesars, the Mummies and thee Headcoats.[384] Originally associated with the 1960s garage revival of the early 1980s, the Pandoras' sound became increasingly harder as decade progressed.[385] Out of Japan came Guitar Wolf from Nagasaki[386] and the 5.6.7.8's from Tokyo.[387] Garage punk and revival acts persisted into the 1990s and the new millennium,[382] with independent record labels releasing records by bands playing fast-paced, lo-fi music.[388] Some of the more prolific independent labels include Estrus,[389] Get Hip,[390] Bomp!,[391] and Sympathy for the Record Industry.[392]

Recent developments

See also: Post-punk revival

In the early 2000s, a garage rock or post-punk revival[393] 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.[394] Other products of the Detroit rock scene included the Von Bondies, Electric 6, the Dirtbombs, the Detroit Cobras, and Rocket 455.[395] Elsewhere, acts such as Billy Childish and the Buff Medways from Chatham, England,[396] the (International) Noise Conspiracy from Umeå, Sweden,[397] and Jay Reatard and the Oblivians from Memphis, enjoyed moderate underground success and appeal.[398] A second wave of bands that gained international recognition as a result of the movement included the Black Keys,[399] Black Rebel Motorcycle Club, Death from Above 1979, the Yeah Yeah Yeahs, the Killers, Interpol, Cage the Elephant, and Kings of Leon from the US,[400] the Libertines, Arctic Monkeys, Bloc Party, Editors, and Franz Ferdinand from the UK,[401] Jet from Australia,[402] and the Datsuns and the D4 from New Zealand.[403]

The mid-2000s saw several underground bands achieve mainstream prominence. Acts such as Ty Segall, Thee Oh Sees, Black Lips[404] and Jay Reatard,[405] that initially released records on smaller garage punk labels such as In the Red Records, began signing to larger, better-known independent labels.[406] Several bands followed them in signing to larger labels such as Rough Trade[407] and Drag City.[408]

Compilations

See also: List of garage rock compilation albums

According to Peter Aaron, there are over a thousand garage rock compilations featuring work by various artists of the 1960s.[409] The first major garage rock compilation, Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968, was released by Elektra Records in 1972.[410] Nuggets grew into a multi-volume series, when Rhino Records in the 1980s released fifteen installments that consisted of songs from the original album plus additional tracks.[411] In 1998, Rhino released a four-CD box set version of Nuggets, containing the original album and three additional discs of material, that included extensive liner notes by some of garage rock's most influential writers.[412]

The Pebbles series was begun by Greg Shaw and originally appeared on his Bomp label in 1978 and has been issued in successive installments on LP and CD.[379] Back from the Grave is a series issued by Crypt Records that focuses on hard-driving and primitive examples of the genre.[29][413] Big Beat Records' Uptight Tonight: The Ultimate 1960s Garage Punk Primer also features harder material.[370][414] There are several notable anthologies devoted to female garage bands from the 1960s. Girls in the Garage was the first female garage rock series,[415] and Ace Records' issued the more recent Girls with Guitars compilations.[416][417][418]

There are numerous collections featuring garage/beat music from outside of North America. Rhino's Nuggets II: Original Artyfacts from the British Empire and Beyond, 1964–1969 4-CD box set includes music from the United Kingdom and other countries in the British commonwealth.[203] It is of particular interest to fans of freakbeat.[419] The Trans World Punk Rave-Up series focuses on garage and Nederbeat music from Continental Europe from the 1960s.[229] Ugly Things was the first compilation series to highlight 1960s Australian garage bands.[420] Down Under Nuggets: Original Australian Artyfacts 1965–1967 is also devoted to Australian acts,[421][422] while Do the Pop! The Australian Garage Rock Sound 1976-1987 covers more recent bands.[423]

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.[424] 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

Main article: List of garage rock bands

See also

 
Wikimedia Commons has media related to Garage rock.

References

Notes

  1. ^ 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).
  2. ^ 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]
  3. ^ Letters in title were not capitalized.[1]
  4. ^ The term "garage rock" was used as early as 1977 by Lester Bangs to describe punk band 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.
  5. ^ Not to be confused with Alice Cooper's American band of the same name.
  6. ^ On pages 10 and 51 the author indicates that the term often used for many the Indian bands of the 1960s is "garage bands".
  7. ^ The title of the Gamblers' 1960 instrumental "LSD-25" mentions LSD,[293][295] and in "Miserlou" (1962), Dick Dale used a Phrygian scale.[294] 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.[296]
  8. ^ 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..."
  9. ^ Progressive rock and AOR are two examples of FM rock radio formats that became prominent in the late 1960 and 1970s.

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garage, rock, garage, band, redirects, here, other, uses, garage, band, disambiguation, garage, punk, redirects, here, hybrid, style, from, 1980s, combining, 1960s, garage, rock, 1970s, punk, rock, garage, punk, fusion, genre, punk, redirects, here, more, info. Garage band redirects here For other uses see Garage band disambiguation Garage punk redirects here For the hybrid style from the 1980s combining 1960s garage rock and 1970s punk rock see Garage punk fusion genre 60s punk redirects here For more information regarding punk rock s 1960s roots see Proto punk and Origins of punk rock Garage rock revival redirects here For the movement genre or wave of bands emerging in the early 2000s see Post punk revival 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 Garage rockOther namesGarage punk 60s punkStylistic originsRock and rollbluesrockabillyrhythm and bluessoulsurfinstrumental rockbeatCultural originsLate 1950s to early 1960s United States and CanadaDerivative formsProto punkpunk rockacid rockbubblegum pophard rockpower poppsychobillyheartland rockgrungepunk blues 1 post punk revivalpaisley undergroundSouthern rockSubgenresFrat rockFusion genresGarage punkRegional scenesUnited StatesCanadaUnited KingdomAustraliaNetherlandsMexicoUruguayPeruJapanIranIndiaCambodiaOther topicsBlues rockfolk rockjangle popnew wavepsychedelic rockIn the US and Canada surf rock and later the Beatles and other beat groups of the British Invasion motivated thousands of young people to form bands between 1963 and 1968 Hundreds of acts produced regional hits and some had national hits usually played on AM radio stations With the advent of psychedelia numerous garage bands incorporated exotic elements into the genre s primitive stylistic framework After 1968 as more sophisticated forms of rock music came to dominate the marketplace garage rock records largely disappeared from national and regional charts and the movement faded Other countries in the 1960s experienced similar grass roots rock movements that have sometimes been characterized as variants of garage rock 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 compilation album Nuggets did much to define and memorialize the style Between 1971 and 1973 certain American rock critics began to retroactively identify the music as a genre and for several years used the term punk rock to describe it making it the first form of music to bear the description predating the more familiar use of the term appropriated by the later punk rock movement that it influenced The term garage rock gained favor amongst commentators and devotees during the 1980s The style has also been referred to as proto punk or in certain instances frat rock 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 garage punk label originally and otherwise associated with 1960s garage bands In the 2000s a wave of garage influenced acts associated with the post punk revival emerged and some achieved commercial success Garage rock continues to appeal to musicians and audiences who prefer a back to basics or do it yourself musical approach Contents 1 Social milieu and stylistic features 2 Recognition and classification 3 1958 1964 Origins 3 1 Regional rock amp roll instrumental and surf 3 2 Frat rock and initial commercial success 4 1964 1968 Peak years 4 1 Impact of The Beatles and the British Invasion 4 2 Height of success and airplay 4 3 Female garage bands 4 4 Regional scenes in the United States and Canada 4 4 1 Pacific Northwest 4 4 2 New England and Mid Atlantic 4 4 3 California 4 4 4 Midwest 4 4 5 Other US Regions 4 4 6 Canada islands and territories 4 5 Variants in regions outside of the US and Canada 4 5 1 United Kingdom 4 5 2 Continental Europe 4 5 3 Latin America 4 5 4 Asia 4 5 5 Australia and New Zealand 4 6 Integration with psychedelia and counterculture 4 6 1 Historical and cultural associations 4 6 2 Garage based psychedelic rock 4 6 3 Primitivist avant garde acts 4 7 Decline 5 Later developments 5 1 1969 1975 Garage based proto punk 5 2 Mid 1970s Emergence of the punk movement 5 3 1970s 2000s Revivalist and hybrid movements 5 3 1 Retro revival acts 5 3 2 Other movements 5 3 3 Recent developments 6 Compilations 7 List of bands 8 See also 9 References 9 1 Notes 9 2 Citations 9 3 Bibliography 9 4 Websites 10 Suggested reading 10 1 Books 10 2 News 10 3 Websites 11 External linksSocial milieu and stylistic features Edit The D Men later the Fifth Estate in 1964 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 amp 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 gave musicians an opportunity 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 naive or intentionally raw with typical themes revolving around the traumas of high school life and songs about lying girls being particularly common 2 The lyrics and delivery were frequently more aggressive than that of the more established acts of the time often with nasal growled or shouted vocals sometimes punctuated by shrieks or screams at climactic moments of release 18 Instrumentation was characterized by basic chord structures played on electric guitars or keyboards often distorted through a fuzzbox teamed with bass and drums 19 Guitarists sometimes played using aggressive sounding bar chords or power chords 20 Portable organs such as the Farfisa were used frequently and harmonicas and hand held percussion such as tambourines were not uncommon 21 22 Occasionally the tempo was sped up in passages sometimes referred to as raveups 23 Garage rock acts were diverse in both musical ability and in 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 amp the Raiders 25 Recognition and classification EditSee also Punk rock Etymology and classification The Music Machine featuring Sean Bonniwell in 1966 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 26 Rock critic and future Patti Smith Group guitarist Lenny Kaye remarked that the period dashed by so fast that nobody knew much of what to make of it while it was around 27 In the early 1970s Kaye and other US rock critics such as Dave Marsh Lester Bangs and Greg Shaw began to retroactively draw attention to the music speaking nostalgically of mid 1960s garage bands and subsequent artists then perceived to be their stylistic inheritors for the first time as a genre 28 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 Nuggets compiled by Lenny Kaye 36 In the liner notes Kaye used punk rock as a collective term for 1960s garage bands and also garage punk to describe a song recorded in 1966 by the Shadows of Knight 27 In the January 1973 Rolling Stone review of Nuggets Greg Shaw commented Punk rock is a fascinating genre Punk rock at its best is the closest we came in the 1960s to the original rockabilly spirit of rock amp roll 37 In addition to Rolling Stone and Creem writings about the genre appeared in various independent fanzine publications during the period 38 In May 1973 Billy Altman launched the short lived punk magazine c 38 which pre dated the more familiar 1975 publication of the same name but unlike the later magazine was largely devoted to discussion of 1960s garage and psychedelic acts 38 Greg Shaw s seasonal publication Who Put the Bomp was influential amongst enthusiasts and collectors of the genre in the early 1970s 39 Though the phrase punk rock was the favored generic term in the early 1970s 31 garage band was also mentioned in reference to groups 4 In Rolling Stone in March 1971 John Mendelsohn made an oblique reference to every last punk teenage garage band having its Own Original Approach 4 The term punk rock was later appropriated by the more commonly known punk rock movement that emerged in the mid 1970s 40 and is now most commonly applied to groups associated with that movement or who followed in its wake 41 For the 1960s style the term garage rock came into favor in the 1980s 42 d According to Mike Markesich Initially launched into the underground vernacular at the start of the 80s the garage tag slowly sifted its way amid like minded fans to finally be recognized as a worthy descriptive replacement 29 The term garage punk has also persisted 45 and style has been referred to as 60s punk 46 and proto punk 44 Frat rock has been used to refer to the R amp B and surf rock derived garage sounds of certain acts such as the Kingsmen and others 47 1958 1964 Origins EditRegional rock amp roll instrumental and surf Edit See also Rock and roll Rhythm and blues Surf rock and Instrumental rock In the late 1950s the initial impact of rock and roll on mainstream American culture waned as major record companies took a controlling influence and sought to market more conventionally acceptable recordings 48 Electric musical instruments particularly guitars and amplification were becoming more affordable allowing young musicians to form small groups to perform in front of local audiences of their peers and in some areas there was a breakdown especially among radio audiences of traditional black and white markets with more white teenagers listening to and purchasing R amp B records 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 Link Wray pictured in 1993 who helped pioneer the use of guitar power chords and distortion as early as 1958 with the instrumental Rumble has been cited as an early influence on garage rock Guitarist Link Wray has been cited as an early influence on garage rock and is known for his innovative use of guitar techniques and effects such as power chords and distortion 56 He is best known for his 1958 instrumental Rumble which featured the sound of distorted clanging guitar chords which anticipated much of what was to come 57 The combined influences of early 1960s instrumental rock and surf rock also played significant roles in shaping the sound garage rock 58 55 Chris Montez Let s Dance 1962 source source The 1962 hit Let s Dance by Chris Montez with its use of cheesy sounding Farfisa organ riffs and banging drums 59 featured stylistic elements that anticipate the garage sound 60 Problems playing this file See media help 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 amp B and rock amp 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 R amp B performers such as Johnny Otis and Richard Berry and began to play cover versions of R amp B songs 62 During the late 1950s and early 1960s other instrumental groups playing in the region such as the Ventures formed in 1958 in Tacoma Washington who came to specialize in a surf rock sound 63 and the Frantics from Seattle 64 The Blue Notes from Tacoma Washington fronted by Rockin Robin Roberts were one of the city s first teenage rock amp roll bands 65 The Wailers often referred to as the Fabulous Wailers had national chart hit in 1959 the instrumental Tall Cool One 66 After the demise of the Blue Notes Rockin Robin did a brief stint with the Wailers and with him on vocals in 1962 they recorded a version of Richard Berry s 1957 song Louie Louie their arrangement became the much replicated blueprint for practically every band in the region 67 including Portland s the Kingsmen who went on to achieve a major hit with it the following year 68 Other regional scenes of teenage bands playing R amp B oriented rock were well established in the early 1960s several years before the British Invasion in places such as Texas and the Midwest 69 At the same time in southern California surf bands formed playing raucous guitar and saxophone driven instrumentals 44 Writer Neil Campbell commented There were literally thousands of rough and ready groups performing in local bars and dance halls throughout the US prior to the arrival of the Beatles T he indigenous popular music which functioned in this way was the proto punk more commonly identified as garage rock 70 Frat rock and initial commercial success Edit Frat rock redirects here For other uses see Frat rock disambiguation The Kingsmen Louie Louie 1963 source source Louie Louie was written by Richard Berry and provided a major hit for the Kingsmen 71 Problems playing this file See media help As a result of cross pollination between surf rock hot rod music and other influences a new style rock sometimes referred to as frat rock emerged which has been mentioned as an early subgenre of garage rock 47 The Kingsmen s 1963 off the cuff version of Louie Louie 72 became the de facto big bang for three chord rock starting as a regional hit in Seattle then rising to No 1 on the national charts and eventually becoming a major success overseas 73 The group unwittingly became the target of an FBI investigation in response to complaints about the song s alleged use of profanity in its nearly indecipherable lyrics 74 Though often associated with Pacific Northwest acts such as the Kingsmen frat rock also thrived elsewhere 55 75 76 In 1963 singles by several regional bands from other parts of the United States began appearing on the national charts including Surfin Bird by the Trashmen from Minneapolis 77 78 which essentially fused together parts from two songs previously recorded by the Rivingtons The Bird is the Word and Papa Oom Mow Mow 52 California Sun by the Rivieras from South Bend Indiana followed becoming a hit in early 1964 79 Frat rock persisted into the mid 1960s with acts such as the Swingin Medallions who had a top twenty hit with Double Shot Of My Baby s Love in 1966 80 1964 1968 Peak years EditImpact of The Beatles and the British Invasion Edit Further information Cultural impact of the Beatles and British Invasion The Standells in 1965 During the mid 1960s garage rock entered its most active period prompted by the influence of The Beatles and the British Invasion 81 On February 9 1964 during their first visit to the United States the Beatles made an historic appearance on The Ed Sullivan Show watched by a record breaking viewing audience of a nation mourning the recent death of President John F Kennedy 82 For many particularly the young the Beatles visit re ignited the sense of excitement and possibility that had momentarily faded in the wake of the assassination 83 Much of this new excitement was expressed in rock music often to the chagrin of parents and elders 84 In the wake of the Beatles first visit a subsequent string of successful British beat groups and acts achieved success in America between 1964 and 1966 often referred to in the US as the British Invasion Such acts had a profound impact leading many often surf or hot rod groups to respond by altering their style and countless new bands to form as teenagers around the country picked up guitars and started bands by the thousands 85 In many cases garage bands were particularly influenced by the increasingly bold sound of a second wave of British groups with a harder blues based attack such as The Kinks The Who The Animals The Yardbirds Small Faces Pretty Things Them 86 87 and The Rolling Stones 88 often resulting in a raw and primitive sound Numerous acts sometimes characterized as garage rock formed in countries outside North America such as England s the Troggs 89 Their 1966 worldwide hit Wild Thing became a staple in countless American garage bands repertoires 90 By 1965 the influence of the British Invasion prompted folk musicians such as Bob Dylan and members of the Byrds to adopt the use of electric guitars and amplifiers resulting in what became termed folk rock 91 The resulting success of Dylan the Byrds and other folk rock acts influenced the sound and approach of numerous garage bands 91 Height of success and airplay Edit Count Five in 1966 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 92 often receiving airplay on local AM radio stations 93 Several acts gained wider exposure just long enough to have one or occasionally more national hits in an era rife with One Hit Wonders 94 In 1965 the Beau Brummels broke into the national charts with Laugh Laugh followed by Just a Little 95 According to Richie Unterberger they were perhaps the first American group to pose a successful response to the British Invasion 96 That year Sam the Sham amp the Pharaohs Wooly Bully went to No 2 and they followed it up a year later with another No 2 hit Little Red Riding Hood 97 Also in 1965 the Castaways almost reached Billboard s top ten with Liar Liar which was later included on the 1972 Nuggets compilation 98 Featuring a lead vocal by Rick Derringer Hang On Sloopy became a No 1 hit for Indiana s the McCoys 99 topping the Billboard charts in October 1965 100 They were immediately signed to Bang Records and followed up with another hit in 1966 a cover of Fever originally recorded by Little Willie John 99 It is generally agreed that the garage rock boom peaked around 1966 101 That April the Outsiders from Cleveland hit No 5 with Time Won t Let Me 102 which was later covered by acts such as Iggy Pop 103 In July the Standells from Los Angeles almost made it into the US top ten with Dirty Water 104 a song now often associated with Boston 105 Psychotic Reaction by the Count Five went to No 5 on Billboard s Hot 100 and was later memorialized by Lester Bangs in his 1971 piece Psychotic Reactions and Carburetor Dung 106 Question Mark and the Mysterians 96 Tears 1966 source source Musicologist Pete Dale notes 96 Tears as a typical example of 1960s punk containing a basic beat repetitive structure and a hypnotically simple keyboard part 107 Problems playing this file See media help 96 Tears 1966 by Question Mark and the Mysterians from Saginaw Michigan became a No 1 hit in the US 108 The song s organ riffs and theme of teenage heartbreak have been mentioned as a landmark recording of the garage rock era and recognized for influencing the works of acts as diverse as the B 52 s the Cramps and Bruce Springsteen 109 Two months later the Music Machine who reached the top 20 with fuzz guitar driven Talk Talk 110 had a sound and image that helped pave the way for later acts such as the Ramones 111 The Syndicate of Sound s Little Girl which featured a cocksure half spoken lead vocal set over chiming 12 string guitar chords reached No 8 on the Billboard charts 112 and was later covered by acts such as the Dead Boys the Banned and the Chesterfield Kings 113 Discovered by a Pittsburgh disc jockey in 1965 the resulting success of Hanky Panky by a defunct group the Shondells whose membership included Tommy James revived James career where he assembled a new group under the name Tommy James and the Shondells 114 They followed with twelve more top 40 singles 115 In 1967 Strawberry Alarm Clock emerged from the garage outfit Thee Sixpence and had a No 1 hit in 1967 with psychedelic Incense and Peppermints 116 Female garage bands Edit The Pleasure Seekers in 1966 Suzi Quatro far right Garage rock was not an exclusively male phenomenon it fostered the emergence of all female bands whose members played their own instruments One of the first of such acts was New York s Goldie and the Gingerbreads who appeared at New York s Peppermint Lounge in 1964 and accompanied the Rolling Stones on their American tour the following year 117 They had a hit in England with a version of Can t You Hear My Heartbeat 117 The Continental Co ets from Fulda Minnesota were active from 1963 to 1967 and had a hit in Canada with I Don t Love You No More 118 The Pleasure Seekers later known as Cradle from Detroit featured Suzi Quatro and her sisters 119 120 Quatro went on to greater fame as a musical solo act and television actress in the 1970s 119 The Luv d Ones also from Michigan signed with Chicago s Dunwich Records and cut records with a sometimes somber sound such as Up Down Sue 121 122 San Francisco s the Ace of Cups became a fixture in the Bay Area scene in the late 1960s 123 Other notable 1960s female groups were the Daughters of Eve from Chicago 124 122 and She previously known as the Hairem from Sacramento California 125 All female bands were not exclusive to North America The Liverbirds were a beat group from the Beatles home city of Liverpool England but became best known in Germany often performing in Hamburg s Star Club 126 All female groups of the 1960s anticipated later acts associated with the 1970s punk movement such as the Runaways and the Slits 127 Regional scenes in the United States and Canada Edit Paul Revere amp the Raiders in 1967 Pacific Northwest Edit 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 amp 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 Edit The Remains in 1966 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 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 the Remains sometimes called Barry amp the Remains led by Barry Tashian became one of the region s most popular bands and in addition to issuing five singles and a self titled album toured with the Beatles in 1966 139 Also from Boston the Rockin Ramrods released the distortion driven She Lied in 1964 which Rob Fitzpatrick called a truly spectacular piece of proto punk the sort of perfect blend of melody and aggression that the Ramones would go on to transform the planet with a dozen or more years later 140 The Squires from Bristol Connecticut issued a song now regarded as a garage rock classic Going All the Way 141 Garage rock flourished up and down the Atlantic coast with acts such as the Vagrants from Long Island 142 and Richard and the Young Lions from Newark New Jersey 143 and the Blues Magoos from the Bronx 144 who got their start in New York s Greenwich Village scene and had a hit in 1966 with We Ain t Got Nothin Yet which appeared on their debut album Psychedelic Lollipop along with a lengthy rendition of the Nashville Teens Tobacco Road 144 California Edit See also Sunset Strip Surf rock and Chicano rock 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 Love a racially integrated band headed by African American musician Arthur Lee was one of the most popular bands in the scene 150 Their propulsive 1966 proto punk anthem 7 and 7 Is was another song often covered by other groups 151 The Music Machine led by Sean Bonniwell employed innovative musical techniques sometimes building their own custom made fuzzboxes 152 Their first album Turn On The Music Machine featured the hit Talk Talk 153 The Electric Prunes were one of the more successful garage bands to incorporate psychedelic influences into their sound 154 such as in the hit I Had Too Much to Dream Last Night whose opening featured a buzzing fuzz toned guitar and which appeared on their self titled debut LP 155 Garage rock was also present in the Latino community of East L A 156 The Premiers who had a hit in 1964 with Farmer John and Thee Midniters are considered prominent figures in Chicano rock 157 158 as are the San Diego based Cannibal amp the Headhunters who had a hit with Chris Kenner s Land of a Thousand Dances 44 San Jose and the South Bay area had a bustling scene featuring the Chocolate Watchband the Count Five and the Syndicate of Sound 159 The Chocolate Watchband released several singles in 1967 including Are You Gonna Be There at the Love In which was also featured on their debut album No Way Out 160 The album s opening cut was a rendition of Let s Talk About Girls previously recorded by the Tongues of Truth aka the Grodes 161 Midwest Edit The Shadows of Knight in 1966 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 the Pretty Things and the Yardbirds influenced the Shadows of Knight 162 who recorded for Dunwich Records and were known for a tough hard driving sound 163 In 1966 they had hits with versions of Them s Van Morrison penned Gloria and Bo Diddley s Oh Yeah and also released the aggressive I m Gonna Make You Mine 164 which Mike Stax remarked was recorded live in the studio with the amps cranked beyond distortion this is 60s punk at its sexually charged aggressive best 165 Also recording for Dunwich were the Del Vetts and the Banshees who released the cathartic Project Blue 166 167 Other notable Chicago acts were the Little Boy Blues 168 and the New Colony Six 169 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 Edit The Five Americans from Oklahoma had a hit with Western Union 1967 In Texas The 13th Floor Elevators from Austin featured Roky Erickson on guitar and vocals and are considered one of the prominent bands of the era 174 They had a regional hit with You re Gonna Miss Me and a string of albums but the band was hampered by drug busts and related legal problems that hastened their demise 175 176 Richie Unterberger singled out The Zakary Thaks from Corpus Christi for their songwriting skills 177 and they are best known for the frantic and sped up Bad Girl 178 The Moving Sidewalks from Houston featured Billy Gibbons on guitar later of ZZ Top 179 180 The Gentlemen from Dallas cut the fuzz driven It s a Cry n Shame which in Mike Markesich s Teenbeat Mayhem is ranked as one of the top two garage rock songs of all time 181 second only to You re Gonna Miss Me by the 13th Floor Elevators 182 The Outcasts from San Antonio cut two highly regarded songs I m in Pittsburgh and It s Raining which became a local hit and 1523 Blair that Jason Ankeny described as Texas psychedelia at its finest 183 The Five Americans were from Durant Oklahoma and released a string of singles such as Western Union which became a top 10 US hit in 1967 184 From Phoenix Arizona the Spiders featured Vincent Furnier later known as Alice Cooper and eventually adopted that name as the group s moniker 185 As the Spiders they recorded two singles most notably Don t Blow Your Mind which became a local hit in Phoenix in 1966 186 The group ventured to Los Angeles in 1967 in hopes of achieving greater success however they found it not there but while in Detroit several years later re christened as Alice Cooper 186 187 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 Edit The Paupers in 1967 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 amp 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 the Ugly Ducklings from Toronto had a hit with Nothin and toured with the Rolling Stones 193 194 The Haunted from Montreal specialized in a gritty blues based sound influenced by the Rolling Stones and released the single 1 2 5 195 Two other bands from Toronto were the Paupers and the Mynah Birds The Paupers released several singles and two albums 196 The Mynah Birds featured the combination of Rick James on lead vocals and Neil Young on guitar who both went on to fame as solo acts as well as Bruce Palmer who later accompanied Young to California to join Buffalo Springfield in 1966 197 198 They signed a contract with Motown Records and recorded several songs including It s My Time 198 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 Edit 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 Edit See also British Invasion and Freakbeat Them featuring Van Morrison center in 1965 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 amp 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 You Really Got Me and All Day and All of the Night the Kinks took the influence of the Kingsmen s version of Louie Louie and applied greater volume and distortion which in turn influenced the approach of many American garage bands 213 With Van Morrison Them recorded two songs widely covered by American garage bands Gloria which became a big hit for Chicago s the Shadows of Knight and I Can Only Give You Everything 214 215 Keith Richards s use of fuzz distortion in the Rolling Stones 1965 hit I Can t Get No Satisfaction affected the sound of countless American garage bands 216 Also influential were the Pretty Things and the Downliners Sect both of whom were known for a particularly raw approach to blues influenced rock that has sometimes been compared to garage 217 218 219 The Troggs in 1966 By 1965 bands such as the Who and the Small Faces tailored their appeal to the mod subculture centered in London 220 221 Some of the harder driving and more obscure bands associated with the mod scene in the UK are sometimes referred to as Freakbeat which is sometimes viewed as a more stylish British equivalent of garage rock 222 203 223 Several bands often mentioned as Freakbeat are the Creation the Action the Move the Smoke the Sorrows and Wimple Winch 203 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 Edit See also Nederbeat and Beat Club Q65 in 1967 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 amp 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 Beat Club and Beat Beat Beat 238 239 The Lords founded in Dusseldorf in 1959 pre dated the British Invasion by several years and adapted their sound and look to reflect the influence of the British groups even singing in English but providing a comic twist 240 The Rattles from Hamburg also had a lengthy history but were more serious in their approach 241 There were numerous bands active in Spain such as Los Bravos who had a worldwide hit with Black Is Black 242 as well as los Cheyenes and others 243 Latin America Edit See also Uruguayan Invasion Los Mockers from Uruguay in 1965 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 Uruguay during the mid 1960s in a period sometimes referred to as the Uruguayan Invasion Two of the best known acts were Los Shakers 246 and Los Mockers 247 In Peru los Saicos were one of the first bands to gain national prominence 248 Their 1965 song Demolicion with its humorously anarchistic lyrics was a huge hit in Peru 248 About them Phil Freeman noted These guys were a punk rock band even if nobody outside Lima knew it at the time 249 Los Yorks became one of Peru s leading groups 250 Colombia hosted bands such Los Speakers and Los Flippers from Bogota Los Yetis from Medellin 251 Los Gatos Salvajes who came from Rosario Argentina were one of the country s first beat groups 252 and two of their members went on to form Los Gatos a popular act in Argentina during the late 1960s 252 Asia Edit See also Group Sounds The Spiders in 1966 The far East was not immune to the beat craze and Japan was no exception particularly after the Beatles 1966 visit when they played five shows at Tokyo s Budokan arena 253 The popular 1960s beat garage movement in Japan is often referred to as Group Sounds or GS 205 The Spiders e were one of the better known groups 205 Other notable bands were the Golden Cups 254 255 and the Tigers 256 257 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 Edit See also Australian rock The Easybeats in 1966 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 The Atlantics switched to a vocal rock format and brought in veteran singer Johnny Rebb formerly with Johnny Rebb and His Rebels 269 Come On was their best known song from this period 269 The Easybeats featuring vocalist Stevie Wright and guitarist George Young the older brother of Angus and Malcolm Young of the later hard rock group AC DC became the most popular group in Australia during the mid 1960s 270 One of Sydney s most notorious acts was the Missing Links who throughout 1965 went through a complete and total lineup change between the release their first single in March and on the subsequent releases later that year such as the primitivist anthems Wild About You as well as their self titled LP 271 272 In 1966 the Throb had a hit in Australia with their version of Fortune Teller and later that year released Black a brooding version of a traditional folk ballad noted for its expressionistic use of guitar feedback 273 The Black Diamonds I Want Need Love You featured an intense and hard driving guitar sound that Ian D Marks described as speaker cone shredding 274 From Brisbane came the Pleazers 275 276 and the Purple Hearts 277 and from Melbourne the Pink Finks the Loved Ones 278 Steve and the Board 279 and the Moods 280 Like Sydney s the Missing Links the Creatures were another notorious group of the period who Iain McIntyre remarked Thanks to their brightly coloured hair and bad ass attitude the Creatures left in their wake a legacy of multiple arrests bloodied noses and legendary rave ups 281 282 The Masters Apprentices early sound was largely R amp B influenced garage and psychedelic 283 284 From New Zealand the Bluestars cut the defiant Social End Product aimed at social oppression much in the manner of 1970s punk rock acts 285 286 Chants R amp B were known for a raw R amp B influenced sound 287 288 The La De Das recorded a version of the Changin Times How is the Air Up There which went to No 4 on the nation s charts 289 Integration with psychedelia and counterculture Edit Historical and cultural associations Edit See also Counterculture of the 1960s and Psychedelia Count Five Psychotic Reaction 1966 source source Psychotic Reaction by the Count Five contains characteristics that came to typify much psychedelic and acid rock such as the use of fuzz and feedback as opposed to the clean guitar sounds prevalent in early rock 290 Problems playing this file See media help Increasingly throughout 1966 partly due to the growing influence of drugs such as marijuana and LSD 291 numerous bands began to expand their sound sometimes employing eastern scales and various sonic effects to achieve exotic and hypnotic soundscapes in their music 292 The development was nonetheless the result of a longer musical evolution growing out of folk rock and other forms and prefigured even in certain surf rock recordings 293 294 g As the decade progressed psychedelic influences became pervasive in much garage rock 297 298 By the mid 1960s numerous garage bands began to employ tone altering devices such as fuzzboxes on guitars often for the purpose of enhancing the music s sonic palate adding an aggressive edge with loudly amplified instruments to create a barrage of clanging sounds in many cases expressing anger defiance and sexual frustration 299 The genre came into its peak of popularity at a time when a collective sense of discontent and alienation crept into the psyche of the youth in the United States and elsewhere even in the largely conservative suburban communities which produced so many garage bands 300 Garage bands though generally apolitical nonetheless reflected the attitudes and tenor of the times 301 Nightly news reports had a cumulative effect on the mass consciousness including musicians 302 Detectable in much of the music from this era is a disparate array of raw sounds and emotions coinciding with surrounding events such as the assassinations of major political figures and the ongoing escalation of troops sent to Vietnam 303 yet certain commentators have also noted an apparent bygone innocence as part of the style s appeal to later generations 304 In 1965 the influence of artists such as Bob Dylan who moved beyond political protest by experimenting with abstract and surreal lyrical imagery 305 and switched to electric guitar became increasingly pervasive across the musical landscape affecting a number of genres including garage rock 306 The members of garage bands like so many musicians of the 1960s were part of a generation that was largely born into the paradigm and customs of an older time but grew up confronting a new set of issues facing a more advanced and technological age 307 Postwar prosperity brought the advantages of better education as well as more spare time for recreation which along with the new technology made it possible for an increasing number of young people to play music 308 With the advent of television nuclear weapons civil rights the Cold War and space exploration the new generation was more global in its mindset and began to conceive of a higher order of human relations attempting to reach for a set of transcendent ideals often expressed through rock music 309 Though set to a backdrop of tragic events that proved increasingly disillusioning 310 various forms of personal and musical experimentation held promise at least for a time in the minds of many 53 While opening boundaries and testing the frontiers of what the new world had to offer 1960s youth ultimately had to accept the limitations of the new reality yet often did so while experiencing the ecstasy of a moment when the realm of the infinite seemed possible and within reach 311 h Garage based psychedelic rock Edit Main article Psychedelic rockSee also acid rock The Electric Prunes in 1966 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 Sgt Pepper s Lonely Hearts Club Band or the instrumental virtuosity of acts such as Jimi Hendrix or Cream nonetheless managed to infuse esoteric elements into basic primitive rock 312 The 13th Floor Elevators from Austin Texas are usually thought to be first band to use the term psychedelic in their promotional literature in early 1966 175 They also used it in the title of their debut album released in November The Psychedelic Sounds of the 13th Floor Elevators In August 1966 the Deep traveled from New York to Philadelphia to record a set of hallucinogenic songs for the album Psychedelic Moods A Mind Expanding Phenomena released in October 1966 one month before the 13th Floor Elevators debut album and whose all night sessions produced mind expanding stream of consciousness ramblings 313 Other notable bands that incorporated psychedelia into garage rock were the Electric Prunes the Music Machine the Blues Magoos 314 and the Chocolate Watchband Garage rock helped lay the groundwork for the acid rock of the late 1960s 315 Primitivist avant garde acts Edit See also Experimental rock Certain acts conveyed a world view markedly removed from the implicit innocence of much psychedelia and suburban garage often infusing their work with subversive political or philosophical messages 316 dabbling in experimental musical forms and concepts considered at the time to be decidedly out of the mainstream 317 Such artists shared certain characteristics with the garage bands in their use of primitivistic instrumentation and arrangements while displaying psychedelic rock s affinity for exploration creating more urbanized intellectual and avant garde forms of primitivist rock sometimes characterized as variants of garage rock 318 New York City was the home to several such groups The Fugs who formed in 1963 were one of rock s first experimental bands and its core members were singer poet and social activist Ed Sanders along with Tuli Kupferberg and Ken Weaver 319 They specialized in a satirical mixture of amateurish garage rock jug folk and psychedelic laced with leftist political commentary 319 320 321 In a 1970 interview Ed Sanders became the first known musician to describe his music as punk rock 34 322 The Monks s music imbued garage rock with avant garde elements 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 amp 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 the Monks from Germany whose members were former US servicemen who chose to remain in Germany where in 1965 they developed an experimental sound on their album Black Monk Time 324 325 326 The group who sometimes wore habits and partially shaven tonsures specialized in a style featuring chanting and hypnotic percussion 325 Decline Edit 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 FM radio stations i eventually overtook AM radio in popularity and as the large major label record companies became more powerful and less willing to sign new acts the once plentiful local and regional independent labels of the mid 1960s began to fold 330 Radio playlists became more regimented and disc jockeys began to have less freedom making it increasingly difficult for local and regional bands to receive airplay 37 Teen clubs and dance venues which previously served as reliable and steady engagements for young groups started to close 331 The garage sound disappeared at both the national and local level as band members graduated and departed for college work or the military 332 Musicians in bands frequently faced the prospect of the Vietnam War draft and many were selected for service 333 Some died in action 334 335 With the tumultuous political events of 1968 the tense mood of the country reached a breaking point while increasing use of drugs and other factors intermingled with shifting musical tastes 336 New styles either evolved out of garage rock or replaced it such as acid rock progressive rock heavy metal country rock and bubblegum 337 338 By 1969 the garage rock phenomenon had largely passed 327 Later developments Edit1969 1975 Garage based proto punk Edit See also 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 Iggy Pop was a member of the Stooges who are considered one of the preeminent proto punk acts 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 the Punks and Death The Punks had a sometimes thrashing sound that caught the attention of rock journalist Lester Bangs and their song My Time s Comin was retroactively featured in a 2016 episode of HBO s Vinyl 348 In 1974 Death whose membership was made up of brothers David Bobby and Dannis Hackney recorded tracks for an album that remained unreleased for over 30 years For the Whole World to See which along with the release of their other previously unissued tracks finally earned them a reputation as pioneers in punk rock 349 350 351 Death s music anticipated the arrival of later African American punk acts such as the Bad Brains 350 In Boston the Modern Lovers led by Velvet Underground devotee Jonathan Richman gained attention with their minimalistic style 352 353 In 1972 they recorded a set of demos that formed the basis of their belated Modern Lovers album in 1976 352 In 1974 an updated garage rock scene began to coalesce around the Rathskeller club in Kenmore Square 354 355 The Real Kids a leading band in the scene were founded by former Modern Lover John Felice 356 The Electric Eels who formed in 1972 were a fixture in the underground rock scene in Cleveland Ohio which has sometimes been mentioned as a precursor to the punk scenes in New York and London 357 358 The Electric Eels were notorious for mayhem at their shows and had a markedly nihilistic approach suggestive of later acts 357 and recorded a set of demos in 1975 from which the single Agitated b w Cyclotron was eventually released in 1978 several years after the group s demise 357 359 Between 1969 and 1975 other movements further removed from the American garage rock tradition emerged that nonetheless displayed hallmarks of proto punk such as Glam and pub rock in Great Britain as well as Krautrock in Germany 360 361 Conversely glam rock had an influence on the garage proto punk sound of the New York Dolls from New York exhibited on their 1973 self titled debut album and its follow up Too Much Too Soon 362 363 The Dictators fronted by Handsome Dick Manitoba were another influential New York act of this period 364 The music from these disparate scenes helped set the stage for the punk rock phenomenon of the mid to late 1970s 365 Mid 1970s Emergence of the punk movement Edit Main articles Punk rock and Punk subculture The Ramones pictured in 1977 who were influenced by garage rock spearheaded the mid 1970s punk movement in New York 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 celebre 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 Edit 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 Edit 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 the 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 The Black Keys performing in 2011 Other movements Edit See also Garage punk fusion genre Out of the garage revival a more aggressive form of garage rock known as garage punk emerged in the late 1980s It differed from the retro revival in that its acts did not attempt to replicate the exact look and sound of 1960s groups and their approach tended to be louder often infusing garage rock with elements of Stooges era proto punk 1970s punk rock and other influences creating a new hybrid 382 383 Several notable garage punk bands were the Gories thee Mighty Caesars the Mummies and thee Headcoats 384 Originally associated with the 1960s garage revival of the early 1980s the Pandoras sound became increasingly harder as decade progressed 385 Out of Japan came Guitar Wolf from Nagasaki 386 and the 5 6 7 8 s from Tokyo 387 Garage punk and revival acts persisted into the 1990s and the new millennium 382 with independent record labels releasing records by bands playing fast paced lo fi music 388 Some of the more prolific independent labels include Estrus 389 Get Hip 390 Bomp 391 and Sympathy for the Record Industry 392 Recent developments Edit See also Post punk revival In the early 2000s a garage rock or post punk revival 393 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 394 Other products of the Detroit rock scene included the Von Bondies Electric 6 the Dirtbombs the Detroit Cobras and Rocket 455 395 Elsewhere acts such as Billy Childish and the Buff Medways from Chatham England 396 the International Noise Conspiracy from Umea Sweden 397 and Jay Reatard and the Oblivians from Memphis enjoyed moderate underground success and appeal 398 A second wave of bands that gained international recognition as a result of the movement included the Black Keys 399 Black Rebel Motorcycle Club Death from Above 1979 the Yeah Yeah Yeahs the Killers Interpol Cage the Elephant and Kings of Leon from the US 400 the Libertines Arctic Monkeys Bloc Party Editors and Franz Ferdinand from the UK 401 Jet from Australia 402 and the Datsuns and the D4 from New Zealand 403 The mid 2000s saw several underground bands achieve mainstream prominence Acts such as Ty Segall Thee Oh Sees Black Lips 404 and Jay Reatard 405 that initially released records on smaller garage punk labels such as In the Red Records began signing to larger better known independent labels 406 Several bands followed them in signing to larger labels such as Rough Trade 407 and Drag City 408 Compilations EditSee also List of garage rock compilation albums According to Peter Aaron there are over a thousand garage rock compilations featuring work by various artists of the 1960s 409 The first major garage rock compilation Nuggets Original Artyfacts from the First Psychedelic Era 1965 1968 was released by Elektra Records in 1972 410 Nuggets grew into a multi volume series when Rhino Records in the 1980s released fifteen installments that consisted of songs from the original album plus additional tracks 411 In 1998 Rhino released a four CD box set version of Nuggets containing the original album and three additional discs of material that included extensive liner notes by some of garage rock s most influential writers 412 The Pebbles series was begun by Greg Shaw and originally appeared on his Bomp label in 1978 and has been issued in successive installments on LP and CD 379 Back from the Grave is a series issued by Crypt Records that focuses on hard driving and primitive examples of the genre 29 413 Big Beat Records Uptight Tonight The Ultimate 1960s Garage Punk Primer also features harder material 370 414 There are several notable anthologies devoted to female garage bands from the 1960s Girls in the Garage was the first female garage rock series 415 and Ace Records issued the more recent Girls with Guitars compilations 416 417 418 There are numerous collections featuring garage beat music from outside of North America Rhino s Nuggets II Original Artyfacts from the British Empire and Beyond 1964 1969 4 CD box set includes music from the United Kingdom and other countries in the British commonwealth 203 It is of particular interest to fans of freakbeat 419 The Trans World Punk Rave Up series focuses on garage and Nederbeat music from Continental Europe from the 1960s 229 Ugly Things was the first compilation series to highlight 1960s Australian garage bands 420 Down Under Nuggets Original Australian Artyfacts 1965 1967 is also devoted to Australian acts 421 422 while Do the Pop The Australian Garage Rock Sound 1976 1987 covers more recent bands 423 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 424 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 EditMain article List of garage rock bandsSee also EditPortals 1960s Rock music Music Wikimedia Commons has media related to Garage rock American rock List of 1960s one hit wonders in the United States List of garage rock bands NederpopReferences EditNotes Edit 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 term garage rock was used as early as 1977 by Lester Bangs to describe punk band 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 amp Roll does use the term garage bands to describe 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