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143-481: The Friggs were a garage rock band from Camden, New Jersey active from 1990 to 2000. Its original members were Palmyra Delran (guitar) and Jezebel (singer/songwriter), the latter of whom was later replaced by Lexi Plumm. The band played its first show in Philadelphia on New Year's Eve 1991/1992, and released their first single, a cover of The Troggs ' "Come Now," in 1991, before playing any live shows. This

286-496: A chief music critic , while magazines such as Time and Vanity Fair also employed classical music critics. But by the early 1990s, classical critics were dropped in many publications, in part due to "a decline of interest in classical music, especially among younger people". Also of concern in classical music journalism was how American reviewers can write about ethnic and folk music from cultures other than their own, such as Indian ragas and traditional Japanese works. In 1990,

429-744: A fuzzbox , as well as often unsophisticated and occasionally aggressive lyrics and delivery. Its name derives from the perception that groups were often made up of young amateurs who rehearsed in the family garage , although many were professional. In the US and Canada, 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 grass-roots acts produced regional hits, some of which gained national popularity, usually played on AM radio stations. With

572-762: A fuzzbox , teamed with bass and drums. Guitarists sometimes played using aggressive-sounding bar chords or power chords . Portable organs such as the Farfisa were used frequently and harmonicas and hand-held percussion such as tambourines were not uncommon. Occasionally, the tempo was sped up in passages sometimes referred to as "raveups". Garage rock acts were diverse in both musical ability and style, ranging from crude and amateurish to near-studio level musicianship. There were also regional variations in flourishing scenes, such as in California and Texas. The north-western states of Idaho, Washington and Oregon had

715-410: A musical composition ) its form and style, and for performance, standards of technique and expression. These standards were expressed, for example, in journals such as Neue Zeitschrift für Musik founded by Robert Schumann , and are continued today in the columns of serious newspapers and journals such as The Musical Times . Several factors—including growth of education, the influence of

858-749: A score and the evaluation of the performance of classical songs and pieces, such as symphonies and concertos . Before about the 1840s, reporting on music was either done by musical journals, such as the Allgemeine musikalische Zeitung (founded by Johann Friedrich Rochlitz in 1798) and the Neue Zeitschrift für Musik (founded by Robert Schumann in 1834), and in London journals such as The Musical Times (founded in 1844 as The Musical Times and Singing-class Circular ); or else by reporters at general newspapers where music did not form part of

1001-423: A "back to basics" or " do-it-yourself " musical approach. 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. 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. Referring to

1144-591: A "scrum in rugby", in that "[e]verybody pushes against everybody else, and we move forward in a huge blob of vehement opinion and mutual judgment". Music critic and indie pop musician Scott Miller , in his 2010 book Music: What Happened? , suggested, "Part of the problem is that a lot of vital pop music is made by 22-year-olds who enjoy shock value, and it's pathetic when their elders are cornered into unalloyed reverence". Miller suggested that critics could navigate this problem by being prepared "to give young artists credit for terrific music without being intimidated into

1287-434: A "slap at the establishment, at publications such as the hippie homestead Rolling Stone and the rawker outpost Creem ", adding that the "1980s generation" of post-punk indie rockers had in the mid-2000s "been taken down by younger 'poptimists,' who argue that lovers of underground rock are elitists for not embracing the more multicultural mainstream". Powers likened the poptimist critics' debates about bands and styles to

1430-470: A 2010 interview, stating, "Most of us [critics] begin writing about music because we love it so much. We can't wait to tell our friends and neighbors about what we're hearing." According to McCall, even over the course of a long professional career, the enthusiastic impulse to share "never fades". McCall expressed his interest in "examining why people respond to what they respond to. I hazard guesses. Sometimes I'm wrong, but I hope I'm always provocative." In

1573-502: A Boy or Are You a Girl ". In 1964, the group appeared on the T.A.M.I. Show on same bill as the Rolling Stones and James Brown . 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. In 1966, Moulton recorded " Moulty ", a spoken monologue set to music, in which he recounted

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1716-531: A Curbstone" and "I'm Movin' On". 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. 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". Chad Allan and

1859-659: A big hit for Chicago's the Shadows of Knight , and "I Can Only Give You Everything". 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. 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. By 1965, bands such as

2002-639: A booklet called "Jungle to Jukebox" that used racist, exotic tropes to illustrate the dangers of rock music to white youth. In the 2000s, online music bloggers began to supplement, and to some degree displace, music journalists in print media. In 2006, Martin Edlund of the New York Sun criticized the trend, arguing that while the "Internet has democratized music criticism, it seems it's also spread its penchant for uncritical hype". Carl Wilson described "an upsurge in pro-pop sentiment among critics" during

2145-486: A challenge "for those of us concerned with historical memory and popular music performance". Simon Frith said that pop and rock music "are closely associated with gender; that is, with conventions of male and female behaviour". According to Holly Kruse, both popular music articles and academic articles about pop music are usually written from "masculine subject positions". Kembrew McLeod analyzed terms used by critics to differentiate between pop music and rock, finding

2288-526: A challenge to taste hierarchies, and has remained a pugilistic, exhibitionist business throughout pop's own evolution". Powers claimed that "[i]nsults, rejections of others' authority, bratty assertions of superior knowledge and even threats of physical violence are the stuff of which pop criticism is made", while at the same time, the "best [pop criticism] also offers loving appreciation and profound insights about how music creates and collides with our everyday realities". She stated that pop criticism developed as

2431-497: A considerable amount of criticism from conservative Christian communities within the United States. This criticism was strongest throughout the 1960s and 70s, with some of the most prominent Christian critics being David A. Noebel , Bob Larson , and Frank Garlock . While these men were not professional music critics, they often claimed to be qualified rock critics because of their professional experiences with both music and religion. For example, Larson tried to assert his authority as

2574-431: A contract with Motown Records and recorded several songs including "It's My Time". Outside of the mainland, garage rock became a fixture in the islands and territories adjacent to the continent. The Savages from Bermuda recorded the album Live 'n Wild , which features " The World Ain't Round It's Square ", an angry song of youthful defiance. The garage phenomenon, though most often associated with North America,

2717-720: A controlling influence and sought to market more conventionally acceptable recordings. 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 , Little Richard , Bo Diddley , Jerry Lee Lewis , Buddy Holly , and Eddie Cochran , whose recordings of relatively unsophisticated and hard-driving songs from

2860-508: A distinctly recognizable regional sound with bands such as the Sonics and Paul Revere & the Raiders . 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. 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

3003-543: A few years earlier proclaimed personal independence and freedom from parental controls and conservative norms. 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. By the end of the 1950s regional scenes were abundant around the country and helped set the stage for garage rock

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3146-559: A frame of mind where dark subject matter always gets a passing grade", stating that a critic should be able to call a young artist "a musical genius" while "in the same breath declaring that his or her lyrics are morally objectionable." Reacting to the state of pop music criticism, Miller identified a major issue as critics' failure to "credit an artist with getting a feeling across", specifically pointing out critic Lester Bangs as "a ball of emotion at all times", who nonetheless "never really related to his favorite artists as people who develop

3289-459: A gendered dichotomy in descriptions of "'serious,' 'raw,' and 'sincere' rock music as distinguished from 'trivial', 'fluffy,' and 'formulaic' pop music". McLeod found that a likely cause of this dichotomy was the lack of women writing in music journalism: "By 1999, the number of female editors or senior writers at Rolling Stone hovered around a whopping 15%, [while] at Spin and Raygun , [it was] roughly 20%." Criticism associated with gender

3432-497: A graduate degree. One critic of the study pointed out that because all newspapers were included, including low-circulation regional papers, the female representation of 26% misrepresented the actual scarcity, in that the "large US papers, which are the ones that influence public opinion, have virtually no women classical music critics", with the notable exceptions of Anne Midgette in the New York Times and Wynne Delacoma in

3575-846: A hit in 1964 with " Farmer John ", and Thee Midniters are considered prominent figures in Chicano rock , as are the San Diego –based, Cannibal & the Headhunters , who had a hit with Chris Kenner 's " Land of a Thousand Dances ". San Jose and the South Bay area had a bustling scene featuring the Chocolate Watchband, the Count Five , and the Syndicate of Sound . The Chocolate Watchband released several singles in 1967, including "Are You Gonna Be There (at

3718-572: A musical solo act and television actress in the 1970s. 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". San Francisco's the Ace of Cups became a fixture in the Bay Area scene in the late 1960s. Other notable 1960s female groups were the Daughters of Eve from Chicago and She (previously known as

3861-631: A number of other major newspapers "still have full-time classical music critics", including (in 2007) the Los Angeles Times , The Washington Post , The Baltimore Sun , The Philadelphia Inquirer , and The Boston Globe . Music writers only started "treating pop and rock music seriously" in 1964 "after the breakthrough of the Beatles ". In their book Rock Criticism from the Beginning , Ulf Lindberg and his co-writers say that rock criticism appears to have been "slower to develop in

4004-578: A particularly high concentration of acts and venues, and the Beatles emerged from this thriving music scene. In London and elsewhere, certain groups developed a harder-driving, distinctively British blues style. 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

4147-461: A perspective previously reserved for jazz artists to the rise of American-influenced local rock and pop groups, anticipating the advent of rock critics. Among Britain's broadsheet newspapers, pop music gained exposure in the arts section of The Times when William Mann , the paper's classical music critic, wrote an appreciation of the Beatles in December 1963. In early 1965, The Observer ,

4290-545: 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. Rock critic Music journalism has its roots in classical music criticism , which has traditionally comprised the study, discussion, evaluation, and interpretation of music that has been composed and notated in

4433-430: A racially integrated band headed by African-American musician Arthur Lee , was one of the most popular bands in the scene. Their propulsive 1966 proto-punk anthem " 7 and 7 Is " was another song often covered by other groups. The Music Machine , led by Sean Bonniwell , employed innovative musical techniques, sometimes building their own custom-made fuzzboxes. Their first album (Turn On) The Music Machine featured

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4576-430: A rise of music critics who used YouTube and social media as their platform. According to Vice magazine's Larry Fitzmaurice in 2016, Twitter (X) is "perhaps the last public space for unfettered music criticism in an increasingly anti-critical landscape". In 2020, The New York Times described YouTuber Anthony Fantano as "probably the most popular music critic left standing." Fantano's channel, The Needle Drop,

4719-566: A rock critic by stating: "As a minister, I know now what it is like to feel the unction of the Holy Spirit. As a rock musician, I knew what it meant to feel the counterfeit anointing of Satan". Christian criticisms of rock music in the mid 20th century often centered around arguments that rock was both sonically and morally bad and physically harmful to both the body and soul. Using these central arguments, Noebel, Larson, Garlock, and other Christian critics of rock music wrote extensively about

4862-424: A skill of conveying feelings. You don't feel that he comfortably acknowledged being moved as a result of their honest work. Artists in his writing were vaguely ridiculous, fascinating primitives, embodying an archetype by accident of nature." Jezebel ' s Tracy Moore, in 2014, suggested that one of the virtues of writing about how music made one feel, in contrast with linking it to the sounds of other artists,

5005-528: A song", in the way that working musicians might discuss "the A-minor in the second measure of the chorus". Stevie Chick, a writer who teaches music journalism at City University London , said, "I think more than any other journalism, music journalism has got a really powerful creative writing quotient to it." Tris McCall of the Newark Star-Ledger discussed his approach to music criticism in

5148-753: A string of singles, such as " Western Union ", which became a top 10 US hit in 1967. From Phoenix, Arizona, the Spiders featured Vincent Furnier, later known as Alice Cooper , and eventually adopted that name as the group's moniker. As the Spiders they recorded two singles, most notably "Don't Blow Your Mind", which became a local hit in Phoenix in 1966. 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 . From Florida, Orlando's We

5291-481: A sympathetic readership, given the nature of his publication, Goldstein's task was to win over a more highbrow readership to the artistic merits of contemporary pop music. At this time, both Goldstein and Williams gained considerable renown in the cultural mainstream and were the subject of profile articles in Newsweek . The emergence of rock journalism coincided with an attempt to position rock music, particularly

5434-542: A tradition of writing about rock since the 60's" has been "largely hidden in American culture". Brooks theorized that perceptions of female artists of color might be different if there were more women of color writing about them, and praised Ellen Willis as a significant feminist critic of rock's classic era. Willis, who was a columnist for the New Yorker from 1968 to 1975, believed society could be enlightened by

5577-530: A worthy descriptive replacement". The term "garage punk" has also persisted, and style has been referred to as " '60s punk" and " proto-punk ". "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. In the late 1950s, the initial impact of rock and roll on mainstream American culture waned as major record companies took

5720-683: Is 60s punk at its sexually charged, aggressive best." Also recording for Dunwich were the Del-Vetts and the Banshees , who released the cathartic "Project Blue". Other notable Chicago acts were the Little Boy Blues and the New Colony Six . 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

5863-534: Is called "popism" – or, more evocatively (and goofily), "poptimism". The poptimism approach states: "Pop (and, especially, hip-hop) producers are as important as rock auteurs, Beyoncé is as worthy of serious consideration as Bruce Springsteen , and ascribing shame to pop pleasure is itself a shameful act." In 2008, Ann Powers of the Los Angeles Times argued that pop music critics "have always been contrarians", because "pop music [criticism] rose up as

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6006-440: Is centered on a perception that rock critics regard rock as "normative ... the standard state of popular music ... to which everything else is compared". At a 2006 pop critic conference, attendees discussed their "guilty pop pleasures, reconsidering musicians ( Tiny Tim , Dan Fogelberg , Phil Collins ) and genres " which rock critics have long dismissed as lightweight, commercial music. Rosen stated that "this new critical paradigm"

6149-563: Is generally agreed that the garage rock boom peaked around 1966. That April, the Outsiders from Cleveland hit No. 5 with " Time Won't Let Me ", which was later covered by acts such as Iggy Pop . In July, the Standells from Los Angeles almost made it into the US top ten with " Dirty Water ", a song now often associated with Boston. " Psychotic Reaction " by the Count Five went to No. 5 on Billboard ' s Hot 100 and

6292-410: Is his main outlet, but he also streams music commentary on Twitch and posts on X. In an article published in 2024, Jessica Karl, a Bloomberg News columnist, opined that "the way we critique music is broken". She argues that the current culture of consuming new music, particularly with the release of Taylor Swift's album The Tortured Poets Department (2024), is unhealthy. While she found some of

6435-411: Is the closest we came in the 1960s to the original rockabilly spirit of rock & roll." In addition to Rolling Stone and Creem , writings about the genre appeared in various independent "fanzine" publications during the period. In May 1973, Billy Altman launched the short-lived punk magazine , which pre-dated the more familiar 1975 publication of the same name , but, unlike the later magazine,

6578-552: The Chicago Sun-Times . In 2007, The New York Times wrote that classical music criticism, which it characterized as "a high-minded endeavor that has been around at least as long as newspapers", had undergone "a series of hits in recent months" with the elimination, downgrading, or redefinition of critics' jobs at newspapers in Atlanta, Minneapolis, and elsewhere, citing New York magazine's Peter G. Davis , "one of

6721-465: The Romantic movement generally and in music, popularization (including the 'star-status' of many performers such as Liszt and Paganini ), among others—led to an increasing interest in music among non-specialist journals, and an increase in the number of critics by profession of varying degrees of competence and integrity. The 1840s could be considered a turning point, in that music critics after

6864-544: The guitar shop , and now social media : when it comes to popular music, these places become stages for the display of male prowess", and adds, "Female expertise, when it appears, is repeatedly dismissed as fraudulent. Every woman who has ever ventured an opinion on popular music could give you some variation [of this experience] ...and becoming a recognized 'expert' (a musician, a critic) will not save [women] from accusations of fakery." Daphne Brooks, in her 2008 article "The Write to Rock: Racial Mythologies, Feminist Theory, and

7007-597: 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. With Van Morrison, Them recorded two songs widely covered by American garage bands: " Gloria ", which became

7150-633: The "ecstatic experience" of visions expressed through music's rhythm and noise and that such joy would lead people to different ways of sharing. Brooks wrote that "the confluence of cultural studies, rock studies, and third wave feminist critical studies makes it possible now more than ever to continue to critique and reinterrogate the form and content of popular music histories". In Brooks' view, "By bravely breaking open dense equations of gender, class, power, and subcultural music scenes", music journalists, activists and critics such as Ellen Willis have been "able to brilliantly, like no one before [them], challenge

7293-507: The 1840s generally were not also practicing musicians. However, counterexamples include Alfred Brendel , Charles Rosen , Paul Hindemith , and Ernst Krenek ; all of whom were modern practitioners of the classical music tradition who also write (or wrote) on music. Women music journalists in the twentieth century who covered classic music performance include Ruth Scott Miller of the Chicago Tribune (1920-1921), Henriette Weber at

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7436-430: The 1960s, Mike Markesich commented "teenage rock & roll groups (i.e. combos) proliferated Everywheresville USA". Though it is impossible to determine how many garage bands were active in the era, their numbers were extensive in what Markesich has characterized as a "cyclonic whirlwind of musical activity like none other". According to Mark Nobles, it is estimated that between 1964 and 1968 over 180,000 bands formed in

7579-416: 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

7722-477: The 1960s. 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. 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. The combined influences of early-1960s instrumental rock and surf rock also played significant roles in shaping

7865-541: The 2010s, some commentators noted and criticized the lack of negative reviews in music journalism. Saul Austerlitz from the New York Times Magazine noted that unlike other art forms, "music is now effectively free. Music criticism's former priority — telling consumers what to purchase — has been rendered null and void for most fans." He argued that this and " click culture " causes music critics to act as "cheerleaders" for existing stars. The 2010s saw

8008-523: The American bands who often attempted to emulate them, and the music of certain UK acts has been mentioned in particular relation to garage. 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. The Liverpool area had

8151-611: The American south among black populations. Early conservative Christian criticisms of rock music had strong footings in racism. Most white conservative Christians in the mid 20th century understood that rock started among black populations and feared what the success of the genre implied for the church, segregation, and racial equality. When critiquing rock music, Christian critics commonly portrayed rock music with "primitive and exotic imagery to convey [its] African-roots". For example, The American Tract Society in New Jersey released

8294-997: The Atlantic coast, with acts such as the Vagrants , from Long Island, and Richard and the Young Lions from Newark, New Jersey, and the Blues Magoos from the Bronx, 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 ". The garage craze came into full swing in California, particularly in Los Angeles. The Sunset Strip

8437-699: The B-52's , the Cramps , and Bruce Springsteen . Two months later, the Music Machine reached the top 20 with fuzz guitar-driven " Talk Talk ", whose sound and image that helped pave the way for later acts such as the Ramones . 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 and

8580-546: The Beatles' work, in the American cultural landscape. The critical discourse was further heightened by the respectful coverage afforded the genre in mainstream publications such as Newsweek , Time and Life in the months leading up to and following the release of the Beatles' Sgt. Pepper's Lonely Hearts Club Band album in June 1967. Within this discourse, Richard Meltzer , in an essay for Crawdaddy! in March, challenged

8723-664: The Beau Brummels broke into the national charts with " Laugh, Laugh ", followed by " Just a Little ". According to Richie Unterberger, they were perhaps the first American group to pose a successful response to the British Invasion. 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". Also in 1965,

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8866-629: The Castaways almost reached Billboard 's top ten with " Liar, Liar ", which was later included on the 1972 Nuggets compilation. Featuring a lead vocal by Rick Derringer , " Hang On Sloopy " became a No. 1 hit for Indiana's the McCoys , topping the Billboard charts in October 1965. 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 . It

9009-535: The Chicago Herald-Examiner , and Claudia Cassidy , who worked for Chicago Journal of Commerce (1924–1941), the Chicago Sun (1941–42) and the Chicago Tribune (1942–65). In the early 1980s, a decline in the quantity of classical criticism began occurring "when classical music criticism visibly started to disappear" from the media. At that time, leading newspapers still typically employed

9152-686: The Hairem) from Sacramento, California. 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 . All-female groups of the 1960s anticipated later acts associated with the 1970s punk movement, such as the Runaways and the Slits . In 1964 and 1965,

9295-573: The Kingsmen, frat rock also thrived elsewhere. 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, which essentially fused together parts from two songs previously recorded by the Rivingtons , " The Bird is the Word " and " Papa Oom Mow Mow ". " California Sun " by

9438-567: The Love In)", which was also featured on their debut album No Way Out . The album's opening cut was a rendition of "Let's Talk About Girls", previously recorded by the Tongues of Truth (aka the Grodes ). 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,

9581-401: The Mysterians as an "exposition of punk rock". 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". Much of

9724-477: 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. 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. During

9867-462: The People came about as the result of the merger of two previous bands and featured songwriters Tommy Talton and Wane Proctor. 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. Evil from Miami, had a hard, sometimes thrashing sound and a reputation for musical mayhem, typified in songs such as "From

10010-465: The Pleasures of Rock Music Criticism", wrote that in order to restructure music criticism, one must "focus on multiple counter narratives" to break away from racial and gender biases as embodied in "contemporary cultural fetishizations of white male performative virtuosity and latent black male innovations". Brooks focused on "the ways that rock music criticism has shaped and continues to shape our understandings of racialized music encounters, and what are

10153-435: The Pretty Things , and the Yardbirds influenced the Shadows of Knight , who recorded for Dunwich Records and were known for a tough, hard-driving sound. 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", which Mike Stax remarked "was recorded live in the studio with the amps cranked beyond distortion, this

10296-668: 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 . In 1966, the Ugly Ducklings from Toronto had a hit with "Nothin ' " and toured with the Rolling Stones. The Haunted from Montreal specialized in a gritty blues-based sound influenced by

10439-542: The Rivieras , from South Bend, Indiana followed, becoming a hit in early 1964. 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. During the mid-1960s, garage rock entered its most active period, prompted by the influence of the Beatles and the British Invasion . On February 9, 1964, during their first visit to

10582-625: The Rolling Stones and released the single "1–2–5". Two other bands from Toronto were the Paupers and the Mynah Birds . The Paupers released several singles and two albums. 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. They signed

10725-522: The Rolling Stones on their American tour the following year. They had a hit in England with a version of " Can't You Hear My Heartbeat ". 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". The Pleasure Seekers (later known as Cradle), from Detroit, featured Suzi Quatro and her sisters. Quatro went on to greater fame as

10868-581: The Smoke , the Sorrows , and Wimple Winch . Some commentators have branded the Troggs as garage rock. 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. They had a worldwide hit in 1966 with " Wild Thing ", written by American Chip Taylor . The Equals ,

11011-551: The Standells who are seen during the opening credits performing the theme song, as well as San Jose's the Chocolate Watchband . 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 " and the Leaves with their version of " Hey Joe ", which became a staple in countless bands' repertoires. Love ,

11154-470: The Troggs . Their 1966 worldwide hit " Wild Thing " became a staple in countless American garage bands' repertoires. 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 . The resulting success of Dylan, the Byrds, and other folk rock acts influenced

11297-428: The U.S. than in England". One of the early British music magazines, Melody Maker , complained in 1967 about how "newspapers and magazines are continually hammering [i.e., attacking] pop music ". From 1964, Melody Maker led its rival publications in terms of approaching music and musicians as a subject for serious study rather than merely entertainment. Staff reporters such as Chris Welch and Ray Coleman applied

11440-536: 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 ". As a result of cross-pollination between surf rock, hot rod music, and other influences, a new style of rock sometimes referred to as frat rock emerged, which has been mentioned as an early subgenre of garage rock. The Kingsmen 's 1963 off-the-cuff version of "Louie Louie" became

11583-410: The United States "the emergence of a 'serious' rock press and the rock critic" began in 1966, presaged by Robert Shelton , the folk music critic for The New York Times , writing articles praising the Beatles and Bob Dylan , the last of whom had just embraced rock 'n' roll by performing with electric backing at the 1965 Newport Folk Festival . Paul Williams , an eighteen-year-old student, launched

11726-658: The United States, and several thousand US garage acts made records during the era. Garage bands performed in a variety of venues. Local and regional groups typically played at parties, school dances, and teen clubs. For acts of legal age (and in some cases younger), bars, nightclubs, and college fraternity socials also provided regular engagements. Occasionally, groups had the opportunity to open at shows for famous touring acts. 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. Groups often competed in " battles of

11869-399: 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 . 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. Much of this new excitement

12012-464: The White Stripes . According to Peter Blecha , they "were the unholy practitioners of punk rock long before anyone knew what to call it". 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. The song was re-issued again in 1965, this time with the even more intense "Psycho" on

12155-670: The Who and the Small Faces tailored their appeal to the mod subculture centered in London. 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. Several bands often mentioned as Freakbeat are the Creation , the Action , the Move ,

12298-537: The World Music Institute interviewed four New York Times music critics who came up with the following criteria on how to approach ethnic music: A key finding in a 2005 study of arts journalism in America was that the profile of the "average classical music critic is a white, 52-year old male, with a graduate degree". Demographics indicated that the group was 74% male, 92% white, and 64% had earned

12441-454: 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 rock movements that have sometimes been characterized as variants of garage rock. During

12584-425: The alternative stories that we might tell". Brooks pointed to Christgau's statement that, after the Beatles' arrival in America, "rock criticism embraced a dream or metaphor of perpetual revolution. Worthwhile bands were supposed to change people's lives, preferably for the better. If they failed to do so, that meant they didn't matter." Unsurprisingly, according to Brooks, "the history of women who've been sustaining

12727-494: The art. Applying critical theory ( e.g. , critical gender studies and critical race theory ) to music journalism, some academic writers suggest that mutual disrespect between critics and artists is one of many negative effects of rockism . In 2004, critic Kelefa Sanneh defined "rockism" as "idolizing the authentic old legend (or underground hero) while mocking the latest pop star". Music journalism "infected" with rockism has become, according to Yale professor Daphne Brooks,

12870-454: The band for their "danceable retro- '60s sound ." Garage rock Garage rock (sometimes called garage punk or ' 60s punk ) is a raw and energetic style of rock music 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

13013-671: The bands ", which allowed musicians to gain exposure and a chance to win a prize, such as free equipment or recording time in a local studio. 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, the Music Circus , and the United States Junior Chamber . Performances often sounded amateurish, naïve, or intentionally raw, with typical themes revolving around

13156-437: The beats used in rock music could cause rebellion in younger generations due to their hypnotic and influential nature. Drawing from styles like rhythm and blues and jazz music, rock and roll was first innovated by black communities, but was soon appropriated by white populations. This aspect of rock's history has been overlooked by historians and the media, but music experts now widely agree that rock's true origins lie in

13299-480: The central objectives of the publication. An influential English 19th-century music critic, for example, was James William Davison of The Times . The composer Hector Berlioz also wrote reviews and criticisms for the Paris press of the 1830s and 1840s. Modern art music journalism is often informed by music theory consideration of the many diverse elements of a musical piece or performance, including (as regards

13442-518: The country picked up guitars and started bands by the thousands. 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 , and the Rolling Stones 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

13585-413: The country's highbrow Sunday newspaper, signalled a reversal of the establishment's cultural snobbery towards pop music by appointing George Melly as its "critic of pop culture". Following Tony Palmer 's arrival at The Observer , the first daily newspaper to employ a dedicated rock critic was The Guardian , with the appointment of Geoffrey Cannon in 1968. Melody Maker ' s writers advocated

13728-474: 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. 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. Though often associated with Pacific Northwest acts such as

13871-457: The differences between 'good' and 'bad' music. In The Beatles: A Study in Drugs, Sex and Revolution , Noebel explained why rock music was 'bad' by contrasting it with qualities of 'good' music. In The Big Beat: A Rock Blast , similar arguments were posed by Garlock, with the additional argument that 'good' music must come from distinguished and educated musicians. Additionally, Larson argued that

14014-455: 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". The Squires from Bristol, Connecticut, issued a song now regarded as a garage rock classic, "Going All the Way". Garage rock flourished up and down

14157-406: The early 2000s, writing that a "new generation [of music critics] moved into positions of critical influence" and then "mounted a wholesale critique against the syndrome of measuring all popular music by the norms of rock culture". Slate magazine writer Jody Rosen discussed the 2000s-era trends in pop music criticism in his article "The Perils of Poptimism". Rosen noted that much of the debate

14300-574: The emergence of Crawdaddy! Lindberg et al. say that, while Williams is widely considered to be the first American rock critic, he "nevertheless looked to England for material". According to Gendron, Goldstein's most significant early pieces were a "manifesto" on rock 'n' roll and "pop aestheticism", and a laudatory assessment of the Beatles' Revolver album. Published in late August, the latter article provided "the first substantial rock review devoted to one album to appear in any nonrock magazine with accreditory power". Whereas Williams could be sure of

14443-558: The end of the decade. The Unrelated Segments recorded a string of songs beginning with local hit "The Story Of My Life", followed by "Where You Gonna Go". 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". In Texas, the 13th Floor Elevators from Austin, featured Roky Erickson on guitar and vocals and are considered one of

14586-550: The film Superbad . On the heels of this exposure, the band decided to reunite in 2008 for a few more performances. The Friggs themselves have described their style as "trashy pop", and MTV News ' Frank Tortorici concurred with this description. The Austin Chronicle has described the Friggs as "an all-female version of The Standells " and their music as "'60's-influenced trash-pop". Similarly, The Morning Call has praised

14729-458: 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

14872-512: 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 ". The Sonics from Tacoma had a raunchy, hard-driving sound that influenced later acts such as Nirvana and

15015-500: The flip side. They released several albums and are also known for other "high-octane" rockers such as "Cinderella" and "He's Waitin ' ". 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". 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

15158-615: The following year. 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 . At the same time, in Southern California surf bands formed, playing raucous guitar- and saxophone-driven instrumentals. Writer Neil Campbell commented: "There were literally thousands of rough-and-ready groups performing in local bars and dance halls throughout

15301-617: 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, second only to "You're Gonna Miss Me", by the 13th Floor Elevators. 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". The Five Americans were from Durant, Oklahoma, and released

15444-463: The garage outfit Thee Sixpence and had a No. 1 hit in 1967 with psychedelic " Incense and Peppermints ". 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

15587-588: The highbrow aesthetic of rock proposed by Goldstein. The latter's mixed review of Sgt. Pepper in The New York Times was similarly the subject of journalistic debate, and invited reprisals from musicologists, composers and cultural commentators. Among other young American writers who became pop columnists following Goldstein's appointment were Robert Christgau (at Esquire , from June 1967), Ellen Willis ( The New Yorker , March 1968) and Ellen Sander ( Saturday Review , October 1968). Christgau

15730-461: The hit "Talk Talk". The Electric Prunes were one of the more successful garage bands to incorporate psychedelic influences into their sound, 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 . Garage rock was also present in the Latino community of East L.A. The Premiers , who had

15873-471: 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

16016-460: The instrumental "Tall Cool One". 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, including Portland's the Kingsmen who went on to achieve a major hit with it

16159-683: 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, and the Frantics from Seattle. The Blue Notes from Tacoma, Washington, fronted by "Rockin' Robin" Roberts , were one of the city's first teenage rock & roll bands. The Wailers (often referred to as the Fabulous Wailers) had national chart hit in 1959,

16302-494: 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

16445-421: The most respected voices of the craft, [who] said he had been forced out after 26 years". Viewing "robust analysis, commentary and reportage as vital to the health of the art form", The New York Times stated in 2007 that it continued to maintain "a staff of three full-time classical music critics and three freelancers", noting also that classical music criticism had become increasingly available on blogs, and that

16588-406: The new forms of pop music of the late 1960s. "By 1999, the 'quality' press was regularly carrying reviews of popular music gigs and albums", which had a "key role in keeping pop" in the public eye. As more pop music critics began writing, this had the effect of "legitimating pop as an art form"; as a result, "newspaper coverage shifted towards pop as music rather than pop as social phenomenon". In

16731-460: The plaudits and criticism. She condemned the Paste review for making "a litany of petty, exclamation-pointed digs" at Swift, and dismissed the rave Rolling Stone review for calling the album a classic within a day, as well as criticizing articles by "reputable publications" like Time and The Philadelphia Inquirer for catering gossip to the masses and fandom instead of serious journalism of

16874-631: The pop journal Crawdaddy! in February 1966; in June, Richard Goldstein , a recent graduate and New Journalism writer, debuted his "Pop Eye" column in The Village Voice , which Gendron describes as "the first regular column on rock 'n' roll ... to appear in an established cultural publication". Rock journalist Clinton Heylin , in his role as editor of The Penguin Book of Rock & Roll Writing , cites "the true genesis of rock criticism" to

17017-505: The prominent bands of the era. 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. Richie Unterberger singled out The Zakary Thaks , from Corpus Christi, for their songwriting skills, and they are best known for the frantic and sped-up "Bad Girl". The Moving Sidewalks , from Houston, featured Billy Gibbons on guitar, later of ZZ Top . The Gentlemen from Dallas cut

17160-622: The realm of rock music, as in that of classical music, critics have not always been respected by their subjects. Frank Zappa declared that "Most rock journalism is people who can't write, interviewing people who can't talk, for people who can't read." In the Guns N' Roses song " Get in the Ring ", Axl Rose verbally attacked critics who gave the band negative reviews because of their actions on stage; such critics as Andy Secher , Mick Wall and Bob Guccione Jr. were mentioned by name. Rock music received

17303-414: The reviews of the album were "well-considered", she opined others were pre-written and "daft". She explained that critics are "staying up until dawn to finish listening to an album as if it's a college paper we're cramming to complete by the morning" and long albums like the 31-track Tortured Poets frustrate them. Karl also felt that reviews appearing online within hours of an album's release discredits both

17446-498: The revival of interest in 1960s garage rock can be traced to the release of the 1972 album Nuggets compiled by Lenny Kaye. 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. In the January 1973 Rolling Stone review of Nuggets , Greg Shaw commented: "Punk rock is a fascinating genre ... Punk rock at its best

17589-453: The sound and approach of numerous garage bands. 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, often receiving airplay on local AM radio stations. Several acts gained wider exposure just long enough to have one or occasionally more national hits in an era rife with " one-hit wonders ". In 1965,

17732-480: The sound garage rock. 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". 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

17875-448: The term " punk rock " to characterize it, making it the first musical form to bear the description. While the coinage of the term "punk" in relation to rock music is unknown, it was sometimes used then to describe primitive or rudimentary rock musicianship, but more specifically 1960s garage as a style. In the May 1971 issue of Creem , Dave Marsh described a performance by ? and

18018-484: The traditional high / low culture split, usually around notions of artistic integrity, authenticity, and the nature of commercialism". These review collections, Shuker continues, "became bibles in the field, establishing orthodoxies as to the relative value of various styles or genres and pantheons of artists. Record collectors and enthusiasts, and specialisation and secondhand record shops, inevitably have well-thumbed copies of these and similar volumes close at hand." In

18161-459: The traumas of high school life and songs about "lying girls" being particularly common. 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. Instrumentation was frequently characterized by basic chord structures played on electric guitars or keyboards often distorted through

18304-680: The travails of his disfigurement, released under the Barbarians' name, but backed by future members of the Band . 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. Also from Boston, the Rockin' Ramrods released

18447-457: The world of pop music criticism, there has tended to be a quick turnover. The "pop music industry" expects that any particular rock critic will likely disappear from popular view within five years; in contrast, according to author Mark Fenster, the "stars" of rock criticism are more likely to have long careers with "book contracts, featured columns, and editorial and staff positions at magazines and newspapers". Author Bernard Gendron writes that in

18590-537: Was also produced by Vaughn. Rock Candy received positive reviews, which led to the band opening for Beck and Cheap Trick . The band performed at SXSW in 1997 and broke up in 2000. The Friggs' song "Bad Word for a Good Thing" appeared in both the films Jawbreaker and Fuck . Their cover of Pat Benatar 's song Heartbreaker also appeared in Jawbreaker , but was left off the soundtrack. Their song "Shake," from their second single release in 1991, appeared in

18733-429: Was around". 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. "Garage rock" was not the initial name applied to the style. In the early 1970s such critics used

18876-458: Was expressed in rock music, often to the chagrin of parents and elders. 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

19019-486: Was followed by several more singles and an EP, America's Only Rock & Roll Magazine Parody . The cover of this 1994 EP, which was produced by Ben Vaughn , closely mimicked the cover of an old issue of Creem . Late that year, Jezebel left the band, whereupon she was replaced by Lexi Plumm. Delran decided to hire Plumm after she was impressed by the sound of motorcycles on her answering machine. The band released their only album, Rock Candy , in 1997 on E-Vil Records . It

19162-472: Was graphically discussed in a 2014 Jezebel article about the struggles of women in music journalism , written by music critic Tracy Moore, previously an editor at the Nashville Scene . Moore described how another female music blogger, an "admitted outsider" who threatened no stereotypes, was greeted with enthusiasm by men, in contrast with Moore's own experiences as a self-described "insider" who

19305-583: Was largely devoted to discussion of 1960s garage and psychedelic acts. Greg Shaw's seasonal publication, Who Put the Bomp! , was influential amongst enthusiasts and collectors of the genre in the early 1970s. Though the phrase "punk rock" was the favored generic term in the early 1970s, "garage band" was also mentioned in reference to groups. In Rolling Stone in March 1971, John Mendelsohn made an oblique reference to "every last punk teenage garage band having its Own Original Approach". The term "punk rock"

19448-480: Was later appropriated by the more commonly-known punk rock movement that emerged in the mid-1970s and is now most commonly applied to groups associated with that movement or who followed in its wake. For the 1960s style, the term "garage rock" came into favor in the 1980s. 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

19591-669: Was later covered by acts such as the Dead Boys , the Banned , and the Chesterfield Kings . In 1965, a Pittsburgh disc jockey discovered " Hanky Panky ", a 1964 song by a since-defunct group, the Shondells; the song's belated success revived the career of Tommy James , who assembled a new group under the name Tommy James and the Shondells and produced 12 more top-40 singles. In 1967, Strawberry Alarm Clock emerged from

19734-466: Was later memorialized by Lester Bangs in his 1971 piece "Psychotic Reactions and Carburetor Dung". " 96 Tears " (1966) by Question Mark and the Mysterians , from Saginaw, Michigan, became a No. 1 hit in the US. 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

19877-446: Was nevertheless expected to "prove" or "earn" her way into a male-dominated journalism scene. According to Anwen Crawford, music critic for Australia's The Monthly , the "problem for women [popular music critics] is that our role in popular music was codified long ago"; as a result, "most famous rock-music critics – Robert Christgau, Greil Marcus , Lester Bangs , Nick Kent – are all male". Crawford points to "[t]he record store ,

20020-522: Was not exclusive to it. 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. 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

20163-431: Was the "originator of the 'consumer guide' approach to pop music reviews", an approach that was designed to help readers decide whether to buy a new album. According to popular music academic Roy Shuker in 1994, music reference books such as The Rolling Stone Record Guide and Christgau's Record Guide played a role in the rise of rock critics as tastemakers in the music industry, "constructing their own version of

20306-468: 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. Exploitation films such as Riot on Sunset Strip , Mondo Hollywood , captured the musical and social milieu of life on the strip. In Riot on Sunset Strip , several bands make appearances at the Pandora's Box , including

20449-467: Was to avoid excluding readers who may not have musical knowledge as broad as that of the writer. In contrast, Miller believed that analytical readers would appreciate "more music talk in music criticism", suggesting that "sensitively modest doses" of musical analysis would provide helpful support for a conclusion "that great melody writing occurred or it didn't". For example, Miller noted that critics rarely "identify catchy melodies as specific passages within

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