American rock has its roots from 1940s and 1950s rock and roll, rhythm and blues, and country music, and also draws from folk music, jazz, blues, and classical music. American rock music was further influenced by the British Invasion of the American pop charts from 1964 and resulted in the development of psychedelic rock.
From the late 1960s and early 1970s, American rock music was highly influential in the development of a number of fusion genres, including blending with folk music to create folk rock, with blues to create blues rock, with country music to create country rock, roots rock and Southern rock and with jazz to create jazz rock, all of which contributed to psychedelic rock. In the 1970s, rock developed a large number of subgenres, such as soft rock, hard rock, heavy metal, glam rock, progressive rock and punk rock.
New subgenres that were derived from punk and important in the 1980s included new wave, hardcore punk, post-punk, thrash, and alternative rock. In the 1990s, alternative rock broke through into the mainstream with grunge, and other significant subgenres included indie rock and nu metal. In the 2000s genres that emerged into the mainstream included emo, metalcore and there was a garage rock/post-punk revival. The development of digital technology led to the development of new forms of digital electronic rock.
Rock and roll (1950s to early 1960s)
Origins
The foundations of American rock music are in rock and roll, which originated in the United States in the late 1940s and early 1950s. Its immediate origins lay in a mixing together of various black musical genres of the time, including rhythm and blues and gospel music; in addition to country and western."The Roots of Rock", Rock and Roll Hall of Fame, retrieved May 4, 2010. In 1951, Cleveland disc jockey Alan Freed began playing rhythm and blues music for a multi-racial audience, and is credited with first using the phrase "rock and roll" to describe the music."Rock (music)", Encyclopædia Britannica, retrieved June 24, 2008.
There is much debate as to what should be considered the first rock and roll record. One contender is "Rocket 88" by Jackie Brenston and his Delta Cats (in fact, Ike Turner and his band The Kings of Rhythm), recorded by Sam Phillips for Sun Records in Memphis in 1951.M. Campbell, ed., Popular Music in America: and the Beat Goes on (Boston, MA: Cengage Learning, 3rd edn., 2008), , pp. 157–8. It has been argued that "That's All Right (Mama)" (1954), Elvis Presley's first major single for Sun Records was the first rock and roll record,N. McCormick, "The day Elvis changed the world", Daily Telegraph, June 24, 2004, retrieved January 17, 2010. but, at the same time, Big Joe Turner's "Shake, Rattle & Roll", later covered by Bill Haley, was already at the top of the Billboard R&B charts. Other artists with early rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis, and Gene Vincent. Bill Haley's "Rock Around the Clock" (1955) became the first rock and roll song to top Billboard magazine's main sales and airplay charts, and opened the door worldwide for this new wave of popular culture.P. Browne, The Guide to United States Popular Culture (Madison, WI: Popular Press, 2001), , p. 358. Soon rock and roll was the major force in American record sales and crooners, such as Eddie Fisher, Perry Como, and Patti Page, who had dominated the previous decade of popular music, found their access to the pop charts significantly curtailed.R. S. Denisoff, W. L. Schurk, Tarnished Gold: the Record Industry Revisited (New Brunswick, NJ: Transaction, 3rd edn., 1986), , p. 13.
Diversification Rock and roll has been seen as leading to a number of distinct subgenres, including rockabilly, combining rock and roll with "hillbilly" country music, which was usually played and recorded in the mid-1950s by white singers such as Carl Perkins, Jerry Lee Lewis, Buddy Holly and with the greatest commercial success, Elvis Presley. In contrast doo wop placed an emphasis on multi-part vocal harmonies and meaningless backing lyrics (from which the genre later gained its name), which were usually supported with light instrumentation and had its origins in 1930s and 40s African American vocal groups.F. W. Hoffmann and H. Ferstler, Encyclopedia of Recorded Sound, Volume 1 (New York, NY: CRC Press, 2nd edn., 2004), , pp. 327–8. Acts like The Crows, The Penguins, The El Dorados and The Turbans all scored major hits, and groups like The Platters, with songs including "The Great Pretender" (1955), and The Coasters with humorous songs like "Yakety Yak" (1958), ranked among the most successful rock and roll acts of the period. The era also saw the growth in popularity of the electric guitar, and the development of a specifically rock and roll style of playing through such exponents as Chuck Berry, Link Wray, and Scotty Moore.J. M. Curtis, Rock Eras: Interpretations of Music and Society, 1954–1984 (Madison, WI: Popular Press, 1987), , p. 73. Also significant was the advent of soul music as a major commercial force. It developed out of rhythm and blues with a re-injection of gospel music and pop and was led by pioneers like Ray Charles and Sam Cooke from the mid-1950s. By the early 60s figures like Marvin Gaye, James Brown, Aretha Franklin, Curtis Mayfield and Stevie Wonder were dominating the R&B charts and breaking through into the main pop charts, helping to accelerate their desegregation, while Motown and Stax/Volt Records were becoming major forces in the record industry. All of these elements, including the close harmonies of doo wop and girl groups, the carefully crafted song-writing of the Brill Building Sound and the polished production values of soul, have been seen as influencing the Merseybeat sound, particularly the early work of The Beatles, and through them and others the form of later rock music. Some historians of music have also pointed to important and innovative technical developments that built on rock and roll in this period, particularly the Wall of Sound pursued by Phil Spector.K. Keightley, "Reconsidering rock" in S. Frith, W. Straw and J. Street, eds, The Cambridge Companion to Pop and Rock (Cambridge: Cambridge University Press, 2001), , p. 116.
"Decline"
Commentators have traditionally perceived a decline of rock and roll in the late 1950s and early 1960s. By 1959, the death of Buddy Holly, The Big Bopper and Ritchie Valens in a plane crash, the departure of Elvis for the army, the retirement of Little Richard to become a preacher, prosecutions of Jerry Lee Lewis and Chuck Berry and the breaking of the payola scandal (which implicated major figures, including Alan Freed, in bribery and corruption in promoting individual acts or songs), gave a sense that the initial rock and roll era had come to an end.M. Campbell, ed., Popular Music in America: and the Beat Goes On (Boston, MA: Cengage Learning, 3rd edn., 2008), , p. 99. More recently some authors have emphasised important innovations and trends in this period without which future developments would not have been possible.B. Bradby, "Do-talk, don't-talk: the division of the subject in girl-group music" in S. Frith and A. Goodwin, eds, On Record: Rock, Pop, and the Written Word (Abingdon: Routledge, 1990), , p. 341. While early rock and roll, particularly through the advent of rockabilly, saw the greatest commercial success for male and white performers, in this era the genre was dominated by black and female artists. Rock and roll had not disappeared at the end of the 1950s and some of its energy can be seen in the Twist dance craze of the early 60s, mainly benefiting the career of Chubby Checker. Having died down in the late 1950s, doo wop enjoyed a revival in the same period, with hits for acts like The Marcels, The Capris, Maurice Williams and Shep and the Limelights. The rise of girl groups like The Chantels, The Shirelles and The Crystals placed an emphasis on harmonies and polished production that was in contrast to earlier rock and roll.R. Dale, Education and the State: Politics, Patriarchy and Practice, (London: Taylor & Francis, 1981), , p. 106. Some of the most significant girl group hits were products of the Brill Building Sound, named after the block in New York where many songwriters were based, which included the number 1 hit for the Shirelles "Will You Love Me Tomorrow" in 1960, penned by the partnership of Gerry Goffin and Carole King.
Surf music
The instrumental rock and roll pioneered by performers such as Duane Eddy, Link Wray, and The Ventures was developed by Dick Dale who added distinctive "wet" reverb, rapid alternate picking, as well as Middle Eastern and Mexican influences, producing the regional hit "Let's Go Trippin'" in 1961 and launching the surf music craze. Like Dale and his Del-Tones, most early surf bands were formed in Southern California, including the Bel-Airs, The Challengers, and Eddie & the Showmen.J. Blair, The Illustrated Discography of Surf Music, 1961–1965 (Ypsilanti, MI: Pierian Press, 2nd edn., 1985), , p. 2. The Chantays scored a top ten national hit with "Pipeline" in 1963 and probably the best known surf tune was 1963's "Wipe Out", by the Surfaris, which hit number 2 and number 10 on the Billboard charts in 1965.J. Blair, The Illustrated Discography of Surf Music, 1961–1965 (Ypsilanti, MI: Pierian Press, 2nd edn., 1985), , p. 75. The growing popularity of the genre led groups from other areas to try their hand. These included The Astronauts, from Boulder, Colorado, The Trashmen, from Minneapolis, Minnesota, who had a number 4 hit with "Surfin' Bird" in 1964 and The Rivieras from South Bend, Indiana, who reached number 5 in 1964 with "California Sun". The Atlantics, from Sydney, Australia, made a significant contribution to the genre, with their hit "Bombora" (1963).
Surf music achieved its greatest commercial success as vocal music, particularly the work of the Beach Boys, formed in 1961 in Southern California. Their early albums included both instrumental surf rock (among them covers of music by Dick Dale) and vocal songs, drawing on rock and roll and doo wop and the close harmonies of vocal pop acts like the Four Freshmen. Their first chart hit, "Surfin'" in 1962 reached the Billboard top 100 and helped make the surf music craze a national phenomenon. From 1963 the group began to leave surfing behind as subject matter as Brian Wilson became their major composer and producer, moving on to the more general themes of male adolescence including cars and girl in songs like "Fun, Fun, Fun" (1964) and "California Girls" (1965). Other vocal surf acts followed, including one-hit wonders like Ronny & the Daytonas with "G. T. O." (1964) and Rip Chords with "Hey Little Cobra", which both reached the top ten, but the only other act to achieve sustained success with the formula were Jan & Dean, who had a number 1 hit with "Surf City" (co-written with Brian Wilson) in 1963. The surf music craze, and the careers of almost all surf acts, was effectively ended by the arrival of the British Invasion from 1964. Only the Beach Boys were able to sustain a creative career into the mid-1960s, producing a string of hit singles and albums, including the highly regarded Pet Sounds in 1966, which made them, arguably, the only American rock or pop act that could rival The Beatles.
Development (mid-to-late 1960s)
The British Invasion