Editing Garage rock (section)

===Variants in regions outside of the US and Canada===
The garage phenomenon, though most often associated with North America, was not exclusive to it.{{sfnm|1a1=Palao|1y=1998|1p=26|2a1=Bhatia|2y=2014|2pp=10, 51}}  As part of the international [[Beat music|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.<ref name="Erlewine (Nuggets II)"/><ref name="Lymangrover (Los Nuggetz)"/><ref name="GS I Love You">{{cite web|last=Unterberger|first=Richie|title=GS I Love You: Japanese Garage Bands of the '60s|url=http://www.allmusic.com/album/gs-i-love-you-japanese-garage-bands-of-the-60s-mw0000087195|website=AllMusic|access-date=June 2, 2017|archive-date=July 11, 2017|archive-url=https://web.archive.org/web/20170711033900/http://www.allmusic.com/album/gs-i-love-you-japanese-garage-bands-of-the-60s-mw0000087195|url-status=live}}</ref>{{sfn|Marks|McIntyre|2010|pp=7–9, 317}}

====United Kingdom====
{{See also|British Invasion|Freakbeat}}
[[File:Them (band).png|thumb|[[Them (band)|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.{{sfn|Bangs|2003|pp=56–57, 61, 64, 101}}{{sfn|Hicks|1999|p=36}}

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.{{sfn|Longhurst|2007|p=98}}  The [[Liverpool]] area had a particularly high concentration of acts and venues,<ref>{{cite web|url=http://www.triumphpc.com/mersey-beat/birth/|title=Birth of Mersey Beat 1|website=triumphpc.com|access-date=January 18, 2018|archive-url=https://web.archive.org/web/20180729230455/http://www.triumphpc.com/mersey-beat/birth/|archive-date=July 29, 2018|url-status=live}}</ref> and the Beatles emerged from this thriving music scene.{{sfn|Puterbaugh|1988}}  In London and elsewhere, certain groups developed a harder-driving, distinctively [[British blues]] style.{{sfn|Schwartz|2007|p=133}}  Nationally popular blues- and R&B- influenced beat groups included [[the Rolling Stones]] and [[the Yardbirds]] from London, [[the Animals]] from [[Newcastle upon Tyne|Newcastle]], and [[Them (band)|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.{{sfnm|1a1=Hicks|1y=1999|1pp=17–18|2a1=Kitts|2y=2007|2p=41}}  With Van Morrison, Them recorded two songs widely covered by American garage bands: "[[Gloria (Them song)|Gloria]]", which became a big hit for Chicago's [[the Shadows of Knight]], and "I Can Only Give You Everything".{{sfn|Hicks|1999|p=34}}<ref>{{cite web|last=Unterberger|first=Richie|title=Them|url=http://www.allmusic.com/artist/them-mn0000925181/biography|access-date=July 10, 2015|archive-url=https://web.archive.org/web/20130918190809/http://www.allmusic.com/artist/them-mn0000925181/biography|archive-date=September 18, 2013|website=AllMusic}}</ref> [[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.{{sfn|Markesich|2012|p=15}}  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.<ref name="Pretty Things influence">{{cite web |last1=Lindblad |first1=Peter |title=The Pretty Things recall their wild past and explore their angry present |url=https://www.goldminemag.com/articles/the-pretty-things-recall-their-wild-past-and-explore-their-angry-present |website=Goldmine |access-date=April 10, 2019 |date=April 21, 2010}}</ref><ref name="Erlewine (Pretty Things)">{{cite web|last1=Erlewine|first1=Stephen Thomas|title=The Pretty Things|website=AllMusic|url=http://www.allmusic.com/artist/the-pretty-things-mn0000489676/biography|access-date=July 12, 2015|archive-url=https://web.archive.org/web/20150820201717/http://www.allmusic.com/artist/the-pretty-things-mn0000489676/biography|archive-date=August 20, 2015|url-status=live}}</ref><ref name="Unterberger (Downliners Sect)">{{cite web|last1=Unterberger|first1=Richie|title=The Downliners Sect|website=AllMusic|url=http://www.allmusic.com/artist/the-downliners-sect-mn0000117803/biography|access-date=July 20, 2015|archive-url=https://web.archive.org/web/20150626064542/http://www.allmusic.com/artist/the-downliners-sect-mn0000117803/biography|archive-date=June 26, 2015|url-status=live}}</ref>

[[File:The Troggs (1966).png|thumb|[[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.<ref>{{cite web|last1=Butcher|first1=Terrance|title=The Who, the Mods, and the Quadrophenia Connection|url=http://www.popmatters.com/review/117196-the-who-the-mods-and-the-quadrophenia-connection/|website=Pop Matters|access-date=June 18, 2017|date=January 5, 2010|archive-url=https://web.archive.org/web/20170529222942/http://www.popmatters.com/review/117196-the-who-the-mods-and-the-quadrophenia-connection/|archive-date=May 29, 2017|url-status=live}}</ref><ref>{{cite web|last1=Eder|first1=Bruce|title=Small Faces|website=AllMusic|url=http://www.allmusic.com/artist/small-faces-mn0000423267/biography|access-date=July 10, 2015|archive-url=https://web.archive.org/web/20150502230821/http://www.allmusic.com/artist/small-faces-mn0000423267/biography|archive-date=May 2, 2015|url-status=live}}</ref> 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.<ref>{{cite web|title=Freakbeat|url=http://www.allmusic.com/style/freakbeat-ma0000012342|website=AllMusic|access-date=June 18, 2017|archive-url=https://web.archive.org/web/20170703120729/http://www.allmusic.com/style/freakbeat-ma0000012342|archive-date=July 3, 2017|url-status=live}}</ref><ref name="Erlewine (Nuggets II)"/><ref>{{cite web|title=Pop/Rock » British Invasion » Freakbeat|website=AllMusic|url=http://www.allmusic.com/style/freakbeat-ma0000012342/artists|access-date=July 10, 2015|archive-url=https://web.archive.org/web/20140711160455/http://www.allmusic.com/style/freakbeat-ma0000012342/artists|archive-date=July 11, 2014|url-status=live}}</ref> Several bands often mentioned as Freakbeat are [[The Creation (band)|the Creation]], [[the Action]], [[the Move]], [[the Smoke]], [[the Sorrows]], and [[Wimple Winch]].<ref name="Erlewine (Nuggets II)"/>

Some commentators have branded [[the Troggs]] as garage rock.{{sfn|Hicks|1999|p=36}}<ref name="presley/troggs/garage">{{cite magazine|title=Troggs Singer Reg Presley Dead at 71|url=https://www.rollingstone.com/music/music-news/troggs-singer-reg-presley-dead-at-71-119797/|magazine=Rolling Stone|access-date=March 21, 2019|archive-url=https://web.archive.org/web/20190321022532/https://www.rollingstone.com/music/music-news/troggs-singer-reg-presley-dead-at-71-119797/|archive-date=March 21, 2019|date=February 5, 2013|url-status=live}}</ref><ref name="Frisicano (Troggs)">{{cite web|last1=Frisicano|first1=Andrew|title=The Best Garage Bands of All Time|url=https://www.timeout.com/newyork/music/best-garage-bands-of-all-time|website=Time Out|access-date=February 27, 2018|date=November 2, 2016|archive-url=https://web.archive.org/web/20180227153738/https://www.timeout.com/newyork/music/best-garage-bands-of-all-time|archive-date=February 27, 2018|url-status=live}}</ref>  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.{{sfn|Bangs|2003|pp=56–58, 101}}  They had a worldwide hit in 1966 with "[[Wild Thing (The Troggs song)|Wild Thing]]", written by American [[Chip Taylor]].<ref name="Unterberger (Troggs)">{{cite web|last1=Unterberger|first1=Richie|title=The Troggs|website=AllMusic|url=http://www.allmusic.com/artist/the-troggs-mn0000573870/biography|access-date=July 10, 2015|archive-url=https://web.archive.org/web/20150804064608/http://www.allmusic.com/artist/the-troggs-mn0000573870/biography|archive-date=August 4, 2015|url-status=live}}</ref>  [[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 (The Equals song)|Baby Come Back]]" was a hit in Europe before becoming a British number one in 1968.<ref name="Bush (Equals)">{{cite web|last1=Bush|first1=John|title=The Equals|website=AllMusic|url=http://www.allmusic.com/artist/the-equals-mn0000056833/biography|access-date=July 10, 2015|archive-url=https://web.archive.org/web/20150331031020/http://www.allmusic.com/artist/the-equals-mn0000056833/biography|archive-date=March 31, 2015|url-status=live}}</ref>

====Continental Europe====
{{See also|Nederbeat|Beat-Club}}
[[File:Fanclub - Q65 - Jay Baar 3.png|thumb|upright|[[Q65 (band)|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.<ref name="Unterberger (Trans World Punk)">{{cite web|last1=Unterberger|first1=Richie|title=Trans-World Punk Rave-Up, Vol. 1–2: Review|website=AllMusic|url=http://www.allmusic.com/album/trans-world-punk-rave-up-vol-1-2-mw0000938459|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20160314084101/http://www.allmusic.com/album/trans-world-punk-rave-up-vol-1-2-mw0000938459|archive-date=March 14, 2016|url-status=live}}</ref><ref name="Unterberger (Nederbeat)">{{cite web|last1=Unterberger|first1=Richie|title=Living in the Past: 19 Forgotten Nederbiet Gems '64-'67|url=http://www.allmusic.com/album/living-in-the-past-19-forgotten-nederbiet-gems-64-67-mw0000996600|website=AllMusic|access-date=May 11, 2017|archive-url=https://web.archive.org/web/20171201131603/https://www.allmusic.com/album/living-in-the-past-19-forgotten-nederbiet-gems-64-67-mw0000996600|archive-date=December 1, 2017|url-status=live}}</ref>  The Netherlands had one of the largest scenes, sometimes retroactively described as [[Nederbeat]].<ref name="Unterberger (Nederbeat)"/><ref name="Start (Nederbeat)">{{cite web|title=Dutch Sixties Beatgroups|url=http://www.nederbiet.nl/home.html|website=Start|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20150714230416/http://www.nederbiet.nl/home.html|archive-date=July 14, 2015|url-status=live}} Website database includes over 1,400 mid-1960s bands from the Netherlands</ref>  From Amsterdam, [[The Outsiders (Dutch band)|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.<ref name="Deming (Outsiders--Dutch)">{{cite web|last1=Deming|first1=Mark|title=The Outsiders|website=AllMusic|url=http://www.allmusic.com/artist/the-outsiders-mn0001620705/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20150812032631/http://www.allmusic.com/artist/the-outsiders-mn0001620705/biography|archive-date=August 12, 2015|url-status=live}}</ref><ref name="Allmusic (Outsiders--Dutch Rev.)">{{cite web|title=Thinking About Today: Their Complete Works (Outsiders)|website=AllMusic|url=http://www.allmusic.com/album/thinking-about-today-their-complete-works-mw0002497056|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20170711013358/http://www.allmusic.com/album/thinking-about-today-their-complete-works-mw0002497056|archive-date=July 11, 2017|url-status=live}}</ref> [[Q65 (band)|Q65]] from the Hague had a diverse but primitive sound, particularly on their early records.<ref name="Eder (Q65)">{{cite web|last1=Eder|first1=Bruce|title=Q 65|website=AllMusic|url=http://www.allmusic.com/artist/q-65-mn0000379341/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20170711024848/http://www.allmusic.com/artist/q-65-mn0000379341/biography|archive-date=July 11, 2017|url-status=live}}</ref><ref name="Deming (Q65)">{{cite web|last1=Deming|first1=Mark|title=Nothing But Trouble: The Best of Q65|website=AllMusic|url=http://www.allmusic.com/album/nothing-but-trouble-the-best-of-q65-mw0000796075|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20151222202512/http://www.allmusic.com/album/nothing-but-trouble-the-best-of-q65-mw0000796075|archive-date=December 22, 2015|url-status=live}}</ref>  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.<ref name="Elliott (Gold. Earrings)">{{cite web|last1=Elliott|first1=Steve|title=Something Else! Interview: Frans Krassenburg of the Golden Earrings|url=http://somethingelsereviews.com/2013/03/03/something-else-interview-frans-krassenburg-of-the-golden-earrings/|website=Something Else!|access-date=May 11, 2017|date=March 3, 2013|archive-url=https://web.archive.org/web/20170802105648/http://somethingelsereviews.com/2013/03/03/something-else-interview-frans-krassenburg-of-the-golden-earrings/|archive-date=August 2, 2017|url-status=live}}</ref><ref name="Hann (Gold. Earrings)">{{cite web|last1=Hann|first1=Michael|title=Old music: Golden Earring – Twilight Zone|url=https://www.theguardian.com/music/musicblog/2012/dec/13/old-music-golden-earring-twilight-zone|website=The Guardian|access-date=May 11, 2017|date=December 13, 2012|archive-url=https://web.archive.org/web/20170709203448/https://www.theguardian.com/music/musicblog/2012/dec/13/old-music-golden-earring-twilight-zone|archive-date=July 9, 2017|url-status=live}}</ref>

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!''<ref name="Brady (Beat Club)">{{cite web|last1=Brady|first1=Kate|title=Beat-Club: when TV and music Revolutionized German youth|url=http://www.dw.com/en/beat-club-when-tv-and-music-revolutionized-german-youth/a-17906830|website=DW|access-date=July 11, 2015|date=July 9, 2014|archive-url=https://web.archive.org/web/20150923223818/http://www.dw.com/en/beat-club-when-tv-and-music-revolutionized-german-youth/a-17906830|archive-date=September 23, 2015|url-status=live}}</ref><ref name="TV.com (Beat! Beat! Beat!)">{{cite web|title=Beat! Beat! Beat!|url=http://www.tv.com/shows/beat-beat-beat/|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20150313175015/http://www.tv.com/shows/beat-beat-beat/|archive-date=March 13, 2015|url-status=live}}</ref> [[The Lords (German band)|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.<ref name="Unterberger (Lords)">{{cite web|last1=Unterberger|first1=Richie|title=The Lords|website=AllMusic|url=http://www.allmusic.com/artist/the-lords-mn0000082040/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20151210183208/http://www.allmusic.com/artist/the-lords-mn0000082040/biography|archive-date=December 10, 2015|url-status=live}}</ref> [[The Rattles]] from Hamburg also had a lengthy history, but were more serious in their approach.<ref name="Unterberger (Rattles)">{{cite web|last1=Unterberger|first1=Richie|title=The Rattles|website=AllMusic|url=http://www.allmusic.com/artist/the-rattles-mn0000895756/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20150626032337/http://www.allmusic.com/artist/the-rattles-mn0000895756/biography|archive-date=June 26, 2015|url-status=live}}</ref>  There were numerous bands active in Spain, such as [[Los Bravos]], who had a worldwide hit with "[[Black Is Black]]",<ref name="Unterberger (Bravos)">{{cite web|last1=Unterberger|first1=Richie|title=Los Bravos|website=AllMusic|url=http://www.allmusic.com/artist/los-bravos-mn0000290390/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20150423074711/http://www.allmusic.com/artist/los-bravos-mn0000290390/biography|archive-date=April 23, 2015|url-status=live}}</ref> as well as los Cheyenes and others.<ref name="Unterberger (Cheyenes)">{{cite web|last1=Unterberger|first1=Richie|title=Los Cheyenes|website=AllMusic|url=http://www.allmusic.com/artist/los-cheyenes-mn0000423980/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20160313101830/http://www.allmusic.com/artist/los-cheyenes-mn0000423980/biography|archive-date=March 13, 2016|url-status=live}}</ref>

====Latin America====
{{See also|Uruguayan Invasion}}
[[File:Los Mockers by Olga Masa, 1965.jpg|thumb|[[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.<ref name="Lymangrover (Los Nuggetz)"/> 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.{{sfnm|1a1=Coerver|1a2=Pasztor|1a3=Huffington|1y=2004|1pp=440–441|2a1=Shaw|2a2=Dennison|2y=2005|2p=46}}  One of Mexico's most popular acts were [[Los Dug Dug's]], who recorded several albums and stayed active well into the 1970s.<ref name="Ankeny (Dug Dug's)">{{cite web|last1=Ankeny|first1=Jason|title=Los Dug Dug's|website=AllMusic|url=http://www.allmusic.com/artist/los-dug-dugs-mn0001459070/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20140714210544/http://www.allmusic.com/artist/los-dug-dugs-mn0001459070/biography|archive-date=July 14, 2014|url-status=live}}</ref>

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]]<ref>{{cite web|last1=Unterberger|first1=Richie|title=Los Shakers|website=AllMusic|url=http://www.allmusic.com/artist/los-shakers-mn0000360089/biography|access-date=June 18, 2017|archive-url=https://web.archive.org/web/20180228041747/https://www.allmusic.com/artist/los-shakers-mn0000360089/biography|archive-date=February 28, 2018|url-status=live}}</ref> and [[Los Mockers]].<ref>{{cite web|last1=Unterberger|first1=Richie|title=Los Mockers|website=AllMusic|url=http://www.allmusic.com/artist/los-mockers-mn0001745731/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20150622001842/http://www.allmusic.com/artist/los-mockers-mn0001745731/biography|archive-date=June 22, 2015|url-status=live}}</ref> In [[Peru]], [[Los Saicos]] were one of the first bands to gain national prominence.<ref name="Watts & Collyns (Los Saicos)">{{cite web|last1=Watts|first1=Jonathan|last2=Collyns|first2=Dan|title=Where did Punk Begin? A Cinema in Peru|date=September 14, 2012|website=The Guardian|url=https://www.theguardian.com/music/2012/sep/14/where-punk-begin-cinema-peru|access-date=August 8, 2015|archive-url=https://web.archive.org/web/20150814231754/http://www.theguardian.com/music/2012/sep/14/where-punk-begin-cinema-peru|archive-date=August 14, 2015|url-status=live}}</ref> Their 1965 song "¡Demolición!" with its humorously anarchistic lyrics was a huge hit in Peru.<ref name="Watts & Collyns (Los Saicos)"/>  About them Phil Freeman noted "These guys were a punk rock band, even if nobody outside Lima knew it at the time".<ref>{{Cite web|title=¡Demolición!: The Complete Recordings Allmusic review|website=AllMusic|url=http://www.allmusic.com/album/|access-date=May 1, 2013|archive-url=https://web.archive.org/web/20130716125857/http://www.allmusic.com/album|archive-date=July 16, 2013|url-status=live}}</ref> [[Los Yorks]] became one of Peru's leading groups.<ref>{{cite web|last1=Deming|first1=Mark|title=Los York's - Los York's '68|website=AllMusic|url=http://www.allmusic.com/album/los-yorks-68-mw0000490565|access-date=February 12, 2017|archive-url=https://web.archive.org/web/20170213000601/http://www.allmusic.com/album/los-yorks-68-mw0000490565|archive-date=February 13, 2017|url-status=live}}</ref> [[Colombia]] hosted bands such [[Los Speakers]] and Los Flippers from [[Bogotá]], Los Yetis from [[Medellín]].<ref>{{cite web|last1=Unterberger|first1=Richie|title=Los Speakers|website=AllMusic|url=http://www.allmusic.com/artist/los-speakers-mn0001830933/biography|access-date=August 2, 2015|archive-url=https://web.archive.org/web/20181221041934/https://www.allmusic.com/artist/los-speakers-mn0001830933/biography|archive-date=December 21, 2018|url-status=live}}</ref>  [[Los Gatos Salvajes (band)|Los Gatos Salvajes]], who came from [[Rosario]], Argentina, were one of the country's first beat groups,<ref name="Deming (Los Gatos Salvajes)">{{cite web|last1=Deming|first1=Mark|title=Los Gatos Salvajes|website=AllMusic|url=http://www.allmusic.com/artist/los-gatos-salvajes-mn0001544471/biography|access-date=July 31, 2016|archive-url=https://web.archive.org/web/20171125100739/https://www.allmusic.com/artist/los-gatos-salvajes-mn0001544471/biography|archive-date=November 25, 2017|url-status=live}}</ref> and two of their members went on to form [[Los Gatos (band)|Los Gatos]], a popular act in Argentina during the late 1960s.<ref name="Deming (Los Gatos Salvajes)"/>

====Asia====
{{See also|Group Sounds}}
[[File:The Spiders.jpg|thumb|[[The Spiders (Japanese band)|The Spiders]] in 1966]]

The Far East was not immune to the beat craze, and Japan was no exception; this was particularly true after the Beatles' 1966 visit, when they played five shows at Tokyo's [[Nippon Budokan|Budokan]] arena.{{sfn|Bartlett|2008}}  The popular 1960s beat/garage movement in Japan is often referred to as [[Group Sounds]] (or ''GS'').<ref name="GS I Love You"/> [[The Spiders (Japanese band)|The Spiders]]{{efn|Not to be confused with Alice Cooper's American band of the same name.}} were one of the better-known groups.<ref name="GS I Love You"/> Other notable bands were [[the Golden Cups]]{{sfn|Hicks|1999|p=49}}<ref>{{cite web|last1=Cope|first1=Julian|title=The Golden Cups|url=http://www.japrocksampler.com/artists/groupsounds/golden_cups/|website=Julian Cope Presents|access-date=August 8, 2015|archive-url=https://web.archive.org/web/20160304033408/http://japrocksampler.com/artists/groupsounds/golden_cups/|archive-date=March 4, 2016|url-status=live}}</ref> and [[the Tigers (Japanese band)|the Tigers]].<ref name="GS I Love You Too">{{cite web|last1=Unterberger|first1=Richie|title=GS I Love You Too: Japanese Garage Bands of the '60s|url=http://www.allmusic.com/album/gs-i-love-you-too-japanese-garage-bands-of-the-60s-vol-2-mw0000259471|website=AllMusic|access-date=February 5, 2017|archive-url=https://web.archive.org/web/20160918190346/http://www.allmusic.com/album/gs-i-love-you-too-japanese-garage-bands-of-the-60s-vol-2-mw0000259471|archive-date=September 18, 2016|url-status=live}}</ref>{{sfn|Bhatia|2014|p=91. Bhatia mentions that Biddu, previously of India's the Trojans, produced the Tigers and that they cut a hit.}}

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.{{sfn|Bhatia|2014|pp=1–4, 10, 51}}<ref name="Unterberger (Simla Beat)"/>{{efn|On pages 10 and 51 the author indicates that the term often used for many the Indian bands of the 1960s is "garage bands".}}  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.{{sfn|Bhatia|2014|pp=23, 32}}  Also popular in Mumbai were the Trojans, featuring [[Biddu]], originally from [[Bangalore]], who later moved to London and become a solo act.{{sfn|Bhatia|2014|pp=15–22, 91.}}  Every year the annual Simla Beat Contest was held in Bombay by the Imperial Tobacco Company.{{sfn|Bhatia|2014|pp=1–3, 46, 50–51, 54, 67, 78, 121, 134}}  Groups from all over India, such as the Fentones and Velvet Fogg, competed in the event.{{sfn|Bhatia|2014|pp=1–2, 29, 50, 54, 121–122, 134}}<ref name="Unterberger (Simla Beat)"/>

====Australia and New Zealand====
{{See also|Australian rock}}
[[File:The Easybeats.png|thumb|upright|[[The Easybeats]] in 1966]]

Australia and New Zealand experienced a garage/beat explosion in the mid-1960s.{{sfn|Marks|McIntyre|2010|pp=12, 55, 63, 317}}  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.{{sfn|Marks|McIntyre|2010|pp=12, 55, 63}}<ref name="Unterberger (Atlantics--as surf)">{{cite web|last1=Unterberger|first1=Richie|title=The Atlantics|website=AllMusic|url=http://www.allmusic.com/artist/the-atlantics-mn0000039417/biography|access-date=July 18, 2015|archive-url=https://web.archive.org/web/20150422211607/http://www.allmusic.com/artist/the-atlantics-mn0000039417/biography|archive-date=April 22, 2015|url-status=live}}</ref>  In late 1963 and early 1964 British Invasion influence began to permeate the music scenes there.<ref name="Unterberger (Atlantics--as surf)"/>{{sfn|Marks|McIntyre|2010|p=12}}  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.{{sfn|Marks|McIntyre|2010|p=12}}  In response, many prior Australian surf bands adapted by adding vocals over guitars, and a host of new bands formed.{{sfn|Marks|McIntyre|2010|p=12}}  The first wave of British-inspired bands tended towards the pop-oriented sound of the [[Beat music|Merseybeat]].{{sfn|Marks|McIntyre|2010|pp=12, 16, 18–19, 87}}  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.{{sfn|Marks|McIntyre|2010|pp=12, 16, 18–19, 87}}

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.{{sfn|Marks|McIntyre|2010|pp=55–61}}  "Come On" was their best-known song from this period.{{sfn|Marks|McIntyre|2010|pp=55–61}}  [[The Easybeats]], featuring vocalist [[Stevie Wright (Australian singer)|Stevie Wright]] and guitarist [[George Young (rock musician)|George Young]], the older brother of [[Angus Young|Angus]] and [[Malcolm Young]] of the later hard rock group [[AC/DC]], became the most popular group in Australia during the mid-1960s.{{sfn|Marks|McIntyre|2010|pp=117–132}}  One of Sydney's most notorious acts was [[The Missing Links (band)|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.{{sfn|Marks|McIntyre|2010|pp=87–100}}<ref name="Unterberger (Missing Links)">{{cite web|last1=Unterberger|first1=Richie|title=The Missing Links|website=AllMusic|url=http://www.allmusic.com/artist/the-missing-links-mn0000498637|access-date=July 18, 2015|archive-url=https://web.archive.org/web/20151117041403/http://www.allmusic.com/artist/the-missing-links-mn0000498637|archive-date=November 17, 2015|url-status=live}}</ref>  In 1966, [[the Throb]] had a hit in Australia with their version of "[[Fortune Teller (song)|Fortune Teller]]", and later that year released "Black", a brooding version of a traditional folk ballad noted for its expressionistic use of guitar feedback.{{sfn|Marks|McIntyre|2010|pp=49–54}}  [[The Black Diamonds (Australian band)|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".{{sfn|Marks|McIntyre|2010|pp=252–253}}

From Brisbane came [[the Pleazers]]{{sfn|Marks|McIntyre|2010|pp=197–204, 338}}<ref name="Unterberger (Pleazers)">{{cite web|last1=Unterberger|first1=Richie|title=The Pleazers|website=AllMusic|url=http://www.allmusic.com/artist/the-pleazers-mn0000346680/biography|access-date=July 23, 2015|archive-url=https://web.archive.org/web/20160207224427/http://www.allmusic.com/artist/the-pleazers-mn0000346680/biography|archive-date=February 7, 2016|url-status=live}}</ref> and [[Purple Hearts (Australian band)|the Purple Hearts]],{{sfn|Marks|McIntyre|2010|pp=154–155, 163}} and from Melbourne [[the Pink Finks]], [[The Loved Ones (Australian band)|the Loved Ones]],{{sfn|Marks|McIntyre|2010|pp=214–223}} Steve and the Board,{{sfn|Marks|McIntyre|2010|p=339}} and [[The Moods (Australian band)|the Moods]].{{sfn|Marks|McIntyre|2010|pp=205–208}}  Like Sydney's the Missing Links, [[The Creatures (Australian band)|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".{{sfn|Marks|McIntyre|2010|p=256}}<ref name="Music Minder (Creatures)">{{cite web|title=The Creatures|url=http://musicminder.com/scripts/entertainers/displayentertainer.asp?ID=008125|website=Music Minder|access-date=August 12, 2015|archive-url=https://web.archive.org/web/20160128163650/http://musicminder.com/scripts/entertainers/displayentertainer.asp?ID=008125|archive-date=January 28, 2016|url-status=live}}</ref>  [[The Masters Apprentices]]' early sound was largely R&B-influenced garage and psychedelic.{{sfn|Marks|McIntyre|2010|pp=275–292}}<ref name="Unterberger (Masters Apprentices)">{{cite web|last1=Unterberger|first1=Richie|title=The Masters Apprentices|website=AllMusic|url=http://www.allmusic.com/artist/the-masters-apprentices-mn0000399622/biography|access-date=July 23, 2015|archive-url=https://web.archive.org/web/20160207223409/http://www.allmusic.com/artist/the-masters-apprentices-mn0000399622/biography|archive-date=February 7, 2016|url-status=live}}</ref>

From New Zealand, [[The Bluestars (New Zealand band)|the Bluestars]] cut the defiant "Social End Product", aimed at social oppression much in the manner of 1970s punk rock acts.{{sfn|Marks|McIntyre|2010|pp=265–269}}<ref name="New Zealand Music (Bluestars)">{{cite web|title=Bluestars|url=http://www.sergent.com.au/music/bluestars.html|website=New Zealand Music|access-date=July 24, 2015|archive-url=https://web.archive.org/web/20150527005513/http://www.sergent.com.au/music/bluestars.html|archive-date=May 27, 2015|url-status=live}}</ref>  [[Chants R&B]] were known for a raw R&B-influenced sound.{{sfn|Marks|McIntyre|2010|pp=164–170}}<ref name="Unterberger (Chants R&B)">{{cite web|last1=Unterberger|first1=Richie|title=Chants R&B|website=AllMusic|url=http://www.allmusic.com/artist/chants-r-b-mn0001278995/biography|access-date=July 24, 2015|archive-url=https://web.archive.org/web/20161011152251/http://www.allmusic.com/artist/chants-r-b-mn0001278995/biography|archive-date=October 11, 2016|url-status=live}}</ref> [[The La De Da's]] recorded a version of [[the Changin' Times]]' "How is the Air Up There?", which went to No.&nbsp;4 on the nation's charts.{{sfn|Marks|McIntyre|2010|pp=179–186}}