Editing Garage rock (section)

==Later developments==
===1969–1975: Garage-based proto-punk===
{{See also|Proto-punk}}

Though the garage rock boom faded at the end of the 1960s, a handful of maverick acts carried its impetus into the next decade, seizing on the style's rougher edges, while brandishing them with increased volume and aggression.<ref name="Uhelszki (MC5)">{{cite web |last1=Uhelszki |first1=Jaan |title=MC5 on 'Kick Out The Jams': "We weren't on a meth power trip… just a power trip" |url=https://www.uncut.co.uk/features/the-making-of-mc5-s-kick-out-the-jams-33061 |website=Uncut |access-date=June 23, 2019 |date=May 4, 2018 |archive-date=June 23, 2019 |archive-url=https://web.archive.org/web/20190623210320/https://www.uncut.co.uk/features/the-making-of-mc5-s-kick-out-the-jams-33061 |url-status=live }}</ref><ref name="Erlewine (Stooges Bio.)"/> Such acts, often retroactively described as "[[proto-punk]]", worked in a variety of rock genres and came from various places, most notably [[Michigan]], and specialized in music that was often loud, but more primitive than the typical hard rock of the time.{{sfn|Aaron|2013|pp=94, 95}}

[[File:Iggy-Pop 1977.jpg|thumb|upright|[[Iggy Pop]] was a member of [[the Stooges]], who are considered one of the preeminent proto-punk acts.]]
In the late 1960s and early 1970s, several Michigan bands rooted in garage rock<ref>{{cite web|last1=Rivadavia|first1=Eduardo|title=The Story of MC5's Historic 'Kick Out the Jams'|date=February 27, 2014|url=http://ultimateclassicrock.com/mc5-kick-out-the-jams/|website=Ultimate Classic Rock|access-date=May 7, 2017|archive-url=https://web.archive.org/web/20170509101447/http://ultimateclassicrock.com/mc5-kick-out-the-jams/|archive-date=May 9, 2017|url-status=live}}</ref><ref>{{cite web|last1=Ankeny|first1=Jason|title=The Iguanas|url=http://www.allmusic.com/artist/the-iguanas-mn0002295191|website=AllMusic|access-date=May 7, 2017|archive-url=https://web.archive.org/web/20160529154313/http://www.allmusic.com/artist/the-iguanas-mn0002295191|archive-date=May 29, 2016|url-status=live}}</ref><ref name="Hall of Fame (Alice Cooper)"/> recorded works that became highly influential, particularly with the 1970s punk movement.<ref>{{cite web|last1=Petrides|first1=Alexis|title=Punk Profits|date=March 13, 2003|website=The Guardian|url=https://www.theguardian.com/music/2003/mar/13/artsfeatures.popandrock|access-date=May 7, 2017|archive-url=https://web.archive.org/web/20170310112858/https://www.theguardian.com/music/2003/mar/13/artsfeatures.popandrock|archive-date=March 10, 2017|url-status=live}}</ref> In 1969, [[MC5]] issued their live debut LP, ''[[Kick Out the Jams]]'', which featured a set of highly energetic, politically charged songs.<ref name="Ankeny (MC5 Bio.)"/><ref name="Erlewine (Stooges Bio.)"/><ref>{{cite web|last1=Deming|first1=Mark|title=MC5 - Kick Out the Jams (Review)|website=AllMusic|url=http://www.allmusic.com/album/kick-out-the-jams-mw0000263578|access-date=June 9, 2016|archive-url=https://web.archive.org/web/20160527163005/http://www.allmusic.com/album/kick-out-the-jams-mw0000263578|archive-date=May 27, 2016|url-status=live}}</ref>  [[The Stooges]], from [[Ann Arbor, Michigan|Ann Arbor]] were fronted by lead singer Iggy Pop,<ref name="Erlewine (Stooges Bio.)"/>  Describing their approach, Stephen Thomas Erlewine commented: "Taking their cue from the over-amplified pounding of British blues, the primal raunch of American garage rock, and the psychedelic rock (as well as the audience-baiting) of the Doors, the Stooges were raw, immediate, and vulgar."<ref name="Erlewine (Stooges Bio.)"/> The group released three albums during this period, beginning with the self-titled ''[[The Stooges (album)|The Stooges]]'' in 1969<ref name="Erlewine (Stooges Bio.)"/><ref name="Deming (Stooges' 1st)">{{cite web|last1=Deming|first1=Mark|title=The Stooges - The Stooges (Review)|website=AllMusic|url=http://www.allmusic.com/album/the-stooges-mw0000195830|access-date=June 9, 2016|archive-url=https://web.archive.org/web/20160530131327/http://www.allmusic.com/album/the-stooges-mw0000195830|archive-date=May 30, 2016|url-status=live}}</ref> and culminating with ''[[Raw Power]]'' (now billed as Iggy and the Stooges) in 1973, which featured the cathartic "Search and Destroy" as its opening track.<ref name="Deming (Raw Power)">{{cite web|last1=Deming|first1=Mark|title=Iggy and the Stooges - Raw Power (Review)|website=AllMusic|url=http://www.allmusic.com/album/raw-power-mw0000202295|access-date=June 15, 2016|archive-url=https://web.archive.org/web/20160611175554/http://www.allmusic.com/album/raw-power-mw0000202295|archive-date=June 11, 2016|url-status=live}}</ref>  The [[Alice Cooper (band)|Alice Cooper]] band (previously the Spiders) relocated to Detroit, where they began to gain success with a new "[[shock rock]]" image, and recorded 1971's ''[[Love It to Death]]'', which featured their breakout hit "[[I'm Eighteen]]".{{sfn|Dominic|2003}}<ref name="Hall of Fame (Alice Cooper)"/>

Two bands that formed during the waning days of the Detroit scene in the early 1970s were [[the Punks]] and [[Death (Detroit band)|Death]].  The Punks had a sometimes thrashing sound that caught the attention of rock journalist Lester Bangs, and their song "My Time's Comin{{'"}} was retroactively featured in a 2016 episode of HBO's ''[[Vinyl (TV series)|Vinyl]]''.<ref name="Graff (Punks)">{{cite web|last1=Graff|first1=Gary|title=Waterford Band the Punks Lives Again Thanks to HBO's "Vinyl"|url=http://www.theoaklandpress.com/arts-and-entertainment/20160315/waterford-band-the-punks-lives-again-thanks-to-hbos-vinyl|website=The Oakland Press|access-date=May 16, 2016|date=March 15, 2016|archive-url=https://web.archive.org/web/20160428215827/http://www.theoaklandpress.com/arts-and-entertainment/20160315/waterford-band-the-punks-lives-again-thanks-to-hbos-vinyl|archive-date=April 28, 2016|url-status=live}}</ref>  In 1974, [[Death (Detroit band)|Death]], whose membership was made up of brothers David, Bobby, and Dannis Hackney, recorded tracks for an album that remained unreleased for over 30 years, ''[[...For the Whole World to See]]'', which, along with the release of their other previously unissued tracks, finally earned them a reputation as pioneers in punk rock.<ref name="Monger (Death)">{{cite web|last=Monger|first=James Christopher|title=Death (Biography)|website=AllMusic|url=http://www.allmusic.com/artist/death-mn0001043986/biography|access-date=December 10, 2015|archive-url=https://web.archive.org/web/20151222204849/http://www.allmusic.com/artist/death-mn0001043986/biography|archive-date=December 22, 2015|url-status=live}}</ref><ref name="Rubin (Death">{{cite news|last=Rubin|first=Mike|title=This Band Was Punk Before Punk Was Punk|date=March 12, 2009|newspaper=[[The New York Times]]|url=https://www.nytimes.com/2009/03/15/arts/music/15rubi.html|access-date=March 15, 2009|archive-date=April 16, 2009|archive-url=https://web.archive.org/web/20090416055527/http://www.nytimes.com/2009/03/15/arts/music/15rubi.html|url-status=live}}</ref><ref>{{cite web|last=Jurek|first=Thom|title=Death: ...For the Whole World to See|website=AllMusic|url=http://www.allmusic.com/album/for-the-whole-world-to-see-mw0000809362|access-date=June 10, 2016|archive-url=https://web.archive.org/web/20160516012902/http://www.allmusic.com/album/for-the-whole-world-to-see-mw0000809362|archive-date=May 16, 2016|url-status=live}}</ref>  Death's music anticipated the arrival of later African American punk acts such as the [[Bad Brains]].<ref name="Rubin (Death"/>

In Boston, [[the Modern Lovers]], led by Velvet Underground devotee [[Jonathan Richman]], gained attention with their minimalistic style.<ref name="Lewis (Lovers)">{{cite web|last1=Lewis|first1=Uncle Dave|title=The Modern Lovers: Artist Profile|website=AllMusic|url=http://www.allmusic.com/artist/the-modern-lovers-mn0000570825/biography|access-date=June 10, 2016|archive-url=https://web.archive.org/web/20151222204943/http://www.allmusic.com/artist/the-modern-lovers-mn0000570825/biography|archive-date=December 22, 2015|url-status=live}}</ref><ref name="Star Pulse (Richman)">{{cite web|title=Jonathan Richman Biography|url=http://www.starpulse.com/Music/Richman,_Jonathan/Biography/|website=Star Pulse.com|access-date=June 10, 2016|archive-url=https://web.archive.org/web/20090917171533/http://www.starpulse.com/Music/Richman,_Jonathan/Biography/|archive-date=September 17, 2009|url-status=live}}</ref>  In 1972, they recorded a set of demos that formed the basis of their belated ''[[The Modern Lovers (album)|Modern Lovers]]'' album in 1976.<ref name="Lewis (Lovers)"/>  In 1974, an updated garage rock scene began to coalesce around [[the Rathskeller]] club in [[Kenmore Square]].<ref name="(Culture Brats)">{{cite web|title=Culture Brats, Bars of Our Youth|url=http://www.culturebrats.com/2010/11/bars-of-our-youth-rathskeller-boston-ma.html|access-date=February 3, 2013|archive-url=https://web.archive.org/web/20130610025548/http://www.culturebrats.com/2010/11/bars-of-our-youth-rathskeller-boston-ma.html|archive-date=June 10, 2013|url-status=live}}</ref><ref name="(Time/Boston)">{{cite magazine |url=https://content.time.com/time/subscriber/article/0,33009,919062,00.html |title=Music: Anthems of the Blank Generation |magazine=[[Time (magazine)|Time]] |date=July 11, 1977 |access-date=April 13, 2022}}</ref> [[The Real Kids]], a leading band in the scene, were founded by former Modern Lover [[John Felice]].<ref>Andersen and Jenkins (2001), p. 12. {{cite web|last=Vaughan|first=Robin|title=Reality Bites|work=Boston Phoenix|url=http://bostonphoenix.com/boston/music/cellars/documents/02927794.htm|date=June 6–12, 2003|access-date=June 11, 2016|archive-url=https://archive.today/20120628205924/http://bostonphoenix.com/boston/music/cellars/documents/02927794.htm|archive-date=June 28, 2012|url-status=dead}} {{cite web|last=Harvard|first=Joe|title=Mickey Clean and the Mezz|work=Boston Rock Storybook|url=http://www.rockinboston.com/themezz.htm|url-status=dead|archive-url=https://web.archive.org/web/20071024022732/http://www.rockinboston.com/themezz.htm|archive-date=October 24, 2007}}</ref>  [[Electric Eels (band)|The Electric Eels]], who formed in 1972, were a fixture in the underground rock scene in Cleveland, Ohio, which has sometimes been mentioned as a precursor to the punk scenes in New York and London.<ref name="Eels/Guardian">{{cite web |last1=Savage |first1=Jon |title=Cleveland's Early Punk Pioneers: From Cultural Vacuum to Creative Explosion |url=https://www.theguardian.com/music/2013/nov/14/clevelands-early-punk-pioneers-ohio |website=The Guardian |access-date=February 16, 2020 |date=November 14, 2013 |archive-date=December 25, 2019 |archive-url=https://web.archive.org/web/20191225215452/https://www.theguardian.com/music/2013/nov/14/clevelands-early-punk-pioneers-ohio |url-status=live }}</ref><ref>{{cite web |last1=Dougan |first1=John |title=The Electric Eels |url=https://www.allmusic.com/artist/the-electric-eels-mn0000792275/biography |website=AllMusic |access-date=February 16, 2020 |archive-date=December 31, 2019 |archive-url=https://web.archive.org/web/20191231083247/https://www.allmusic.com/artist/the-electric-eels-mn0000792275/biography |url-status=live }}</ref>  The Electric Eels were notorious for mayhem at their shows and had a markedly nihilistic approach suggestive of later acts<ref name="Eels/Guardian"/> and recorded a set of demos in 1975, from which the single "Agitated" b/w "Cyclotron" was eventually released in 1978, several years after the group's demise.<ref name="Eels/Guardian"/><ref name="Eels/Dangerous">{{cite web |last1=Metzger |first1=Richard |title=Die Electric Eels: Short, Sloppy, Raw, with a Lousy Solo |url=https://dangerousminds.net/comments/die_electric_eels_short_sloppy_raw_with_a_lousy_solo |website=Dangerous Minds |access-date=February 16, 2020 |date=March 29, 2011 |archive-date=February 16, 2020 |archive-url=https://web.archive.org/web/20200216081012/https://dangerousminds.net/comments/die_electric_eels_short_sloppy_raw_with_a_lousy_solo |url-status=live }}</ref>

Between 1969 and 1975, other movements further removed from the American garage rock tradition emerged, that nonetheless displayed hallmarks of proto-punk, such as [[Glam rock|Glam]] and [[pub rock (United Kingdom)|pub rock]] in Great Britain, as well as [[Krautrock]] in Germany.<ref name="Gallagher (Slade)">{{cite web|last1=Gallagher|first1=Paul|title=Slade: Proto Punk Heroes of Glam Rock|url=http://dangerousminds.net/comments/slade_proto_punk_heroes_of_glam_rock|website=Dangerous Minds|access-date=June 10, 2016|date=August 17, 2011|archive-url=https://web.archive.org/web/20160810023655/http://dangerousminds.net/comments/slade_proto_punk_heroes_of_glam_rock|archive-date=August 10, 2016|url-status=live}}</ref><ref name="Sommer (Kraut)">{{cite web|last1=Sommer|first1=Tim|title=8 Krautrock Artists You Need to Hear Right Now|url=http://observer.com/2015/07/8-krautrock-artists-you-need-to-hear-right-now/|work=Observer|access-date=June 10, 2016|date=July 7, 2015|archive-url=https://web.archive.org/web/20160611125802/http://observer.com/2015/07/8-krautrock-artists-you-need-to-hear-right-now/|archive-date=June 11, 2016|url-status=live}}</ref>  Conversely, glam rock had an influence on the sound of [[the New York Dolls]] from New York, exhibited on their [[New York Dolls (album)|1973 self-titled debut album]] and its follow-up, ''[[Too Much Too Soon (album)|Too Much Too Soon]]''.<ref name="Dolls/Elewine">{{cite web |last1=Erlewine |first1=Stephen Thomas |title=The New York Dolls |url=https://www.allmusic.com/artist/new-york-dolls-mn0000866786/biography |website=AllMusic |access-date=February 17, 2020 |archive-date=March 28, 2017 |archive-url=https://web.archive.org/web/20170328215232/https://www.allmusic.com/artist/new-york-dolls-mn0000866786/biography |url-status=live }}</ref><ref name="Dolls/SOS">{{cite web |last1=Buskin |first1=Richard |title=New York Dolls 'Personality Crisis': Classic Tracks |url=https://www.soundonsound.com/people/new-york-dolls-personality-crisis-classic-tracks |website=Sound on Sound |access-date=February 17, 2020 |date=December 2009 |archive-date=February 17, 2020 |archive-url=https://web.archive.org/web/20200217045706/https://www.soundonsound.com/people/new-york-dolls-personality-crisis-classic-tracks |url-status=live }}</ref>  [[The Dictators]], fronted by [[Richard Manitoba|Handsome Dick Manitoba]], were another influential New York act of this period.<ref name="Dictators (Dougan)">{{cite web |last1=Dougan |first1=John |title=The Dictators |url=https://www.allmusic.com/artist/the-dictators-mn0000787757/biography |website=AllMusic |access-date=February 23, 2020 |archive-date=July 31, 2020 |archive-url=https://web.archive.org/web/20200731210622/https://www.allmusic.com/artist/the-dictators-mn0000787757/biography |url-status=live }}</ref>  The music from these disparate scenes helped set the stage for the punk rock phenomenon of the mid- to late- 1970s.{{sfn|Aaron|2013|p=90}}

===Mid-1970s: Emergence of the punk movement===
{{Main|Punk rock|Punk subculture}}
[[File:Ramones Toronto 1976.jpg|thumb|The [[Ramones]] (pictured in 1977), who were influenced by garage rock, spearheaded the mid-1970s punk movement in New York.]]

Identification of garage rock by certain critics in the early 1970s (and their use of the term "punk rock" to describe it), as well as the 1972 ''Nuggets'' compilation  exerted a marked degree of influence on the [[Punk rock|punk]] movement that emerged in the mid-to-late 1970s.{{sfnm|1a1=Smith|1y=2009|1pp=96–98|2a1=Gray|2y=2004|2pp=26–29|3a1=Robb|3y=2012|3pp=34, 66, 76, 106, 132–133, 187, 215}}  As a result of the popularity of ''Nuggets'' and critical attention paid to primitive-sounding rock of the past and present, a self-conscious musical aesthetic began to emerge around the term "punk"{{sfnm|1a1=Laing|1y=2015|1pp=22–23|2a1=Kent|2y=2006|2p=14}} that eventually manifested in the punk scenes of [[Punk rock#New York City|New York]], [[Punk rock#United Kingdom|London]], and elsewhere between 1975 and 1977, and in the process transformed into a new musical and social movement having its own separate [[Punk subculture|subculture]], identity, and values.{{sfnm|1a1=Laing|1y=2015|1pp=24, 50-53|2a1=Lister|2y=2017}}

The mid- to late-1970s saw the arrival of the acts now most commonly identified as punk rock.  Frequently mentioned as the first of these<ref name="Ramones (Ind.Lens)">{{cite web|url=https://www.pbs.org/independentlens/endofthecentury/legacy.html|title=The Ramones|website=Independent Lens|access-date=June 22, 2019|archive-date=May 6, 2010|archive-url=https://web.archive.org/web/20100506053944/http://www.pbs.org/independentlens/endofthecentury/legacy.html|url-status=live}}</ref> were the [[Ramones]] from New York, some of whose members earlier played in 1960s garage bands.{{sfn|Aaron|2013|p=53}}  They were followed by the [[Sex Pistols]] in London, who struck a far more defiant pose and effectively heralded the arrival punk as a ''[[cause célèbre]]'' in the larger public mind.<ref name="Erlewine (Pistols)">{{cite web|first1=Stephen Thomas|last1=Erlewine|url=http://www.allmusic.com/artist/sex-pistols-mn0000418740/biography|title=Sex Pistols &#124; Biography|website=AllMusic|access-date=July 13, 2015|archive-url=https://web.archive.org/web/20161011080621/http://www.allmusic.com/artist/sex-pistols-mn0000418740/biography|archive-date=October 11, 2016|url-status=live}}</ref>  Both bands spearheaded the popular punk movement from their respective locations.<ref name="rockhall1">{{cite web|url=https://www.rockhall.com/inductees/ramones|title=Ramones Biography &#124; The Rock and Roll Hall of Fame and Museum|access-date=July 13, 2015|archive-url=https://web.archive.org/web/20150710095617/http://rockhall.com/inductees/ramones/|archive-date=July 10, 2015|url-status=live}}</ref><ref name="Erlewine (Pistols)"/>  Simultaneously, Australia developed its own punk scene,<ref name="Australian punk">{{cite web |last1=Cunningham |first1=Adrian |title=The History Of Australian Punk In 30 Tracks |url=https://junkee.com/longform/australian-punk-history-30-tracks |website=Junkee |access-date=April 8, 2019 |archive-url=https://web.archive.org/web/20180730021338/http://junkee.com/longform/australian-punk-history-30-tracks |archive-date=July 30, 2018 |url-status=live  }}</ref>  which derived some of its inspiration from the 1960s Australian garage/beat movement.<ref name="Australian punk"/>  One of its leading bands [[The Saints (Australian band)|the Saints]], from Brisbane, included a rendition of [[The Missing Links (band)|the Missing Links]]' 1965 song "Wild About You" on their 1977 debut album.<ref name="Australian punk"/>

Despite the influence of garage rock and proto-punk on the originating musicians of these scenes,{{sfnm|1a1=Gray|1y=2004|1pp=26–29|2a1=Robb|2y=2012|2pp=34, 66, 76, 106, 132–133, 187, 215|3a1=Aaron|3y=2013|3p=53}} in the later half of the 1970s punk rock emerged as a new phenomenon, distinct from its prior associations,{{sfn|Laing|2015|pp=24, 50-53}} and the garage band era of the 1960s came to be viewed as a distant forerunner.{{sfn|Gray|2004|pp=26–29}}{{sfn|Shaw|1998|p=21}}