Editing Rock music (section)

== 1960s: British invasion and broadening sound ==
The first four years of the 1960s has traditionally been seen as an era of hiatus for rock and roll.{{sfn |Gilliland |1969 |loc=shows 20–21}} More recently, some authors{{weasel inline|date=February 2017}} have emphasised important innovations and trends in this period without which future developments would not have been possible.<ref>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), {{ISBN|0-415-05306-4}}, p. 341.</ref><ref name="Keightley2001" /> 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 entirely from music at the end of the 1950s and some of its energy can be seen in the various [[dance crazes]] of the early 1960s, started by [[Chubby Checker]]'s record "[[The Twist (song)|The Twist]]" (1960).<ref name="Keightley2001" />{{refn|group=nb|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 the Zodiacs]], and [[Shep and the Limelights]].<ref name=Bogdanov2002DooWop>R. Unterberger, "Doo Wop", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et.al., 2002]], pp.&nbsp;1306–07.</ref> 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.<ref>R. Dale, ''Education and the State: Politics, Patriarchy and Practice'' (London: Taylor & Francis, 1981), {{ISBN|0-905273-17-6}}, p. 106.</ref> 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]].<ref name=Bogdanov2002Brill>R. Unterberger, "Brill Building Sound", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et.al., 2002]], pp.&nbsp;1311–12.</ref>}} Some music historians have also pointed to important and innovative technical developments that built on rock and roll in this period, including the electronic treatment of sound by such innovators as [[Joe Meek]], and the elaborate production methods of the [[Wall of Sound]] pursued by [[Phil Spector]].<ref name="Keightley2001">K. Keightley, "Reconsidering rock" in S. Frith, W. Straw and J. Street, eds, ''[[Cambridge Companions to Music|The Cambridge Companion to Pop and Rock]]'' (Cambridge: Cambridge University Press, 2001), {{ISBN|0-521-55660-0}}, p. 116.</ref>

===Instrumental rock and surf===
{{Main|Instrumental rock|surf music}}
[[File:The Beach Boys 1963 Billboard 2.png|thumb|A June 1963 publicity photo of [[The Beach Boys]], including (left to right): [[Brian Wilson]], [[Mike Love]], [[Dennis Wilson]], [[Carl Wilson]], and [[David Marks]]]]
The instrumental rock and roll of performers such as [[Duane Eddy]], Link Wray and [[the Ventures]] was further developed by [[Dick Dale]], who added distinctive "wet" [[reverb]], rapid alternate picking, and [[Middle Eastern music|Middle Eastern]] and [[Music of Mexico|Mexican]] influences. He produced the regional hit "[[Let's Go Trippin'|Let's Go Trippin{{'-}}]]" in 1961 and launched the surf music craze, following up with songs like "[[Misirlou]]" (1962).<ref name="blair2"/> Like Dale and his [[Del-Tones]], most early surf bands were formed in Southern California, including the [[Bel-Airs]], the [[The Challengers (band)|Challengers]], and [[Eddie & the Showmen]].<ref name="blair2">J. Blair, ''The Illustrated Discography of Surf Music, 1961–1965'' (Ypsilanti, MI: Pierian Press, 2nd edn., 1985), {{ISBN|0-87650-174-9}}, p. 2.</ref> [[The Chantays]] scored a top ten national hit with "[[Pipeline (instrumental)|Pipeline]]" in 1963 and probably the best-known surf tune was 1963's "[[Wipe Out (song)|Wipe Out]]", by [[the Surfaris]], which hit number 2 and number 10 on the ''Billboard'' charts in 1965.<ref>J. Blair, ''The Illustrated Discography of Surf Music, 1961–1965'' (Ypsilanti, MI: Pierian Press, 2nd edn., 1985), {{ISBN|0-87650-174-9}}, p. 75.</ref> Surf rock was also popular in Europe during this time, with the British group [[the Shadows]] scoring hits in the early 1960s with instrumentals such as "[[Apache (instrumental)|Apache]]" (1960) and "[[Kon-Tiki (song)|Kon-Tiki]]" (1961), while Swedish surf group [[the Spotnicks]] saw success in both Sweden and Britain.

Surf music achieved its greatest commercial success as vocal pop music, particularly the work of [[the Beach Boys]], formed in 1961 in Southern California. Their early albums included both instrumental surf rock, including 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]].<ref>{{Cite web|url=https://www.buzz.ie/music/throwback-tune-of-the-day-nowhere-to-go-the-four-freshman-218697|title=Throwback tune of the day: Nowhere to Go – The Four Freshmen|website=Buzz.ie|access-date=25 February 2021|archive-date=8 March 2021|archive-url=https://web.archive.org/web/20210308011713/https://www.buzz.ie/music/throwback-tune-of-the-day-nowhere-to-go-the-four-freshman-218697|url-status=dead}}</ref> The Beach Boys first chart hit, "[[Surfin'|Surfin{{'-}}]]" in 1961 reached the ''Billboard'' top 100 and helped make the surf music craze a national phenomenon.<ref name=Bogdanov2002Beachboys>W. Ruhlman, et al., "Beach Boys", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], pp. 71–75.</ref> It is often argued that the surf music craze and the careers of almost all surf acts was effectively ended by the arrival of the British Invasion from 1964, because most surf music hits were recorded and released between 1960 and 1965.<ref>{{cite web |url=https://nostalgiacentral.com/music/music-genres/surf-music/ |title=Surf Music |website=Nostalgia Central |date=3 July 2014 |access-date=29 July 2019 |archive-date=23 July 2019 |archive-url=https://web.archive.org/web/20190723160053/https://nostalgiacentral.com/music/music-genres/surf-music/ |url-status=live }}</ref>{{refn|group=nb|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.<ref name=Bogdanov2002Beachboys/>}}

===British Invasion===
{{Main|British Invasion}}
{{See also|Beat music|British blues|British rock music}}
[[File:The Beatles arrive at JFK Airport.jpg|thumb|alt=Black and white picture of the Beatles waving in front of a crowd with an set of aeroplane steps in the background |[[The Beatles]] arriving at [[John F. Kennedy International Airport]] in New York City at the start of the [[British Invasion]] in February 1964]]
By the end of 1962, what would become the British rock scene had started with [[beat music|beat groups]] like [[the Beatles]], [[Gerry & the Pacemakers]] and [[The Searchers (band)|the Searchers]] from Liverpool and [[Freddie and the Dreamers]], [[Herman's Hermits]] and [[the Hollies]] from Manchester. They drew on a wide range of American influences including 1950s rock and roll, soul, rhythm and blues, and surf music,<ref name=Stakes2001>R. Stakes, "Those boys: the rise of Mersey beat", in S. Wade, ed., ''Gladsongs and Gatherings: Poetry and its Social Context in Liverpool Since the 1960s'' (Liverpool: Liverpool University Press, 2001), {{ISBN|0-85323-727-1}}, pp. 157–66.</ref> initially reinterpreting standard American tunes and playing for dancers. Bands like [[the Animals]] from [[Newcastle upon Tyne|Newcastle]] and [[Them (band)|Them]] from [[Belfast]],<ref>I. Chambers, ''Urban Rhythms: Pop Music and Popular Culture'' (Basingstoke: Macmillan, 1985), {{ISBN|0-333-34011-6}}, p. 75.</ref> and particularly those from London like [[the Rolling Stones]] and [[the Yardbirds]], were much more directly influenced by rhythm and blues and later blues music.<ref>J.R. Covach and G. MacDonald Boone, ''Understanding Rock: Essays in Musical Analysis'' (Oxford: Oxford University Press, 1997), {{ISBN|0-19-510005-0}}, p. 60.</ref> Soon these groups were composing their own material, combining US forms of music and infusing it with a high energy beat. Beat bands tended towards "bouncy, irresistible melodies", while early [[British blues]] acts tended towards less sexually innocent, more aggressive songs, often adopting an anti-establishment stance. There was, however, particularly in the early stages, considerable musical crossover between the two tendencies.<ref name=Bogdanov2002BI/> By 1963, led by the Beatles, beat groups had begun to achieve national success in Britain, soon to be followed into the charts by the more rhythm and blues focused acts.<ref name=Bogdanov2002BritishR&B>R. Unterberger, "British R&B", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], pp.&nbsp;1315–16.</ref>

"[[I Want to Hold Your Hand]]" was the Beatles' first number one hit on the [[Billboard Hot 100|''Billboard'' Hot 100]],{{sfn|Gilliland|1969|loc=show 28}} spending seven weeks at the top and a total of 15 weeks on the chart.<ref name=BritannicaBI>{{Citation|last=I.A. Robbins |title=British Invasion |journal=Encyclopædia Britannica |url=http://www.britannica.com/EBchecked/topic/80244/British-Invasion |archive-url=https://web.archive.org/web/20101221235217/http://www.britannica.com/EBchecked/topic/80244/British-Invasion |archive-date=21 December 2010 |url-status=dead}}</ref><ref>H. Bill, ''The Book Of Beatle Lists'' (Poole, Dorset: Javelin, 1985), {{ISBN|0-7137-1521-9}}, p. 66.</ref> Their first appearance on ''[[The Ed Sullivan Show]]'' on 9 February 1964, drawing an estimated 73&nbsp;million viewers (at the time a record for an American television program) is considered a milestone in American pop culture. During the week of 4 April 1964, the Beatles held 12 positions on the [[Billboard Hot 100|''Billboard'' Hot 100]] singles chart, including the entire top five. The Beatles went on to become the biggest selling rock band of all time and they were followed into the US charts by numerous British bands.<ref name=Bogdanov2002BI>R. Unterberger, "British Invasion", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], pp. 1316–17.</ref> During the next two years, British acts dominated their own and the US charts with [[Peter and Gordon]], the Animals,{{sfn|Gilliland|1969|loc=show 29}} [[Manfred Mann]], [[Petula Clark]],{{sfn|Gilliland|1969|loc=show 29}} Freddie and the Dreamers, [[Wayne Fontana]] and [[the Mindbenders]], Herman's Hermits, the Rolling Stones,{{sfn|Gilliland|1969|loc=show 30}} [[the Troggs]], and [[Donovan]]{{sfn|Gilliland|1969|loc=show 48}} all having one or more number one singles.<ref name=BritannicaBI/> Other major acts that were part of the invasion included [[the Kinks]], [[the Who]], and [[the Dave Clark Five]].<ref name=BeatlesArrive>{{Citation|last=T. Leopold |title=When the Beatles hit America CNN February 10, 2004 |publisher=CNN |url=http://www.cnn.com/2004/SHOWBIZ/Music/02/05/beatles.40 |archive-url=https://web.archive.org/web/20100411192509/http://www.cnn.com/2004/SHOWBIZ/Music/02/05/beatles.40/ |archive-date=11 April 2010 |date=5 February 2004 |url-status=dead}}</ref><ref name=allmusicBI>{{Citation|title=British Invasion |work=AllMusic |url={{AllMusic|class=explore|id=style/d379|pure_url=yes}} |archive-url=https://www.webcitation.org/5wQbXwJ0x?url=http://www.allmusic.com/explore/style/d379 |archive-date=11 February 2011 |url-status=dead}}.</ref><ref>{{cite web | url=https://americansongwriter.com/the-top-8-british-invasion-bands-of-the-60s/ | title=The Top 8 British Invasion Bands of the '60s | date=31 May 2023 }}</ref>

The British Invasion helped internationalize the production of rock and roll, opening the door for subsequent British (and Irish) performers to achieve international success.<ref name="allmusicBritpop"/> In America it arguably spelled the end of instrumental surf music, vocal girl groups and (for a time) the [[teen idol]]s, that had dominated the American charts in the late 1950s and 1960s.<ref>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), {{ISBN|0-521-55660-0}}, p. 117.</ref> It dented the careers of established R&B acts like [[Fats Domino]] and [[Chubby Checker]] and even temporarily derailed the chart success of surviving rock and roll acts, including Elvis.<ref>F.W. Hoffmann, "British Invasion" in F.W. Hoffmann and H. Ferstler, eds, ''Encyclopedia of Recorded Sound, Volume 1'' (New York: CRC Press, 2nd edn., 2004), {{ISBN|0-415-93835-X}}, p. 132.</ref> The British Invasion also played a major part in the rise of a distinct genre of rock music, and cemented the primacy of the rock group, based on guitars and drums and producing their own material as singer-songwriters.<ref name="R. Shuker, 2005 p. 35">R. Shuker, ''Popular Music: the Key Concepts'' (Abingdon: Routledge, 2nd edn., 2005), {{ISBN|0-415-34770-X}}, p. 35.</ref> Following the example set by the Beatles' 1965 LP ''[[Rubber Soul]]'' in particular, other British rock acts released rock albums intended as artistic statements in 1966, including the Rolling Stones' ''[[Aftermath (Rolling Stones album)|Aftermath]]'', the Beatles' own ''[[Revolver (Beatles album)|Revolver]]'', and the Who's ''[[A Quick One]]'', as well as American acts in [[the Beach Boys]] (''[[Pet Sounds]]'') and [[Bob Dylan]] (''[[Blonde on Blonde]]'').<ref name="Simonelli">{{cite book|last=Simonelli|first=David|title=Working Class Heroes: Rock Music and British Society in the 1960s and 1970s|url=https://books.google.com/books?id=mnrwy7P3KvQC&q=%22jack+Kroll%22+%22A+Day+in+the+Life%22|year=2013|publisher=Lexington Books|location=Lanham, MD|isbn=978-0-7391-7051-9|pages=96–97|access-date=4 June 2021|archive-date=16 November 2023|archive-url=https://web.archive.org/web/20231116175534/https://books.google.com/books?id=mnrwy7P3KvQC&q=%22jack+Kroll%22+%22A+Day+in+the+Life%22#v=snippet&q=%22jack%20Kroll%22%20%22A%20Day%20in%20the%20Life%22&f=false|url-status=live}}</ref>

===Blues rock===
{{Main|Blues rock}}

{{See also|British blues}}
[[File:Rolling Stones 1965.jpg|thumb|[[The Rolling Stones]] in May 1965]]
Although the first impact of the [[British Invasion]] on American popular music was through beat and R&B based acts, the impetus was soon taken up by a second wave of bands that drew their inspiration more directly from American [[blues]], including [[the Rolling Stones]] and [[the Yardbirds]].<ref>H.S. Macpherson, ''Britain and the Americas: Culture, Politics, and History'' (Oxford: ABC-CLIO, 2005), {{ISBN|1-85109-431-8}}, p. 626.</ref> British blues musicians of the late 1950s and early 1960s had been inspired by the acoustic playing of figures such as [[Lead Belly]], who was a major influence on the Skiffle craze, and [[Robert Johnson (musician)|Robert Johnson]].<ref>V. Coelho, ''The Cambridge Companion to the Guitar'' (Cambridge: Cambridge University Press, 2003), {{ISBN|0-521-00040-8}}, p. 104.</ref> Increasingly they adopted a loud amplified sound, often centered on the electric guitar, based on the [[Chicago blues]], particularly after the tour of Britain by [[Muddy Waters]] in 1958, which prompted [[Cyril Davies]] and guitarist [[Alexis Korner]] to form the band [[Blues Incorporated]].<ref name="Bogdanov2003BluesRock">R. Uterberger, "Blues Rock", in V. Bogdanov, C. Woodstra, S.T. Erlewine, eds, ''All Music Guide to the Blues: The Definitive Guide to the Blues'' (Milwaukee, WI: Backbeat Books, 3rd edn., 2003), {{ISBN|0-87930-736-6}}, pp.&nbsp;701–02.</ref> The band involved and inspired many of the figures of the subsequent [[British blues]] boom, including members of the Rolling Stones and [[Cream (band)|Cream]], combining blues standards and forms with rock instrumentation and emphasis.<ref name="Bogdanov2003BritishBlues" />

The other key focus for British blues was [[John Mayall]]; his band, [[John Mayall & the Bluesbreakers|the Bluesbreakers]], included [[Eric Clapton]] (after Clapton's departure from the Yardbirds) and later [[Peter Green (musician)|Peter Green]]. Particularly significant was the release of ''[[Blues Breakers with Eric Clapton]] (Beano)'' album (1966), considered one of the seminal British blues recordings and the sound of which was much emulated in both Britain and the United States.<ref>T. Rawlings, A. Neill, C. Charlesworth and C. White, ''Then, Now and Rare British Beat 1960–1969'' (London: Omnibus Press, 2002), {{ISBN|0-7119-9094-8}}, p. 130.</ref> Eric Clapton went on to form supergroups Cream, [[Blind Faith]], and [[Derek and the Dominos]], followed by an extensive solo career that helped bring blues rock into the mainstream.<ref name="Bogdanov2003BluesRock" /> Green, along with the Bluesbreaker's rhythm section [[Mick Fleetwood]] and [[John McVie]], formed Peter Green's [[Fleetwood Mac]], who enjoyed some of the greatest commercial success in the genre.<ref name="Bogdanov2003BluesRock" /> In the late 1960s [[Jeff Beck]], also an alumnus of the Yardbirds, moved blues rock in the direction of heavy rock with his band, [[the Jeff Beck Group]].<ref name="Bogdanov2003BluesRock" /> The last Yardbirds guitarist was [[Jimmy Page]], who went on to form ''The New Yardbirds'' which rapidly became [[Led Zeppelin]]. Many of the songs on their first three albums, and occasionally later in their careers, were expansions on traditional blues songs.<ref name="Bogdanov2003BluesRock" />

In the United States, blues rock had been pioneered in the early 1960s by guitarist [[Lonnie Mack]];<ref>P. Prown, H.P. Newquist and J.F. Eiche, ''Legends of Rock Guitar: the Essential Reference of Rock's Greatest Guitarists'' (Milwaukee, WI: Hal Leonard Corporation, 1997), {{ISBN|0-7935-4042-9}}, p. 25.</ref> however, the genre began to take off in the mid-1960s as acts developed a sound similar to British blues musicians. Key acts included [[Paul Butterfield]] (whose band acted like Mayall's Bluesbreakers in Britain as a starting point for many successful musicians), [[Canned Heat]], the early [[Jefferson Airplane]], [[Janis Joplin]], [[Johnny Winter]], [[the J. Geils Band]], and [[Jimi Hendrix]] with his [[power trios]], [[the Jimi Hendrix Experience]] (which included two British members, and was founded in Britain), and [[Band of Gypsys]], whose guitar virtuosity and showmanship would be among the most emulated of the decade.<ref name="Bogdanov2003BluesRock" /> Blues rock bands from the southern states, like the [[Allman Brothers Band]], [[Lynyrd Skynyrd]], and [[ZZ Top]], incorporated [[Country music|country]] elements into their style to produce the distinctive genre [[Southern rock]].<ref name="Bogdanov2002SouthernRock">R. Unterberger, "Southern Rock", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], pp.&nbsp;1332–33.</ref>

Early blues rock bands often emulated jazz, playing long, involved improvisations, which would later be a major element of progressive rock. From about 1967 bands like Cream and the Jimi Hendrix Experience had moved away from purely blues-based music into [[psychedelic music|psychedelia]].<ref name="amg" /> By the 1970s, blues rock had become heavier and more riff-based, exemplified by the work of Led Zeppelin and [[Deep Purple]], and the lines between blues rock and [[hard rock]] "were barely visible",<ref name="amg" /> as bands began recording rock-style albums.<ref name="amg">{{Citation|title=Blues-rock |work=AllMusic |url={{AllMusic|class=explore|id=style/d50|pure_url=yes}} |archive-url=https://www.webcitation.org/5wR7EB7K0?url=http://www.allmusic.com/explore/style/d50 |archive-date=12 February 2011 |url-status=dead}}.</ref> The genre was continued in the 1970s by figures such as [[George Thorogood]] and [[Pat Travers]],<ref name="Bogdanov2003BluesRock" /> but, particularly on the British scene (except perhaps for the advent of groups such as [[Status Quo (band)|Status Quo]] and [[Foghat]] who moved towards a form of high energy and repetitive [[boogie rock]]), bands became focused on [[Heavy metal music|heavy metal]] innovation, and blues rock began to slip out of the mainstream.<ref>P. Prown, H.P. Newquist and J.F. Eiche, ''Legends of Rock Guitar: the Essential Reference of Rock's Greatest Guitarists'' (Milwaukee, WI: Hal Leonard Corporation, 1997), {{ISBN|0-7935-4042-9}}, p. 113.</ref>

===Garage rock===
{{Main|Garage rock}}

[[Garage rock]] was a raw form of rock music, particularly prevalent in North America in the mid-1960s and so called because of the perception that it was rehearsed in the suburban family garage.<ref name="Shuker2005">R. Shuker, ''Popular Music: the Key Concepts'' (Abingdon: Routledge, 2nd edn., 2005), {{ISBN|0-415-34770-X}}, p. 140.</ref><ref>E.J. Abbey, ''Garage Rock and its Roots: Musical Rebels and the Drive for Individuality'' (Jefferson, NC: McFarland, 2006), {{ISBN|0-7864-2564-4}}, pp. 74–76.</ref> Garage rock songs often revolved around the traumas of high school life, with songs about "lying girls" and unfair social circumstances being particularly common.<ref name="AllmusicGarage">R. Unterberger, "Garage Rock", in [[Rock music#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], pp.&nbsp;1320–21.</ref> The lyrics and delivery tended to be more aggressive than was common at the time, often with growled or shouted vocals that dissolved into incoherent screaming.<ref name="Shuker2005" /> They ranged from crude one-chord music (like [[the Seeds]]) to near-studio musician quality (including [[the Knickerbockers]], [[the Remains (band)|the Remains]], and [[the Fifth Estate (band)|the Fifth Estate]]). There were also regional variations in many parts of the country with flourishing scenes particularly in California and Texas.<ref name="AllmusicGarage" /> The Pacific Northwest states of Washington and Oregon had perhaps{{according to whom|date=February 2017}} the most defined regional sound.<ref>N. Campbell, ''American Youth Cultures'' (Edinburgh: Edinburgh University Press, 2nd edn., 2004), {{ISBN|0-7486-1933-X}}, p. 213.</ref>

[[File:The D-Men 1964.JPG|thumb|alt=A tinted photograph of five members of the D-Men performing with guitars, drums, and keyboards|The D-Men, later renamed [[The Fifth Estate (band)|the Fifth Estate]], in 1964]]
The style had been evolving from regional scenes as early as 1958. "Tall Cool One" (1959) by [[The Wailers (rock band)|the Wailers]] and "[[Louie Louie]]" by [[the Kingsmen]] (1963) are mainstream examples of the genre in its formative stages.<ref>
Otfinoski, Steven. "The Golden Age of Rock Instrumentals". Billboard Books, (1997), p. 36, {{ISBN|0-8230-7639-3}}</ref> By 1963, garage band singles were creeping into the national charts in greater numbers, including [[Paul Revere and the Raiders]] (Boise),<ref>W.E. Studwell and D.F. Lonergan, ''The Classic Rock and Roll Reader: Rock Music from its Beginnings to the mid-1970s'' (Abingdon: Routledge, 1999), {{ISBN|0-7890-0151-9}}, p. 213.</ref> [[the Trashmen]] (Minneapolis)<ref>J. Austen, ''TV-a-Go-Go: Rock on TV from American Bandstand to American Idol'' (Chicago IL: Chicago Review Press, 2005), {{ISBN|1-55652-572-9}}, p. 19.</ref> and [[the Rivieras]] (South Bend, Indiana).<ref>{{cite book |last=Waksman |first=Steve |title=This Ain't the Summer of Love: Conflict and Crossover in Heavy Metal and Punk |publisher=University of California Press |year=2009 |isbn=978-0-520-25310-0 |location=Berkeley CA |page=116}}</ref> Other influential garage bands, such as [[the Sonics]] (Tacoma, Washington), never reached the [[Billboard Hot 100|''Billboard'' Hot 100]].<ref>F.W. Hoffmann "Garage Rock/Punk", in F.W. Hoffman and H. Ferstler, ''Encyclopedia of Recorded Sound, Volume 1'' (New York: CRC Press, 2nd edn., 2004), {{ISBN|0-415-93835-X}}, p. 873.</ref>

The British Invasion greatly influenced garage bands, providing them with a national audience, leading many (often [[Surf rock|surf]] or [[hot rod]] groups) to adopt a British influence, and encouraging many more groups to form.<ref name="AllmusicGarage" /> Thousands of garage bands were extant in the United States and Canada during the era and hundreds produced regional hits.<ref name="AllmusicGarage" /> Despite scores of bands being signed to major or large regional labels, most were commercial failures. It is generally agreed that garage rock peaked both commercially and artistically around 1966.<ref name="AllmusicGarage" /> By 1968, the style largely disappeared from the national charts and at the local level as amateur musicians faced college, work or the [[Conscription|draft]].<ref name="AllmusicGarage" /> New styles had evolved to replace garage rock.<ref name="AllmusicGarage" />{{refn|group=nb|In Detroit, garage rock's legacy remained alive into the early 1970s, with bands such as the [[MC5]] and [[the Stooges]], who employed a much more aggressive approach to the form. These bands began to be labelled [[punk rock]] and are now often seen as [[proto-punk]] or proto-[[hard rock]].<ref name="G. Thompson; 2007; 134">{{cite book|last=Thompson |first=Graham |title=American Culture in the 1980s |year=2007 |publisher=Edinburgh University Press |location=Edinburgh, UK |isbn=978-0-7486-1910-8 |page=134}}</ref>}}

===Folk rock===
{{Main|Folk rock}}
[[File:Joan Baez Bob Dylan.jpg|thumb|right|alt=A black and white photograph of Joan Baez and Bob Dylan singing while Dylan plays guitar|[[Joan Baez]] and [[Bob Dylan]] in August 1963]]
By the 1960s, the scene that had developed out of the [[American folk music revival]] had grown to a major movement, using traditional music and new compositions in a traditional style, usually on acoustic instruments.<ref name=Mitchell2007p95>{{cite book|last=Mitchell |first=Gillian |title=The North American Folk Music Revival: Nation and Identity in the United States and Canada, 1945–1980 |publisher=Ashgate Publishing |location=Aldershot, England |year=2007 |isbn=978-0-7546-5756-9 |page=95}}</ref> In America the genre was pioneered by figures such as [[Woody Guthrie]] and [[Pete Seeger]] and often identified with [[Progressive folk|progressive]] or [[Labour movement|labor politics]].<ref name=Mitchell2007p95/> In the early sixties figures such as [[Joan Baez]] and [[Bob Dylan]] had come to the fore in this movement as singer-songwriters.<ref>{{harvnb|Mitchell|2007|p=72}}</ref> Dylan had begun to reach a mainstream audience with hits including "[[Blowin' in the Wind]]" (1963) and "[[Masters of War]]" (1963), which brought "[[protest song]]s" to a wider public,<ref>J.E. Perone, ''Music of the Counterculture Era American History Through Music'' (Westwood, CT: Greenwood, 2004), {{ISBN|0-313-32689-4}}, p. 37.</ref> but, although beginning to influence each other, rock and folk music had remained largely separate genres, often with mutually exclusive audiences.<ref name=Bogdanov2002FolkRock>R. Unterberger, "Folk Rock", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], pp.&nbsp;1308–09.</ref>

Early attempts to combine elements of folk and rock included the Animals' "[[House of the Rising Sun]]" (1964), which was the first commercially successful folk song to be recorded with rock and roll instrumentation<ref>{{cite book|last=Perone |first=James E. |title=Mods, Rockers, and the Music of the British Invasion |year=2009 |publisher=Praeger Publishers |location=Westport, CT |isbn=978-0-275-99860-8 |page=128}}</ref> and the Beatles "[[I'm a Loser]]" (1964), arguably the first Beatles song to be influenced directly by Dylan.<ref>{{Citation|last=R. Unterberger |title=The Beatles: I'm a Loser |work=AllMusic |url={{AllMusic|class=song|id=t462339|pure_url=yes}} |archive-url=https://www.webcitation.org/5wRzkNyBp?url=http://www.allmusic.com/song/t462339 |archive-date=12 February 2011 |url-status=dead}}.</ref> The folk rock movement is usually thought to have taken off with [[the Byrds]]' recording of Dylan's "[[Mr. Tambourine Man]]" which topped the charts in 1965.<ref name=Bogdanov2002FolkRock/> With members who had been part of the café-based folk scene in Los Angeles, the Byrds adopted rock instrumentation, including drums and 12-string [[Rickenbacker]] guitars, which became a major element in the sound of the genre.<ref name=Bogdanov2002FolkRock/> Later that year Dylan adopted electric instruments, much to the [[Electric Dylan controversy|outrage]] of many folk purists, with his "[[Like a Rolling Stone]]" becoming a US hit single.<ref name=Bogdanov2002FolkRock/> According to [[Ritchie Unterberger]], Dylan (even before his adoption of electric instruments) influenced rock musicians like the Beatles, demonstrating "to the rock generation in general that an album could be a major standalone statement without hit singles", such as on ''[[The Freewheelin' Bob Dylan]]'' (1963).<ref name="RU">{{cite web|last=Unterberger|first=Richie|date=31 December 2018|url=http://www.richieunterberger.com/wordpress/2018/|title=2018|website=Folkrocks|access-date=3 June 2021|archive-date=20 September 2023|archive-url=https://web.archive.org/web/20230920175303/http://www.richieunterberger.com/wordpress/2018/|url-status=live}}</ref>

Folk rock particularly took off in California, where it led acts like [[the Mamas & the Papas]] and [[Crosby, Stills, and Nash]] to move to electric instrumentation, and in New York, where it spawned performers including [[the Lovin' Spoonful]] and [[Simon and Garfunkel]], with the latter's acoustic "[[The Sounds of Silence]]" (1965) being remixed with rock instruments to be the first of many hits.<ref name=Bogdanov2002FolkRock/> These acts directly influenced British performers like Donovan and [[Fairport Convention]].<ref name=Bogdanov2002FolkRock/> In 1969 Fairport Convention abandoned their mixture of American covers and Dylan-influenced songs to play traditional English folk music on electric instruments.<ref>M. Brocken, ''The British Folk Revival 1944–2002'' (Ashgate, Aldershot, 2003), {{ISBN|0-7546-3282-2}}, p. 97.</ref> This British folk-rock was taken up by bands including [[Pentangle (band)|Pentangle]], [[Steeleye Span]] and [[the Albion Band]], which in turn prompted Irish groups like [[Horslips]] and Scottish acts like the [[JSD Band]], Spencer's Feat and later [[Five Hand Reel]], to use their traditional music to create a brand of [[Celtic rock]] in the early 1970s.<ref>C. Larkin, ''The Guinness Encyclopedia of Popular Music'' (London: Guinness, 1992), {{ISBN|1-882267-04-4}}, p. 869.</ref>

Folk-rock reached its peak of commercial popularity in the period 1967–68, before many acts moved off in a variety of directions, including Dylan and the Byrds, who began to develop [[country rock]].<ref>G.W. Haslam, A.H. Russell and R. Chon, ''Workin' Man Blues: Country Music in California'' (Berkeley CA: Heyday Books, 2005), {{ISBN|0-520-21800-0}}, p. 201.</ref> However, the hybridization of folk and rock has been seen as having a major influence on the development of rock music, bringing in elements of psychedelia, and helping to develop the ideas of the singer-songwriter, the protest song, and concepts of "authenticity".<ref name=Bogdanov2002FolkRock/><ref>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), {{ISBN|0-521-55660-0}}, p. 121.</ref>
{{Clear}}

===Psychedelic rock===
{{Main|Psychedelic rock}}
{{See also|Raga rock}}
[[File:Jimi Hendrix cropped.jpg|thumb|[[Jimi Hendrix]] performing in Sweden in May 1967|233x233px]]
Psychedelic music's [[LSD]]-inspired vibe began in the folk scene.<ref name=Hicks2000>M. Hicks, ''Sixties Rock: Garage, Psychedelic, and Other Satisfactions'' (Chicago, IL: University of Illinois Press, 2000), {{ISBN|0-252-06915-3}}, pp. 59–60.</ref> The first group to advertise themselves as psychedelic rock were [[the 13th Floor Elevators]] from Texas.<ref name=Hicks2000/> The Beatles introduced many of the major elements of the psychedelic sound to audiences in this period, such as [[Larsen effect|guitar feedback]], the Indian [[sitar]] and [[backmasking]] [[sound effect]]s.<ref name=Bogdanov2002Psych>R. Unterberger, "Psychedelic Rock", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], pp.&nbsp;1322–23.</ref> Psychedelic rock particularly took off in California's emerging music scene as groups followed [[the Byrds]]' shift from folk to [[folk rock]] from 1965.<ref name=Bogdanov2002Psych/> The psychedelic lifestyle, which revolved around hallucinogenic drugs, had already developed in San Francisco and particularly prominent products of the scene were [[Big Brother and the Holding Company]], [[the Grateful Dead]] and [[Jefferson Airplane]].<ref name=Bogdanov2002Psych/>{{sfn|Gilliland|1969|loc=shows 41–42}} The [[Jimi Hendrix Experience]]'s lead guitarist, [[Jimi Hendrix]] did
extended distorted, feedback-filled jams which became a key feature of psychedelia.<ref name=Bogdanov2002Psych/> Psychedelic rock reached its apogee in the last years of the decade. 1967 saw the Beatles release their definitive psychedelic statement in ''[[Sgt. Pepper's Lonely Hearts Club Band]]'', including the controversial track "[[Lucy in the Sky with Diamonds]]", the Rolling Stones responded later that year with ''[[Their Satanic Majesties Request]]'',<ref name=Bogdanov2002Psych/> and [[Pink Floyd]] debuted with ''[[The Piper at the Gates of Dawn]]''. Key recordings included Jefferson Airplane's ''[[Surrealistic Pillow]]'' and [[the Doors]]' [[The Doors (album)|self-titled debut album]]. These trends peaked in the 1969 [[Woodstock festival]], which saw performances by most of the major psychedelic acts.<ref name=Bogdanov2002Psych/>

''Sgt. Pepper'' was later regarded as the greatest album of all time and a starting point for the [[album era]], during which rock music transitioned from the singles format to albums and achieved cultural legitimacy in the mainstream.<ref>{{cite book|last1=DeRogatis|first1=Jim|author-link1=Jim DeRogatis|last2=Kot|first2=Greg|author-link2=Greg Kot|year=2010|title=The Beatles vs. The Rolling Stones: Sound Opinions on the Great Rock 'n' Roll Rivalry|publisher=[[Voyageur Press]]|isbn=978-1610605137|pages=70, 75}}</ref> Led by the Beatles in the mid-1960s,<ref>{{cite book|last=Whitburn|first=Joel|author-link=Joel Whitburn|year=2003|title=Joel Whitburn's Top Pop Singles 1955-2002|publisher=[[Record Research]]|isbn=9780898201550|page=xxiii}}</ref> rock musicians advanced the LP as the dominant form of recorded music expression and consumption, initiating a rock-informed album era in the music industry for the next several decades.<ref>{{cite news|last=Pareles|first=Jon|author-link=Jon Pareles|date=5 January 1997|url=https://www.nytimes.com/1997/01/05/arts/all-that-music-and-nothing-to-listen-to.html|title=All That Music, and Nothing to Listen To|newspaper=The New York Times|access-date=10 March 2020|url-access=subscription|archive-url=https://web.archive.org/web/20171227043520/http://www.nytimes.com/1997/01/05/arts/all-that-music-and-nothing-to-listen-to.html|archive-date=27 December 2017|url-status=live}}</ref>

===Progressive rock===
{{Main|Progressive rock}}
{{Further|Progressive music}}
{{See also|Art rock|Experimental rock}}
[[File:Yes concert.jpg|thumb|alt=A color photograph of members of the band Yes on stage|Progressive rock band [[Yes (band)|Yes]] performing in [[Indianapolis]] in August 1977]]
Progressive rock, a term sometimes used interchangeably with [[art rock]], moved beyond established musical formulas by experimenting with different instruments, song types, and forms.<ref name=Bogdanov2002Prog>R. Unterberger, "Progressive Rock", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], pp.&nbsp;1330–31.</ref> From the mid-1960s, [[the Left Banke]], the Beatles, the Rolling Stones and the Beach Boys, had pioneered the inclusion of [[harpsichords]], [[Wind instruments|wind]], and [[String orchestra|string]] sections on their recordings to produce a form of [[Baroque rock]] and can be heard in singles like [[Procol Harum]]'s "[[A Whiter Shade of Pale]]" (1967), with its [[Bach]]-inspired introduction.<ref name=Harrington2003>J.S. Harrington, ''Sonic Cool: the Life & Death of Rock 'n' Roll'' (Milwaukee, WI: Hal Leonard Corporation, 2003), {{ISBN|0-634-02861-8}}, p. 191.</ref> [[The Moody Blues]] used a full orchestra on their album ''[[Days of Future Passed]]'' (1967) and subsequently created orchestral sounds with synthesizers.<ref name=Bogdanov2002Prog/> Classical orchestration, keyboards, and synthesizers were a frequent addition to the established rock format of guitars, bass, and drums in subsequent progressive rock.<ref>E. Macan, ''Rocking the Classics: English Progressive Rock and the Counterculture'' (Oxford: Oxford University Press, 1997), {{ISBN|0-19-509887-0}}, pp. 34–35.</ref>

Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy and science fiction.<ref>E. Macan, ''Rocking the Classics: English Progressive Rock and the Counterculture'' (Oxford: Oxford University Press, 1997), {{ISBN|0-19-509887-0}}, p. 64.</ref> [[The Pretty Things]]' ''[[SF Sorrow]]'' (1968), the Kinks' ''[[Arthur (Or the Decline and Fall of the British Empire)]]'' (1969), and [[the Who]]'s [[Tommy (The Who album)|''Tommy'']] (1969) introduced the format of [[rock operas]] and opened the door to [[concept album]]s, often telling an epic story or tackling a grand overarching theme.<ref>{{Citation|title=Prog rock |work=AllMusic |url={{AllMusic|class=explore|id=style/d374|pure_url=yes}} |archive-url=https://www.webcitation.org/5wRFWXQdF?url=http://www.allmusic.com/explore/style/d374 |archive-date=12 February 2011 |url-status=dead}}.</ref> [[King Crimson]]'s 1969 début album, ''[[In the Court of the Crimson King]]'', which mixed powerful guitar riffs and [[mellotron]], with [[jazz]] and [[symphonic music]], is often taken as the key recording in progressive rock, helping the widespread adoption of the genre in the early 1970s among existing blues-rock and psychedelic bands, as well as newly formed acts.<ref name=Bogdanov2002Prog/> The vibrant [[Canterbury scene]] saw acts following Soft Machine from psychedelia, through jazz influences, toward more expansive hard rock, including [[Caravan (band)|Caravan]], [[Hatfield and the North]], [[Gong (band)|Gong]], and [[National Health]].<ref>E. Macan, ''Rocking the Classics: English Progressive Rock and the Counterculture'' (Oxford: Oxford University Press, 1997), {{ISBN|0-19-509887-0}}, p. 129.</ref> The French group [[Magma (band)|Magma]] around drummer [[Christian Vander (musician)|Christian Vander]] almost single-handedly created the new music genre [[zeuhl]] with their first albums in the early 1970s.<ref name="Wagner2010">{{cite book|author=Jeff Wagner|title=Mean Deviation: Four Decades of Progressive Heavy Metal|url=https://books.google.com/books?id=8ZwZcZ2X5ToC&pg=PA242|year=2010|publisher=Bazillion Points Books|isbn=978-0-9796163-3-4|page=242}}</ref>

[[File:Genesis Live 01.jpg|thumb|[[Genesis (band)|Genesis]] performing at [[Old Trafford]], [[Manchester]] in July 2007. Left to right: Bass guitarist [[Daryl Stuermer]], guitarist [[Mike Rutherford]], drummer [[Chester Thompson]], lead vocalist [[Phil Collins]], and keyboardist [[Tony Banks (musician)|Tony Banks]].]]
Greater commercial success was enjoyed by Pink Floyd, who also moved away from psychedelia after the departure of Syd Barrett in 1968, with ''[[The Dark Side of the Moon]]'' (1973), seen as a masterpiece of the genre, becoming one of the best-selling albums of all time.<ref>R. Reising, ''Speak to Me: The Legacy of Pink Floyd's The Dark Side of the Moon'' (Aldershot: Ashgate, 2005), {{ISBN|0-7546-4019-1}}.</ref> There was an emphasis on instrumental virtuosity, with [[Yes (band)|Yes]] showcasing the skills of both guitarist [[Steve Howe (guitarist)|Steve Howe]] and keyboard player [[Rick Wakeman]], while [[Emerson, Lake & Palmer]] were a supergroup who produced some of the genre's most technically demanding work.<ref name=Bogdanov2002Prog/> [[Jethro Tull (band)|Jethro Tull]] and [[Genesis (band)|Genesis]] both pursued very different, but distinctly English, brands of music.<ref name="Brocken2003">M. Brocken, ''The British Folk Revival, 1944–2002'' (Aldershot: Ashgate, 2003), {{ISBN|0-7546-3282-2}}, p. 96.</ref> [[Renaissance (band)|Renaissance]], formed in 1969 by ex-Yardbirds Jim McCarty and Keith Relf, evolved into a high-concept band featuring the three-octave voice of [[Annie Haslam]].<ref>{{Citation|last=B. Eder |title=Renaissance |work=AllMusic |url={{AllMusic|class=artist|id=renaissance-p5251/biography|pure_url=yes}} |archive-url=https://www.webcitation.org/5wS0Jf18p?url=http://www.allmusic.com/artist/renaissance-p5251/biography |archive-date=12 February 2011 |url-status=dead}}.</ref> Most British bands depended on a relatively small cult following, but a handful, including Pink Floyd, Genesis, and Jethro Tull, managed to produce top ten singles at home and break the American market.<ref>K. Holm-Hudson, ''Progressive Rock Reconsidered'' (London: Taylor & Francis, 2002), {{ISBN|0-8153-3715-9}}, p. 9.</ref> The American brand of progressive rock varied from the eclectic and innovative [[Frank Zappa]], [[Captain Beefheart]] and [[Blood, Sweat & Tears]],<ref>N.E. Tawa, ''Supremely American: Popular Song in the 20th Century: Styles and Singers and What They Said About America'' (Lanham, MA: Scarecrow Press, 2005), {{ISBN|0-8108-5295-0}}, pp. 249–50.</ref> to more pop rock orientated bands like [[Boston (band)|Boston]], [[Foreigner (band)|Foreigner]], [[Kansas (band)|Kansas]], [[Journey (band)|Journey]], and [[Styx (band)|Styx]].<ref name=Bogdanov2002Prog/> These, beside British bands [[Supertramp]] and [[Electric Light Orchestra|ELO]], all demonstrated a prog rock influence and while ranking among the most commercially successful acts of the 1970s, heralding the era of ''pomp'' or ''[[arena rock]]'', which would last until the costs of complex shows (often with theatrical staging and special effects), would be replaced by more economical [[rock festival]]s as major live venues in the 1990s.{{citation needed|date=April 2014}}

The instrumental strand of the genre resulted in albums like [[Mike Oldfield]]'s ''[[Tubular Bells (album)|Tubular Bells]]'' (1973), the first record, and worldwide hit, for the [[Virgin Records]] label, which became a mainstay of the genre.<ref name=Bogdanov2002Prog/> Instrumental rock was particularly significant in continental Europe, allowing bands like [[Kraftwerk]], [[Tangerine Dream]], [[Can (band)|Can]], [[Focus (band)]] and [[Faust (band)|Faust]] to circumvent the language barrier.<ref>P. Bussy, ''Kraftwerk: Man, Machine and Music'' (London: SAF, 3rd end., 2004), {{ISBN|0-946719-70-5}}, pp. 15–17.</ref> Their synthesiser-heavy "[[krautrock]]", along with the work of [[Brian Eno]] (for a time the keyboard player with [[Roxy Music]]), would be a major influence on subsequent [[electronic rock]].<ref name=Bogdanov2002Prog/> With the advent of punk rock and technological changes in the late 1970s, progressive rock was increasingly dismissed as pretentious and overblown.<ref>K. Holm-Hudson, ''Progressive Rock Reconsidered'' (London: Taylor & Francis, 2002), {{ISBN|0-8153-3715-9}}, p. 92.</ref><ref>{{Citation|first=Brian L. |last=Knight |title=Rock in the Name of Progress (Part VI -"Thelonius Punk") |journal=The Vermont Review |url=http://members.tripod.com/vermontreview/essays/progressif6.htm |archive-url=https://web.archive.org/web/20110717104234/http://vermontreview.tripod.com/essays/progressif6.htm |archive-date=17 July 2011 |url-status=dead}}</ref> Many bands broke up, but some, including Genesis, ELP, Yes, and Pink Floyd, regularly scored top ten albums with successful accompanying worldwide tours.<ref name="G. Thompson; 2007; 134"/> Some bands which emerged in the aftermath of punk, such as [[Siouxsie and the Banshees]], [[Ultravox]], and [[Simple Minds]], showed the influence of progressive rock, as well as their more usually recognized punk influences.<ref name="ClassicRock">T. Udo, "Did Punk kill prog?", ''Classic Rock Magazine'', vol. 97, September 2006.</ref>

===Jazz rock===
{{Main|Jazz rock}}
[[File:Jaco-Pastorius seated 1980.jpg|thumb|left|upright=0.7|alt=A color photograph of Jaco Pastorius sitting on a stool and playing a bass guitar|[[Jaco Pastorius]] of [[Weather Report]] in 1980]]
In the late 1960s, jazz-rock emerged as a distinct subgenre out of the blues-rock, psychedelic, and progressive rock scenes, mixing the power of rock with the musical complexity and improvisational elements of jazz. [[AllMusic]] states that the term jazz-rock "may refer to the loudest, wildest, most electrified fusion bands from the jazz camp, but most often it describes performers coming from the rock side of the equation." Jazz-rock "...generally grew out of the most artistically ambitious rock subgenres of the late '60s and early '70s", including the singer-songwriter movement.<ref name="AMJazzRock" /> Many early US rock and roll musicians had begun in jazz and carried some of these elements into the new music. In Britain, the subgenre of blues rock, and many of its leading figures, like [[Ginger Baker]] and [[Jack Bruce]] of the [[Eric Clapton]]-fronted band [[Cream (band)|Cream]], had emerged from the [[British jazz]] scene. Often highlighted as the first true jazz-rock recording is the only album by the relatively obscure New York–based [[the Free Spirits]] with ''[[Out of Sight and Sound]]'' (1966). The first group of bands to self-consciously use the label were R&B oriented white rock bands that made use of jazzy horn sections, like [[Electric Flag]], Blood, Sweat & Tears and [[Chicago (band)|Chicago]], to become some of the most commercially successful acts of the later 1960s and the early 1970s.<ref name=Bogdanov2002JazzRock/>

British acts to emerge in the same period from the blues scene, to make use of the tonal and improvisational aspects of jazz, included [[Nucleus (band)|Nucleus]]<ref>I. Carr, D. Fairweather and B. Priestley, ''The Rough Guide to Jazz'' (London: Rough Guides, 3rd edn., 2004), {{ISBN|1-84353-256-5}}, p. iii.</ref> and the [[Graham Bond]] and John Mayall spin-off [[Colosseum (band)|Colosseum]]. From the psychedelic rock and the Canterbury scenes came Soft Machine, who, it has been suggested, produced one of the artistically successfully fusions of the two genres. Perhaps the most critically acclaimed fusion came from the jazz side of the equation, with [[Miles Davis]], particularly influenced by the work of Hendrix, incorporating rock instrumentation into his sound for the album ''[[Bitches Brew]]'' (1970). It was a major influence on subsequent rock-influenced jazz artists, including [[Herbie Hancock]], [[Chick Corea]] and [[Weather Report]].<ref name=Bogdanov2002JazzRock/> The genre began to fade in the late 1970s, as a mellower form of fusion began to take its audience,<ref name=AMJazzRock>{{Citation|title=Jazz-Rock Music Genre Overview |work=AllMusic |url=http://www.allmusic.com/explore/style/jazz-rock-d2776 |archive-url=https://web.archive.org/web/20110216015609/http://www.allmusic.com/explore/style/jazz-rock-d2776 |archive-date =16 February 2011 |url-status=live}}</ref> but acts like [[Steely Dan]],<ref name=AMJazzRock/> Frank Zappa and [[Joni Mitchell]] recorded significant jazz-influenced albums in this period, and it has continued to be a major influence on rock music.<ref name=Bogdanov2002JazzRock>R. Unterberger, "Jazz Rock", in [[#CITEREFBogdanovWoodstraErlewine2002|Bogdanov et al., 2002]], pp. 1328–30.</ref>