Editing Punk rock (section)

==1960s–1973: Precursors== <!-- this section is a redirect from [[Punk Rock History]] -->

===Garage rock and beat===
{{See also|garage rock|mod (subculture)|beat music}}
The early to mid-1960s garage rock bands in the United States and elsewhere are often recognized as punk rock's progenitors. [[the Kingsmen]]'s "[[Louie, Louie]]" is often cited as punk rock's defining "[[Urtext edition|ur-text]]".{{sfn|Sabin|1999|p=157}}{{refn|group=nb|In the Kingsmen's version, the song's "El Loco Cha-Cha" riffs were pared down to a more simple and primitive rock arrangement providing a stylistic model for countless garage rock bands.<ref name="Pareles (Berry Obituary)">{{cite news |last1=Pareles |first1=Jon |title=Richard Berry, Songwriter of 'Louie Louie,' Dies at 61 |url=https://www.nytimes.com/1997/01/25/arts/richard-berry-songwriter-of-louie-louie-dies-at-61.html |work=[[The New York Times]] |access-date=April 27, 2016 |date=January 25, 1997 |archive-date=March 26, 2016 |archive-url=https://web.archive.org/web/20160326174905/http://www.nytimes.com/1997/01/25/arts/richard-berry-songwriter-of-louie-louie-dies-at-61.html |url-status=live}}</ref><ref>{{cite book |last=Avant-Mier |first=Roberto |date=2008 |title=Rock the Nation: Latin/o Identities and the Latin Rock Diaspora |page=99 |publisher=[[Routledge]] |location=London |isbn=978-1441164483}}</ref>}} After the success of the [[British Invasion]], the garage phenomenon gathered momentum around the US.{{sfn|Lemlich|1992|pp=2–3}} By 1965, the harder-edged sound of British acts, such as [[the Rolling Stones]], [[the Kinks]], and [[the Who]], became increasingly influential with American garage bands.{{sfn|Sabin|1999|p=159}} The raw sound of U.S. groups such as [[the Sonics]] and [[the Seeds]] predicted the style of later acts.{{sfn|Sabin|1999|p=159}} In the early 1970s some rock critics used the term "punk rock" to refer to the mid-1960s garage genre,<ref name="laing 21" /> as well as for subsequent acts perceived to be in that stylistic tradition, such as the Stooges.{{sfn|Bangs|2003|p=101}}

In Britain, largely under the influence of the [[Mod subculture|mod]] movement and beat groups, the Kinks' 1964 hit singles "[[You Really Got Me]]" and "[[All Day and All of the Night]]", were both influenced by "Louie, Louie".<ref>{{cite book |last=Kitts |first=Thomas M. |title=Ray Davies: Not Like Everybody Else |publisher=[[Routledge]] |date=2007 |page=41}}</ref>{{refn|group=nb|The Ramones' 1978 "I Don't Want You" was largely Kinks-influenced.<ref>Harrington (2002), p. 165.</ref>}} In 1965, [[the Who]] released the mod anthem "[[My Generation]]", which according to John Reed, anticipated the kind of "cerebral mix of musical ferocity and rebellious posture" that would characterize much of the later British punk rock of the 1970s.{{sfn|Reed|2005|p=49}}{{refn|group=nb|Reed describes the Clash's emergence as a "tight ball of energy with both an image and rhetoric reminiscent of a young [[Pete Townshend]]—speed obsession, pop-art clothing, art school ambition."{{sfn|Reed|2005|p=49}} The Who and [[the Small Faces]] were among the few rock elders acknowledged by the Sex Pistols.<ref>Fletcher (2000), p. 497.</ref>}} The garage/beat phenomenon extended beyond North America and Britain.<ref name="Unterberger (Trans World)">{{cite web |last1=Unterberger |first1=Richie |title=Trans-World Punk Rave-Up, Vol. 1–2 |website=AllMusic |url=http://www.allmusic.com/album/trans-world-punk-rave-up-vol-1-2-mw0000938459 |access-date=June 22, 2017 |archive-date=March 14, 2016 |archive-url=https://web.archive.org/web/20160314084101/http://www.allmusic.com/album/trans-world-punk-rave-up-vol-1-2-mw0000938459 |url-status=live}}</ref> In America, the [[psychedelic rock]] movement birthed an array of garage bands that would later become influences on punk, [[the Austin Chronicle]] described the [[13th Floor Elevators]] as a band who can lay claim to influencing the movement, "the seeds of punk remain blatant in the howling ultimatum [[Roky Erickson|Erickson]] transferred from his previous teen combo to the Elevators"<ref>{{Cite web|url=https://www.austinchronicle.com/music/2019-08-02/the-origins-of-austin-punk-in-the-aftermath-of-the-13th-floor-elevators/|title=The Origins of Austin Punk in the Aftermath of the 13th Floor Elevators|website=www.austinchronicle.com}}</ref> as well as describing other bands in the [[Houston]], Texas [[psychedelic rock]] scene as "a prime example of the opaque [[proto-punk]] undertow at the heart of the best [[psychedelia]]". Hippie [[proto-punk]] [[David Peel (musician)|David Peel]] of [[New York City]]'s Lower East Side was the first person to use the word "[[motherfucker]]" in a song title and also directly influenced [[the Clash]].<ref>{{cite web | url=https://www.loudersound.com/features/the-tale-of-david-peel-the-dope-smoking-hippy-who-became-the-king-of-punk | title=The strange tale of David Peel, the dope-smoking hippy who became the King of Punk | date=March 22, 2016 }}</ref>

=== Proto-punk ===
{{main|proto-punk}}

In August 1969, [[the Stooges]], from [[Ann Arbor, Michigan|Ann Arbor]], premiered with a [[The Stooges (album)|self-titled album]]. According to critic [[Greil Marcus]], the band, led by singer [[Iggy Pop]], created "the sound of [[Chuck Berry]]'s [[You Can't Catch Me|Airmobile]]—after thieves stripped it for parts".<ref>Marcus (1979), p. 294.</ref> The album was produced by [[John Cale]], a former member of New York's experimental rock group [[the Velvet Underground]], who inspired many of those involved in the creation of punk rock.<ref>Taylor (2003), p. 49.</ref> The [[New York Dolls]] updated 1950s' rock 'n' roll in a fashion that later became known as [[glam punk]].<ref>Harrington (2002), p. 538.</ref> The New York duo [[Suicide (band)|Suicide]] played spare, experimental music with a confrontational stage act inspired by that of the Stooges.<ref>Bessman (1993), pp. 9–10.</ref> In Boston, [[the Modern Lovers]], led by [[Jonathan Richman]], gained attention for their minimalistic style. In 1974, as well, the Detroit band [[Death (Detroit band)|Death]]—made up of three African-American brothers—recorded "scorching blasts of feral ur-punk", but could not arrange a release deal.<ref name="Rubin">{{cite news |last=Rubin |first=Mike |title=This Band Was Punk Before Punk Was Punk |work=[[The New York Times]] |url=https://www.nytimes.com/2009/03/15/arts/music/15rubi.html |date=March 12, 2009 |access-date=2009-03-15 |archive-date=July 1, 2017 |archive-url=https://web.archive.org/web/20170701073322/http://www.nytimes.com/2009/03/15/arts/music/15rubi.html |url-status=live}}</ref> In Ohio, a small but influential underground rock scene emerged, led by [[Devo]] in [[Akron, Ohio|Akron]]<ref name="WaPo">{{cite news|last1=Sommer|first1=Tim|title=How the Kent State massacre helped give birth to punk rock|url=https://www.washingtonpost.com/outlook/how-the-kent-state-massacre-changed-music/2018/05/03/b45ca462-4cb6-11e8-b725-92c89fe3ca4c_story.html|newspaper=The Washington Post|access-date=2018-05-03|date=May 8, 2018|archive-date=May 8, 2018|archive-url=https://web.archive.org/web/20180508211408/https://www.washingtonpost.com/outlook/how-the-kent-state-massacre-changed-music/2018/05/03/b45ca462-4cb6-11e8-b725-92c89fe3ca4c_story.html|url-status=live}}</ref> and [[Kent, Ohio|Kent]] and by Cleveland's [[Electric Eels (band)|Electric Eels]], [[Mirrors (Ohio band)|Mirrors]] and [[Rocket from the Tombs]].

Bands anticipating the forthcoming movement were appearing as far afield as [[Düsseldorf]], West Germany, where "punk before punk" band [[Neu!]] formed in 1971, building on the [[Krautrock]] tradition of groups such as [[Can (band)|Can]].<ref name="trouser2">{{cite magazine |last=Neate |first=Wilson |title=NEU! |magazine=Trouser Press |url=http://www.trouserpress.com/entry.php?a=neu |access-date=2007-01-11 |archive-date=November 12, 2006 |archive-url=https://web.archive.org/web/20061112175958/http://www.trouserpress.com/entry.php?a=neu |url-status=live}}</ref> In Japan, the anti-establishment Zunō Keisatsu (Brain Police) mixed [[garage-psych]] and [[folk music|folk]]. The combo regularly faced censorship challenges, their live act at least once including onstage masturbation.<ref>Anderson (2002), p. 588.</ref> In Peru, founded in 1964, the group [[Los Saicos]], used fast tempos, aggressive riffing, hoarses and screamed vocals along with souped-up tracks about prison escapes, funerals and destruction has led some publication to retrospectively credit them as pioneering punk rock.<ref>{{cite news |last=Watts |first=Jonathan |title=Where did punk begin? A cinema in Peru |work=[[The Guardian]] |url=https://www.theguardian.com/music/2012/sep/14/where-punk-begin-cinema-peru |date=September 14, 2012 |access-date=2024-12-24 |archive-date=May 24, 2024 |archive-url=https://web.archive.org/web/20240524130713/https://www.theguardian.com/music/2012/sep/14/where-punk-begin-cinema-peru |url-status=live }}</ref><ref>{{cite news |last=García |first=Julio |title=Ni Sex Pistols ni Ramones; el punk empezó en Perú y en español |work=[[BBC]] |url=https://www.bbc.com/mundo/noticias/2011/12/111223_saicos_precursores_punk_peruano_jgc |date=December 24, 2011 |access-date=2024-12-24 |archive-date=December 26, 2023 |archive-url=https://web.archive.org/web/20231226085034/https://www.bbc.com/mundo/noticias/2011/12/111223_saicos_precursores_punk_peruano_jgc |url-status=live }}</ref> A new generation of Australian garage rock bands, inspired mainly by the Stooges and [[MC5]], was coming closer to the sound that would soon be called "punk": In [[Brisbane]], [[The Saints (Australian band)|the Saints]] evoked the live sound of the British [[Pretty Things]], who had toured Australia and New Zealand in 1975.<ref>Unterberger (2000), p. 18.</ref>