Editing Rock music (section)

===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>