Editing Rock music (section)

===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>}}