musics in glamour progressive rock

Progressive rock

Prog-rock band Yes performing in concert in Indianapolis, 1977.Progressive rock, sometimes used interchangeably with art rock, was an attempt to move beyond established musical formulas by experimenting with different instruments, song types, and forms. From the mid-1960s The Left Banke, The Beatles, The Rolling Stones and The Beach Boys, had pioneered the inclusion of harpsichords, wind and 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.The Moody Blues used a full orchestra on their album Days of Future Passed (1967) and subsequently created orchestral sounds with synthesisers.Classical orchestration, keyboards and synthesisers were a frequent edition to the established rock format of guitars, bass and drums in subsequent progressive rock.






Instrumentals were common, while songs with lyrics were sometimes conceptual, abstract, or based in fantasy and science fiction. The Pretty Things' SF Sorrow (1968) and The Who's Tommy (1969) introduced the format of rock operas and opened the door to concept albums, often telling an epic story or tackling a grand overarching theme. 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.






"Owner of a lonely heart"






Yes (Band)- 90125


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The vibrant Canterbury scene saw a number of acts following Soft Machine from psychedelia, through jazz influences, toward more expansive hard rock, including Caravan, Hatfield and the North, Gong, and National Health.Greater commercial success was enjoyed by Pink Floyd, who also moved away from psychedelia after the departure of Syd Barrett in 1968, with Dark Side of the Moon (1973), seen as a masterpiece of the genre, becoming one of the best-selling albums of all time.There was an emphasis on instrumental virtuosity, with Yes showcasing the skills of both 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. Jethro Tull and Genesis both pursued very different, but distinctly English, brands of music.Renaissance, formed in 1969 by ex-Yardbirds Jim McCarty and Keith Relf, evolved into a high-concept band featuring the five-octave voice of Annie Haslam.[citation needed] 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.






The American brand of prog rock varied from the eclectic and innovative Frank Zappa, Captain Beefheart and Blood, Sweat and Tears, to more pop rock orientated bands like Boston, Foreigner, Kansas, Journey and Styx.These, beside British bands Supertramp and ELO, all demonstrated a prog rock influence and while ranking among the most commercially successful acts of the 1970s, issuing in 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 festivals as major live venues in the 1990s.






The instrumental strand of the genre resulted in albums like Mike Oldfield's Tubular Bells (1973), the first record, and worldwide hit, for the Virgin Records label, which became a mainstay of the genre.Instrumental rock was particularly significant in continental Europe, allowing bands like Kraftwerk, Tangerine Dream, Can and Faust to circumvent the language barrier. Their synthesiser-heavy "Kraut rock", along with the work of Brian Eno (for a time the keyboard player with Roxy Music), would be a major influence on subsequent synth rock, With the advent of punk rock and technological changes in the late 1970s, progressive rock was increasingly dismissed as pretentious and overblown. Many bands broke up, but some, including Genesis, ELP, Yes, and Pink Floyd, regularly scored top ten albums with successful accompanying worldwide tours. Some bands which emerged in the aftermath of punk, such as Siouxsie and the Banshees, Ultravox and Simple Minds, showed the influence of prog, as well as their more usually recognized punk influences.


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Psychedelic rock




Jimi Hendrix performing on Dutch TV in 1967.Psychedelic music's LSD-inspired vibe began in the folk scene, with the New York-based Holy Modal Rounders using the term in their 1964 recording of "Hesitation Blues". The first group to advertise themselves as psychedelic rock were the 13th Floor Elevators from Texas, at the end of 1965; producing an album that made their direction clear, with The Psychedelic Sounds of the 13th Floor Elevators the following year.. The Beatles introduced many of the major elements of the psychedelic sound to audiences in this period, with "I Feel Fine" using guitar feedback; in late 1965 the Rubber Soul album included the use of a sitar on "Norwegian Wood" and they employed backmasking on their 1966 single B-side "Rain" and other tracks that appeared on their Revolver album later that year.



Psychedelic rock particularly took off in California's emerging music scene as groups followed the Byrds from folk to folk rock from 1965. The psychedelic life style had already developed in San Francisco and particularly prominent products of the scene were The Grateful Dead, Country Joe and the Fish, The Great Society and Jefferson Airplane. The Byrds rapidly progressed from purely folk rock in 1966 with their single "Eight Miles High", widely taken to be a reference to drug use. In Britain arguably the most influential band in the genre were The Yardbirds. who, with Jeff Beck as their guitarist, increasingly moved into psychedelic territory, adding up-tempo improvised "rave ups", Gregorian chant and world music influences to songs including "Still I'm Sad" (1965) and "Over Under Sideways Down" (1966. From 1966 the UK underground scene based in North London, supported new acts including Pink Floyd, Traffic and Soft Machine. The same year saw Donovan's folk-influenced hit album Sunshine Superman, considered one of the first psychedelic pop records, as well as the débuts of blues rock bands Cream and The Jimi Hendrix Experience, whose extended guitar-heavy jams became a key feature of psychedelia.



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" and the Rolling Stones responded later that year with Their Satanic Majesties Request. Pink Floyd produced what is usually seen as their best psychedelic work The Piper at the Gates of Dawn. In America the Summer of Love was prefaced by the Human Be-In event and reached its peak at the Monterey Pop Festival, the latter helping to make major American stars of Jimi Hendrix and The Who, whose single "I Can See for Miles" delved into psychedelic territory. Key recordings included Jefferson Airplane's Surrealistic Pillow and The Doors' Strange Days. These trends climaxed in the 1969 Woodstock festival, which saw performances by most of the major psychedelic acts, but by the end of the decade psychedelic rock was in retreat. Brian Jones of the Rolling Stones and Syd Barrett of Pink Floyd were early casualties, the Jimi Hendrix Experience and Cream broke up before the end of the decade and many surviving acts, moved away from psychedelia into more back-to-basics "roots rock", the wider experimentation of progressive rock, or riff laden heavy rock.

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grunge

Grunge

hard rock

Hard Rock" redirects here. For other uses, see Hard Rock (disambiguation).

Hard rock


Stylistic origins Blues-rock, garage rock, psychedelic rock, rock and roll, rock music


Cultural origins Mid 1960s, United Kingdom and United States


Typical instruments Electric guitar - bass guitar - vocals - drums - sometimes pianos and keyboards


Mainstream popularity High since the late 1960s


Derivative forms Heavy metal






(complete list)


Other topics


Back beat - rock opera - rock band - performers -progressive rock - Hall of Fame - social impact


Hard rock (or heavy rock) is a loosely defined genre of rock music which has its earliest roots in mid-1960s garage, blues rock and psychedelic rock. It is typified by a heavy use of distorted electric guitars, bass guitar, drums, and often accompanied with pianos, and keyboards. It developed into a major form of popular music in the 1970s, with bands like Led Zeppelin, Deep Purple, Aerosmith, AC/DC and Van Halen, reaching a commercial peak in the mid 1980s. The glam metal of bands like Bon Jovi and Def Leppard and the rawer sounds of Guns N' Roses followed up with great success in the later part of that decade, before losing popularity in the face of grunge. Despite this, many post-grunge bands adopted a hard rock sound and in the 2000s there came a renewed interest in established bands, attempts at a revival, and new hard rock bands that emerged from the garage rock and post punk revival.

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heavy metal

Heavy metal (often referred to simply as metal) is a subgenre of rock music[1] that developed in the late 1960s and early 1970s, largely in the United Kingdom and the United States.[2] With roots in blues-rock and psychedelic rock, the bands that created heavy metal developed a thick, massive sound, characterized by highly amplified distortion, extended guitar solos, emphatic beats, and overall loudness. 
unplugged metal

Early bands, such as Led Zeppelin, Black Sabbath and Deep Purple, attracted large audiences. These bands are widely considered main founders of the genre. However, they were often critically reviled; this was a status common throughout the history of the genre. In the mid-1970s Judas Priest helped spur the genre's evolution by discarding much of its blues influence; Motörhead introduced a punk rock sensibility and an increasing emphasis on speed. Bands in the New Wave of British Heavy Metal such as Iron Maiden followed in a similar vein. Before the end of the decade, heavy metal had attracted a worldwide following of fans known as "metalheads" or "headbangers".






In the 1980s, glam metal became a major commercial force with groups like Mötley Crüe and Twisted Sister. Underground scenes produced an array of more extreme, aggressive styles: thrash metal broke into the mainstream with bands such as Metallica and Megadeth, while other styles like death metal and black metal remain subcultural phenomena. Since the mid-1990s, popular styles such as nu metal, which often incorporates elements of grunge and hip hop; and metalcore, which blends extreme metal with hardcore punk, have further expanded the definition of the genre.

Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, and vigorous vocals. Metal subgenres variously emphasize, alter, or omit one or more of these attributes. New York Times critic Jon Pareles writes, "In the taxonomy of popular music, heavy metal is a major subspecies of hard-rock—the breed with less syncopation, less blues, more showmanship and more brute force." The typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, and a singer, who may or may not be an instrumentalist. Keyboard instruments are sometimes used to enhance the fullness of the sound, but rarely are other instruments incorporated.




Judas Priest, performing in 2005The electric guitar and the sonic power that it projects through amplification has historically been the key element in heavy metal. The lead role of the guitar in heavy metal often collides with the traditional "frontman" or bandleader role of the vocalist, creating a musical tension as the two "contend for dominance" in a spirit of "affectionate rivalry". Heavy metal "demands the subordination of the voice" to the overall sound of the band. Reflecting metal's roots in the 1960s counterculture, an "explicit display of emotion" is required from the vocals as a sign of authenticity. Critic Simon Frith claims that the metal singer's "tone of voice" is more important than the lyrics. Metal vocals vary widely in style, from the multioctave, theatrical approach of Judas Priest's Rob Halford and Iron Maiden's Bruce Dickinson, to the gruff style of Motörhead's Lemmy and Metallica's James Hetfield, to the growling of many death metal performers, and to the harsh screams of black metal.


 

The prominent role of the bass is also key to the metal sound, and the interplay of bass and guitar is a central element. The bass guitar provides the low-end sound crucial to making the music "heavy". Metal basslines vary widely in complexity, from holding down a low pedal point as a foundation to doubling complex riffs and licks along with the lead and/or rhythm guitars. Some bands feature the bass as a lead instrument, an approach popularized by Metallica's Cliff Burton in the early 1980s.

 

The essence of metal drumming is creating a loud, constant beat for the band using the "trifecta of speed, power, and precision". Metal drumming "requires an exceptional amount of endurance", and drummers have to develop "considerable speed, coordination, and dexterity...to play the intricate patterns" used in metal. A characteristic metal drumming technique is the cymbal choke, which consists of striking a cymbal and then immediately silencing it by grabbing it with the other hand (or, in some cases, the same striking hand), producing a burst of sound. The metal drum setup is generally much larger than those employed in other forms of rock music.



In live performance, loudness—an "onslaught of sound," in sociologist Deena Weinstein's description—is considered vital. In his book Metalheads, psychologist Jeffrey Arnett refers to heavy metal concerts as "the sensory equivalent of war." Following the lead set by Jimi Hendrix, Cream and The Who, early heavy metal acts such as Blue Cheer set new benchmarks for volume. As Blue Cheer's Dick Peterson put it, "All we knew was we wanted more power." A 1977 review of a Motörhead concert noted how "excessive volume in particular figured into the band’s impact." Weinstein makes the case that in the same way that melody is the main element of pop and rhythm is the main focus of house music, powerful sound, timbre, and volume are the key elements of metal. She argues that the loudness is designed to "sweep the listener into the sound" and to provide a "shot of youthful vitality."









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blues

Blues-rock is a hybrid musical genre combining bluesy improvisations over the 12-bar blues and extended boogie jams with rock and roll styles. The core of the blues rock sound is created by the electric guitar, bass guitar and drum kit, with the electric guitar usually amplified through a tube guitar amplifier, giving it an overdriven character.




The style began to develop in the mid-1960s in England and the United States, as what Piero Scaruffi called, a "genre of rhythm'n'blues played by white European musicians".[3] UK Bands such as The Who, The Yardbirds, Led Zeppelin, The Animals, Fleetwood Mac, Cream and The Rolling Stones experimented with music from the older American bluesmen like Howlin' Wolf, Robert Johnson, Jimmy Reed, Muddy Waters, and B.B. King.[4] While the early blues-rock bands "attempted to play long, involved improvisations which were commonplace on jazz records",[4] by the 1970s, blues rock got heavier and more riff-based.[4] By the "early '70s, the lines between blues-rock and hard rock were barely visible",[4] as bands began recording rock-style albums. In the 1980s and 1990s, blues-rock acts returned to their bluesy roots, and some of these, such as the Fabulous Thunderbirds and Stevie Ray Vaughan, flirted with rock stardom."[4]

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