View source for Garage rock

{{Short description|Genre of rock music}}
{{hatnote group|
{{Redirect|Garage band}}
{{Redirect|Garage punk|the 1980s hybrid style|Garage punk (fusion genre)}}
{{redirect|Garage rock revival|the early 2000s genre|Post-punk revival}}
{{Distinguish|UK garage}}
}}
{{Use mdy dates|date=February 2020}}
{{Good article}}
{{Infobox music genre
| name              = Garage rock
| other_names       = * Garage punk
* '60s punk
| stylistic_origins = {{hlist|[[Rock and roll]]|[[blues]]|[[rockabilly]]|[[rhythm and blues]]|[[soul music|soul]]|[[surf music|surf]]|[[instrumental rock]]|[[beat music|beat]]}}
| cultural_origins  = Late 1950s to early 1960s, United States and Canada
| regional_scenes   = {{hlist|United States|Canada|United Kingdom|Australia|Netherlands|Mexico|Uruguay|Peru|Japan |Iran|India|Cambodia}}
| derivatives       = {{hlist||[[Proto-punk]]|[[punk rock]]|[[acid rock]]|[[bubblegum pop]]|[[hard rock]]|[[heavy metal music|heavy metal]]|[[power pop]]|[[psychobilly]]|[[heartland rock]]|[[grunge]]|[[punk blues]]<ref>{{cite web|title=Punk Blues|website=AllMusic|url=http://www.allmusic.com/style/punk-blues-ma0000012191|access-date=June 7, 2007|archive-date=June 4, 2012|archive-url=https://web.archive.org/web/20120604031046/http://www.allmusic.com/style/punk-blues-ma0000012191|url-status=live}}</ref>|[[post-punk revival]]|[[paisley underground]]}}
| subgenres         = [[Frat rock]]
| fusiongenres      = [[Garage punk (fusion genre)|Garage punk]]
| other_topics      = {{hlist|[[Blues rock]]|[[folk rock]]|[[jangle pop]]|[[New wave music|new wave]]|[[psychedelic rock]]}}
}}
'''Garage rock''' (sometimes called '''garage punk''' or '''{{'}}60s punk''') is a raw and energetic style of [[rock music]] that flourished in the mid-1960s, most notably in the United States and Canada, and has experienced a series of subsequent revivals.  The style is characterized by basic [[chord (music)|chord]] structures played on electric guitars and other instruments, sometimes distorted through a [[distortion (music)|fuzzbox]], as well as often unsophisticated and occasionally aggressive lyrics and delivery. Its name derives from the perception that groups were often made up of young amateurs who rehearsed in the family [[Garage (residential)|garage]], although many were professional.
In the US and Canada, [[surf rock]]—and later [[the Beatles]] and other [[beat music|beat]] groups of the [[British Invasion]]—motivated thousands of young people to form bands between 1963 and 1968.  Hundreds of grass-roots acts produced regional hits, some of which gained national popularity, usually played on [[AM radio]] stations.  With the advent of [[psychedelic music|psychedelia]], numerous garage bands incorporated exotic elements into the genre's primitive stylistic framework. After 1968, as more sophisticated forms of rock music came to dominate the marketplace, garage rock records largely disappeared from national and regional charts, and the movement faded. Other countries in the 1960s experienced similar rock movements that have sometimes been characterized as variants of garage rock.
During the 1960s, garage rock was not recognized as a distinct genre and had no specific name, but critical hindsight in the early 1970s—and especially the 1972 [[compilation album]] ''[[Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968|Nuggets]]''—did much to define and memorialize the style.  Between 1971 and 1973, certain American [[rock critic]]s began to retroactively identify the music as a genre and for several years used the term "[[punk rock#Etymology|punk rock]]" to describe it, making it the first form of music to bear the description, predating the more familiar use of the term appropriated by the later [[punk rock]] movement that it influenced.  The term "garage rock" gained favor amongst commentators and devotees during the 1980s.  The style has also been referred to as "[[proto-punk]]", or, in certain instances, "frat rock".
In the early to mid-1980s, several revival scenes emerged featuring acts that consciously attempted to replicate the look and sound of 1960s garage bands.  Later in the decade, a louder, more contemporary garage subgenre developed that combined garage rock with modern punk rock and other influences, sometimes using the [[garage punk (punk subgenre)|garage punk]] label originally and otherwise associated with 1960s garage bands.  In the 2000s, a wave of garage-influenced acts associated with the [[post-punk revival]] emerged, and some achieved commercial success.  Garage rock continues to appeal to musicians and audiences who prefer a "back to basics" or "[[DIY ethic|do-it-yourself]]" musical approach.
{{Toclimit|3}}
==Social milieu and stylistic features==
[[File:The D-Men 1964.JPG|thumb|[[The D-Men]] (later [[The Fifth Estate (band)|the Fifth Estate]]) in 1964]]
The term "garage rock", often used in reference to 1960s acts, stems from the perception that many performers were young amateurs who rehearsed in the family garage.{{sfn|Shuker|2005|p=140}}  While numerous bands were made up of middle-class teenagers from the suburbs, others were from rural or urban areas or were composed of professional musicians in their twenties.{{sfn|Abbey|2006|p=74}}{{sfn|Flanagan|2014}}
Referring to the 1960s, Mike Markesich commented "teenage rock & roll groups (i.e. combos) proliferated Everywheresville USA".{{sfn|Markesich|2012|p=5}}  Though it is impossible to determine how many garage bands were active in the era, their numbers were extensive{{sfnm|1a1=Markesich|1y=2012|p=49|2a1=Nobles|2y=2012|2p=21}} in what Markesich has characterized as a "cyclonic whirlwind of musical activity like none other".{{sfn|Markesich|2012|p=9}} According to Mark Nobles, it is estimated that between 1964 and 1968 over 180,000 bands formed in the United States,{{sfn|Nobles|2012|p=21}} and several thousand US garage acts made records during the era.{{sfn|Markesich|2012|p=49}}{{efn|On page 49, Markesich mentions that the book's core discography (consisting almost exclusively of US acts) includes approximately 16,000 recordings made by over 4500 groups.  Release dates for records generally range from 1963 to 1972 (with several later exceptions), but the vast bulk of the discography is composed of records released between 1964 and 1968).}}
Garage bands performed in a variety of venues.  Local and regional groups typically played at parties, school dances, and teen clubs.{{sfnm|1a1=Markesich|1y=2012|1p=16|2a1=Tupica|2y=2013}}  For acts of legal age (and in some cases younger), bars, nightclubs, and college fraternity socials also provided regular engagements.{{sfnm|1a1=Markesich|1y=2012|1p=16|2a1=Fensterstock|2y=2013}}  Occasionally, groups had the opportunity to [[Opening act|open at shows]] for famous touring acts.{{sfn|Nobles|2012|p=75}}  Some garage rock bands went on tour, particularly those better-known, but even more obscure groups sometimes received bookings or airplay beyond their immediate locales.{{sfn|Nobles|2012|pp=75, 83–88}}  Groups often competed in "[[Battle of the Bands|battles of the bands]]", which allowed musicians to gain exposure and a chance to win a prize, such as free equipment or recording time in a local studio.{{sfnm|1a1=Markesich|1y=2012|1p=20|2a1=Hicks|2y=1999|2p=25|3a1=Lemlich|3y=1992|3pp=17–18, 30}}  Contests were held, locally, regionally and nationally, and three of the most prestigious national events were held annually by the Tea Council of the US,{{sfn|Lemlich|1992|pp=17–18, 30}} the [[Music Circus]],{{sfnm|1a1=Lemlich|1y=1992|1pp=17–18, 30|2a1=Tupica|2y=2013|3a1=Markesich|3y=2012|3p=20}} and the [[United States Junior Chamber]].{{sfn|Markesich|2012|p=20}}
Performances often sounded amateurish, naïve, or intentionally raw, with typical themes revolving around the traumas of high school life and songs about "lying girls" being particularly common.{{sfn|Shuker|2005|p=140}}  The lyrics and delivery were frequently more aggressive than that of the more established acts of the time, often with nasal, growled, or shouted vocals, sometimes punctuated by shrieks or screams at climactic moments of release.{{sfnm|1a1=Shuker|1y=2005|1p=140|2a1=Tupica|2y=2013|3a1=Bogdanov|3a2=Woodstra|3a3=Erlewine|3y=2002|3p=3}}  Instrumentation was frequently characterized by basic [[chord (music)|chord]] structures played on electric guitars or keyboards often distorted through a [[Distortion (music)#1960s: fuzz, distortion, and introduction of commercial devices|fuzzbox]], teamed with bass and drums.{{sfn|Hicks|1999|pp=18–22}}  Guitarists sometimes played using aggressive-sounding [[Barre chord|bar chord]]s or [[power chords]].{{sfn|Hicks|1999|pp=17–18}}  Portable organs such as the [[Farfisa]] were used frequently and harmonicas and hand-held percussion such as [[tambourines]] were not uncommon.{{sfn|Roller|2013|p=119}}<ref>{{cite web|title= Garage Rock Revival|website= AllMusic|url= http://www.allmusic.com/style/garage-rock-revival-ma0000012343|access-date= November 11, 2015|archive-date= November 12, 2015|archive-url= https://web.archive.org/web/20151112003445/http://www.allmusic.com/style/garage-rock-revival-ma0000012343|url-status= live}}</ref> Occasionally, the tempo was sped up in passages sometimes referred to as "raveups".{{sfn|Hicks|1999|p=31}}
Garage rock acts were diverse in both musical ability and style, ranging from crude and amateurish to near-studio level musicianship.  There were also regional variations in flourishing scenes, such as in California and Texas.{{sfn|Hicks|1999|pp=23–24, 53–54, 60–61, 67}}  The north-western states of Idaho, Washington and Oregon had a distinctly recognizable regional sound with bands such as [[the Sonics]] and [[Paul Revere&nbsp;& the Raiders]].{{sfnm|1a1=Blecha|1y=2009|1pp=x, 169–188|2a1=Campbell|2y=2004|2pp=213–214}}
==Recognition and classification==
{{See also|Punk rock#Etymology and classification}}
[[File:The Music Machine.png|thumb|[[The Music Machine]], featuring [[Sean Bonniwell]], in 1966]]
In the 1960s, garage rock had no name and was not thought of as a genre distinct from other rock and roll of the era.{{sfn|Markesich|2012|pp=5, 294}}  Rock critic and future [[Patti Smith Group]] guitarist [[Lenny Kaye]] remarked that the period "dashed by so fast that nobody knew much of what to make of it while it was around".{{sfn|Kaye|1972}}  In the early 1970s, Kaye and other US rock critics, such as [[Dave Marsh]], [[Lester Bangs]], and [[Greg Shaw]], began to retroactively draw attention to the music, speaking nostalgically of mid-1960s garage bands (and subsequent artists then perceived to be their stylistic inheritors) for the first time as a genre.{{sfnm|1a1=Shaw|1y=1973|1p=68|2a1=Laing|2y=2015|2pp=22–23}}
"Garage rock" was not the initial name applied to the style.{{sfn|Markesich|2012|p=295}}  In the early 1970s such critics used the term "[[punk rock#Etymology|punk rock]]" to characterize it,{{sfnm|1a1=Laing|1y=2015|1pp=21–23|2a1=Bangs|2y=2003|2pp=8, 56–57, 61, 64, 101, 113, 225}} making it the first musical form to bear the description.{{sfn|Laing|2015|pp=22–23}}  While the coinage of the term "punk" in relation to rock music is unknown,{{sfn|Laing|2015|p=21}} it was sometimes used then to describe primitive or rudimentary rock musicianship,{{sfn|Flanagan|2014}}{{efn|Used in this sense, the term is detectable as early as 1968 in [[the Mothers of Invention|Frank Zappa and the Mothers of Invention]]'s song "Flower Punk", which, amongst other things, parodies amateur musicians and mimics the lyrics of garage rock staple "[[Hey Joe]]".<ref name="pc42">{{Gilliland |url=https://digital.library.unt.edu/ark:/67531/metadc19801/m1/ |title=Show 42 - The Acid Test: Psychedelics and a sub-culture emerge in San Francisco. [Part 2] |show=42 |track=1}}</ref>}} but more specifically 1960s garage as a style.{{sfnm|1a1=Shaw|1y=1973|1p=68|2a1=Laing|2y=2015|2pp=22–23}}  In the May 1971 issue of ''[[Creem]]'', Dave Marsh described a performance by [[?&nbsp;and the Mysterians]] as an "exposition of punk rock".{{sfn|Shapiro|2006|p=492}}  Conjuring up the mid-1960s, Lester Bangs in June 1971 wrote "...then punk bands started cropping up who were writing their own songs but taking the Yardbirds' sound and reducing it to this kind of goony fuzztone clatter&nbsp;... oh, it was beautiful, it was pure folklore, Old America, and sometimes I think those were the best days ever".{{sfn|Bangs|2003|p=8}}
Much of the revival of interest in 1960s garage rock can be traced to the release of the 1972 album ''[[Nuggets: Original Artyfacts from the First Psychedelic Era|Nuggets]]'' compiled by Lenny Kaye.{{sfnm|1a1=Unterberger|1y=1998|1p=69|2a1=Smith|2y=2009|2pp=96–98|3a1=Hicks|3y=1999|3pp=106–107}} In the liner notes, Kaye used "punk rock" as a collective term for 1960s garage bands and also "garage-punk" to describe a song recorded in 1966 by the Shadows of Knight.{{sfn|Kaye|1972}}  In the January 1973 ''[[Rolling Stone]]'' review of ''Nuggets'', [[Greg Shaw]] commented: "Punk rock is a fascinating genre ... Punk rock at its best is the closest we came in the 1960s to the original rockabilly spirit of rock &  roll."{{sfn|Shaw|1973|p=68}}  In addition to ''Rolling Stone'' and ''Creem'', writings about the genre appeared in various independent "fanzine" publications during the period.{{sfn|Laing|2015|p=23}}  In May 1973, Billy Altman launched the short-lived ''punk magazine'',{{efn|Letters in title were not capitalized.[http://black2com.blogspot.com/2010/04/punk-volume-1-number-1-fanzine.html]}}{{sfn|Laing|2015|p=23}} which pre-dated the more familiar [[Punk (magazine)|1975 publication of the same name]], but, unlike the later magazine, was largely devoted to discussion of 1960s garage and psychedelic acts.{{sfn|Laing|2015|p=23}}  Greg Shaw's seasonal publication, ''[[Bomp! Records#Magazine|Who Put the Bomp!]]'', was influential amongst enthusiasts and collectors of the genre in the early 1970s.{{sfn|Markesich|2012|pp=38–39}}
Though the phrase "punk rock" was the favored generic term in the early 1970s,{{sfn|Laing|2015|pp=22–23}} "garage band" was also mentioned in reference to groups.{{sfn|Flanagan|2014}}  In ''Rolling Stone'' in March 1971, [[John Mendelsohn (musician)|John Mendelsohn]] made an oblique reference to "every last punk teenage garage band having its Own Original Approach".{{sfn|Flanagan|2014}}  The term "punk rock" was later appropriated by the more commonly-known [[punk rock]] movement that emerged in the mid-1970s{{sfnm|1a1=Markesich|1y=2012|1p=295|2a1=Aaron|2y=2013|2p=51}} and is now most commonly applied to groups associated with that movement or who followed in its wake.{{sfn|Markesich|2012|pp=294–296}}  For the 1960s style, the term "garage rock" came into favor in the 1980s.{{sfnm|1a1=Markesich|1y=2012|1p=295|2a1=Bangs|2y=1981|2pp=261–264}}{{efn|The term "garage rock" was used as early as 1977 by Lester Bangs to describe punk band [[the Dead Boys]] in an article appearing in the October 24 edition of ''The Village Voice''.{{sfn|Bangs|2003a|p=108}} Bangs describes the Dead Boys as "classic trashy garage rock".  However, it is difficult to determine whether it was used in quite the same generic sense it is now.  Bangs' subsequent 1981 essay "Protopunk: The Garage Bands", which appeared in ''The Rolling Stone Illustrated History of Rock & Roll'', does use the term "garage bands" to describe 1960s groups,{{sfn|Bangs|1981|pp=261-264}} but not the term "garage rock", indicating that a consensus may not have yet (in 1981) coalesced around the term "garage rock" as the name for the 1960s genre.}}  According to Mike Markesich: "Initially launched into the underground vernacular at the start of the '80s, the garage tag ... slowly sifted its way amid like-minded fans to finally be recognized as a worthy descriptive replacement".{{sfn|Markesich|2012|p=295}}  The term "garage punk" has also persisted,{{sfn|Aaron|2013|p=52}} and style has been referred to as {{"'}}60s punk"{{sfn|Markesich|2012|pp=39–40}} and "[[proto-punk]]".{{sfn|Bangs|1981|pp=261–264}}  "Frat rock" has been used to refer to the [[Rhythm & blues|R&B]]- and [[Surf music|surf rock]]- derived garage sounds of certain acts, such as [[the Kingsmen]] and others.{{sfnm|1a1=Markesich|1y=2012|1pp=10–12|2a1=Shaw|2y=1998|2pp=18–19}}
==1958–1964: Origins==
===Regional rock & roll, instrumental, and surf===
{{See also|Rock and roll|Rhythm and blues|Surf rock|Instrumental rock}}
In the late 1950s, the initial impact of [[rock and roll]] on mainstream American culture waned as major record companies took a controlling influence and sought to market more conventionally acceptable recordings.{{sfn|Morrison|2005|pp=383–342}} Electric musical instruments (particularly guitars) and amplification were becoming more affordable, allowing young musicians to form small groups to perform in front of local audiences of their peers; and in some areas there was a breakdown, especially among radio audiences, of traditional black and white markets, with more white teenagers listening to and purchasing [[R&B]] records.
Numerous young people were inspired by musicians such as [[Chuck Berry]],{{sfn|Roller|2013|p=15}} [[Little Richard]],{{sfn|Blecha|2007|p=59}} [[Bo Diddley]],{{sfn|Blecha|2007|p=59}} [[Jerry Lee Lewis]],{{sfn|Roller|2013|p=15}} [[Buddy Holly]],{{sfn|Roller|2013|p=115}} and [[Eddie Cochran]],{{sfn|Markesich|2012|p=10}} whose recordings of relatively unsophisticated and hard-driving songs from a few years earlier{{sfn|Roller|2013|p=15}} proclaimed personal independence and freedom from parental controls and conservative norms.{{sfn|Gilmore|1990}} [[Ritchie Valens]]' 1958 hit "[[La Bamba (song)|La Bamba]]" helped jump-start the [[Chicano rock]] scene in Southern California and provided a [[Three-chord song|three-chord]] template for the songs of numerous 1960s garage bands.<ref>{{cite web|title=Ritchie Valens Biography|website=Rock & Roll Hall of Fame|url=https://www.rockhall.com/inductees/ritchie-valens|access-date=August 23, 2016|archive-date=August 20, 2016|archive-url=https://web.archive.org/web/20160820161007/https://www.rockhall.com/inductees/ritchie-valens|url-status=live}}</ref> By the end of the 1950s regional scenes were abundant around the country and helped set the stage for garage rock the 1960s.{{sfn|Shaw|1998|pp=18–19}}
[[File:Link Wray - 3-8-03 Photo by Anthony Pepitone.jpg|thumb|left|[[Link Wray]], pictured in 1993, who helped pioneer the use of guitar power chords and distortion as early as 1958 with the instrumental, "[[Rumble (instrumental)|Rumble]]", has been cited as an early influence on garage rock.]]
Guitarist [[Link Wray]] has been cited as an early influence on garage rock and is known for his innovative use of guitar techniques and effects such as power chords and distortion.{{sfn|Hicks|1999|pp=17, 21}}  He is best known for his 1958 instrumental "[[Rumble (instrumental)|Rumble]]", which featured the sound of distorted, "clanging" guitar chords, which anticipated much of what was to come.{{sfn|Hicks|1999|p=17}}  The combined influences of early-1960s [[instrumental rock]] and [[surf rock]] also played significant roles in shaping the sound garage rock.{{sfn|Markesich|2012|pp=10, 12}}{{sfn|Shaw|1998|pp=18–19}}
{{listen|pos=right
|filename=Let's Dance - Chris Montez.ogg|title=Chris Montez — "Let's Dance" (1962)
|description=  The 1962 hit "[[Let's Dance (Chris Montez song)|Let's Dance]]" by [[Chris Montez]], with its use of "cheesy"-sounding Farfisa organ riffs and banging drums,{{sfn|Whiteside|2015}} featured stylistic elements that anticipate the garage sound.<ref>{{cite web|last=Viglione|first=Joe|title=Chris Montez: The More I See You/Call Me|website=AllMusic|url=http://www.allmusic.com/album/the-more-i-see-you-call-me-mw0000710732|access-date=April 3, 2016|url-status=live|archive-url=https://web.archive.org/web/20130603030414/http://www.allmusic.com/album/the-more-i-see-you-call-me-mw0000710732|archive-date=June 3, 2013}}</ref>}}
According to [[Lester Bangs]], "the origins of garage rock as a genre can be traced to California and the Pacific Northwest in the early Sixties".{{sfn|Bangs|1981|pp=261–264}} The [[Pacific Northwest]], which encompasses [[Washington (state)|Washington]], [[Oregon]], and [[Idaho]], played a critical role in the inception of garage rock, hosting the first scene to produce a sizable number of acts, and pre-dated the [[British Invasion]] by several years.  The signature garage sound that eventually emerged in the Pacific Northwest is sometimes referred to as "the Northwest Sound" and had its origins in the late 1950s, when a handful of R&B and rock & roll acts sprang up in various cities and towns in an area stretching from Puget Sound to Seattle and Tacoma, and beyond.{{sfn|Blecha|2009|pp=6, 26, 159–160}}
There and elsewhere, groups of teenagers were inspired directly by touring [[R&B]] performers such as [[Johnny Otis]] and [[Richard Berry (musician)|Richard Berry]], and began to play [[cover version]]s of R&B songs.{{sfn|Blecha|2009|p=1}}  During the late 1950s and early 1960s other instrumental groups playing in the region, such as [[the Ventures]], formed in 1958 in [[Tacoma, Washington]], who came to specialize in a surf rock sound,{{sfn|Blecha|2009|pp=98–99}} and [[The Frantics (Seattle, Washington)|the Frantics]] from Seattle.<ref>{{cite web|last=Planer|first=Lindsay|title=The Frantics: The Complete Frantics on Dolton (Review)|website=AllMusic|url=http://www.allmusic.com/album/the-complete-frantics-on-dolton-mw0000142891|access-date=June 1, 2016|archive-date=September 28, 2016|archive-url=https://web.archive.org/web/20160928012346/http://www.allmusic.com/album/the-complete-frantics-on-dolton-mw0000142891|url-status=live}}</ref> The Blue Notes from Tacoma, Washington, fronted by [[Rockin' Robin Roberts|"Rockin' Robin" Roberts]], were one of the city's first teenage rock & roll bands.{{sfn|Blecha|2009|pp=28–33}} [[The Fabulous Wailers|The Wailers]] (often referred to as the Fabulous Wailers) had national chart hit in 1959, the instrumental "Tall Cool One".{{sfn|Blecha|2009|pp=23, 26, 35–37, 64–65, 67–68}}  After the demise of the Blue Notes, "Rockin' Robin" did a brief stint with the Wailers, and with him on vocals in 1962, they recorded a version of Richard Berry's 1957 song "[[Louie Louie]]"—their arrangement became the much-replicated blueprint for practically every band in the region,{{sfnm|1a1=Blecha|1y=2009|1pp=78–85, 90, 109–116, 138–140, 189–190|2a1=Morrison|2y=2005|2pp=838–842}} including Portland's [[the Kingsmen]] who went on to achieve a major hit with it the following year.{{sfn|Blecha|2009|pp=119, 135–138}}
Other regional scenes of teenage bands playing R&B-oriented rock were well-established in the early 1960s, several years before the [[British Invasion]], in places such as [[Texas]] and the [[Midwest]].{{sfnm|1a1=Hicks|1y=1999|1p=24|2a1=Roller|2y=2013|2pp=22–29}}  At the same time, in [[Southern California]] surf bands formed, playing raucous guitar- and saxophone-driven instrumentals.{{sfn|Bangs|1981|pp=261–264}}  Writer Neil Campbell commented: "There were literally thousands of rough-and-ready groups performing in local bars and dance halls throughout the US ''prior'' to the arrival of the Beatles&nbsp;... [T]he indigenous popular music which functioned in this way&nbsp;... was the proto-punk more commonly identified as ''garage rock''".{{sfn|Campbell|2004|page=213}}
===Frat rock and initial commercial success===
{{listen|pos=right
|filename=Louie Louie - Kingsmen.ogg|title=The Kingsmen – "Louie, Louie" (1963)
|description= "[[Louie, Louie]]" was written by [[Richard Berry (musician)|Richard Berry]] and provided a major hit for [[the Kingsmen]].{{sfn|Pareles|1997}} }}
As a result of cross-pollination between surf rock, hot rod music, and other influences, a new style of rock sometimes referred to as ''frat rock'' emerged, which has been mentioned as an early subgenre of garage rock.{{sfnm|1a1=Markesich|1y=2012|1pp=10–12|2a1=Shaw|2y=1998|2pp=18–19}}  [[The Kingsmen]]'s 1963 off-the-cuff version of "Louie Louie"<ref>[https://www.nytimes.com/1997/01/25/arts/richard-berry-songwriter-of-louie-louie-dies-at-61.html Songwriter of Louie Louie dies ] Retrieved 07 April 2022</ref> became the de facto "big bang" for three-chord rock, starting as a regional hit in Seattle, then rising to No.&nbsp;1 on the national charts and eventually becoming a major success overseas.{{sfnm|1a1=Bangs|1y=1981|1pp=261–264|2a1=Blecha|2y=2009|2pp=119, 135–138}}  The group unwittingly became the target of an [[FBI]] investigation in response to complaints about the song's alleged use of profanity in its nearly indecipherable lyrics.{{sfn|Blecha|2009|pp=133–138, 151–155}}
Though often associated with Pacific Northwest acts such as the Kingsmen, frat rock also thrived elsewhere.{{sfn|Shaw|1998|pp=18–19}}{{sfn|Sabin|1999|p=159}}<ref>{{cite web|title=Frat Rock|website=AllMusic|url=http://www.allmusic.com/subgenre/frat-rock-ma0000012307|access-date=July 12, 2015|archive-date=September 15, 2015|archive-url=https://web.archive.org/web/20150915103642/http://www.allmusic.com/subgenre/frat-rock-ma0000012307|url-status=live}}</ref>  In 1963, singles by several regional bands from other parts of the United States began appearing on the national charts, including "[[Surfin' Bird]]" by [[the Trashmen]] from Minneapolis,{{sfn|Austen|2005|p=19}}<ref>{{cite web|last=Unterberger|first=Richie|author-link=Richie Unterberger|title=The Trashmen|website=AllMusic|url=http://www.allmusic.com/artist/the-astronauts-p15514/biography|access-date=July 17, 2016|archive-date=November 12, 2010|archive-url=https://web.archive.org/web/20101112180104/http://allmusic.com/artist/the-astronauts-p15514/biography|url-status=live}}</ref> which essentially fused together parts from two songs previously recorded by [[the Rivingtons]], "[[Surfin' Bird|The Bird is the Word]]" and "[[Papa Oom Mow Mow]]".{{sfn|Markesich|2012|p=10}}  "[[California Sun]]" by [[the Rivieras]], from South Bend, Indiana followed, becoming a hit in early 1964.{{sfn|Waksman|2009|p=116}}  Frat rock persisted into the mid-1960s with acts such as [[the Swingin' Medallions]], who had a top twenty hit with "[[Double Shot (Of My Baby's Love)]]" in 1966.<ref name="Swing. Med. (Hamilton)">{{cite web |last1=Hamilton |first1=Andrew |title=The Swingin' Medallions |url=https://www.allmusic.com/artist/the-swingin-medallions-mn0000037645/biography |website=AllMusic |access-date=December 15, 2019 |archive-date=December 15, 2019 |archive-url=https://web.archive.org/web/20191215074008/https://www.allmusic.com/artist/the-swingin-medallions-mn0000037645/biography |url-status=live }}</ref>
==1964–1968: Peak years==
===Impact of the Beatles and the British Invasion===
{{Further|Cultural impact of the Beatles|British Invasion}}
During the mid-1960s, garage rock entered its most active period, prompted by the influence of [[the Beatles]] and [[the British Invasion]].{{sfnm|1a1=Shaw|1y=1998|1pp=18–20|2a1=Nobles|2y=2012|2pp=7–10}}  On February 9, 1964, during their first visit to the United States, the Beatles made an historic appearance on ''[[The Ed Sullivan Show]]'' watched by a record-breaking viewing audience of a nation mourning the recent death of [[President John F. Kennedy]].{{sfnm|1a1=Lemlich|1y=1992|1pp=2–3|2a1=Kauppila|2y=2006|2pp=7–8, 10–11|3a1=Dean|3y=2014}}  For many, particularly the young, the Beatles' visit re-ignited the sense of excitement and possibility that had momentarily faded in the wake of the assassination.{{sfnm|1a1=Lemlich|1y=1992|1pp=2–3|2a1=Dean|2y=2014}}  Much of this new excitement was expressed in rock music, often to the chagrin of parents and elders.{{sfnm|1a1=Lemlich|1y=1992|1pp=1–4|2a1=Dean|2y=2014|3a1=Spitz|3y=2013|3p=56}}
In the wake of the Beatles' first visit, a subsequent string of successful British [[beat group]]s and acts achieved success in America between 1964 and 1966, often referred to in the US as "the British Invasion".  Such acts had a profound impact, leading many (often [[Surf music|surf]] or [[Hot rod music|hot rod]] groups) to respond by altering their style, and countless new bands to form, as teenagers around the country picked up guitars and started bands by the thousands.{{sfn|Dean|2014}}  In many cases, garage bands were particularly influenced by the increasingly bold sound of a second wave of British groups with a harder, blues-based attack, such as [[the Kinks]], [[the Who]], [[the Animals]], [[the Yardbirds]], [[Small Faces]], [[Pretty Things]], [[Them (band)|Them]],{{sfn|Hicks|1999|pp=17–18, 62}}<ref>{{cite web|last=Janovitz|first=Bill|title=Them - 'Gloria'|website=AllMusic|url=http://www.allmusic.com/song/gloria-mt0012129851|access-date=June 8, 2017|archive-date=August 6, 2020|archive-url=https://web.archive.org/web/20200806234636/https://www.allmusic.com/song/gloria-mt0012129851|url-status=live}}</ref> and [[the Rolling Stones]]{{sfn|Shepherd|2012|p=222}} often resulting in a raw and primitive sound.  Numerous acts sometimes characterized as garage rock formed in countries outside North America, such as England's [[the Troggs]].{{sfnm|1a1=Hicks|1y=1999|1p=36|2a1=Buckley|2y=2003|2p=1103}}  Their 1966 worldwide hit "[[Wild Thing (The Troggs song)|Wild Thing]]" became a staple in countless American garage bands' repertoires.{{sfn|Laing|2015|p=22}}  By 1965, the influence of the British Invasion prompted folk musicians such as [[Bob Dylan]] and members of [[the Byrds]] to adopt the use of electric guitars and amplifiers, resulting in what became termed [[folk rock]].{{sfn|Markesich|2012|p=14}}  The resulting success of Dylan, the Byrds, and other folk rock acts influenced the sound and approach of numerous garage bands.{{sfn|Markesich|2012|p=14}}
===Height of success and airplay===
[[File:Count Five.png|thumb|[[Count Five]] in 1966]]
In the wake of the British Invasion, garage rock experienced a boom in popularity.  With thousands of garage bands active in the US and Canada, hundreds produced regional hits during the period,{{sfnm|1a1=Bogdanov|1a2=Woodstra|1a3=Erlewine|1y=2002|1p=3|2a1=Szatmary|2y=2013|2p=134}} often receiving airplay on local [[AM radio]] stations.{{sfn|Markesich|2012|p=28}}  Several acts gained wider exposure just long enough to have one or occasionally more national hits in an era rife with "[[One-Hit Wonder|one-hit wonder]]s".{{sfnm|1a1=Markesich|1y=2012|1p=21|2a1=Simmons|2y=2015}} In 1965, [[the Beau Brummels]] broke into the national charts with "[[Laugh, Laugh]]", followed by "[[Just a Little (The Beau Brummels song)|Just a Little]]".{{sfn|Palao|1998|pp=54–55}}  According to Richie Unterberger, they were perhaps the first American group to pose a successful response to the British Invasion.<ref>{{cite web|last=Unterberger|first=Richie|title=The Beau Brummels|website=AllMusic|url=http://www.allmusic.com/artist/the-beau-brummels-mn0000135032/biography|access-date=June 9, 2017|archive-date=May 12, 2016|archive-url=https://web.archive.org/web/20160512155637/http://www.allmusic.com/artist/the-beau-brummels-mn0000135032/biography|url-status=live}}</ref> That year, [[Sam the Sham & the Pharaohs]]' "[[Wooly Bully]]" went to No.&nbsp;2, and they followed it up a year later with another No.&nbsp;2 hit, "Little Red Riding Hood".{{sfnm|1a1=Stax|1y=1998|1pp=77–78|2a1=Markesich|2y=2012|2p=21, 230}}  Also in 1965, [[the Castaways]] almost reached ''[[Billboard Hot 100|Billboard]]''{{'s}} top ten with "[[Liar, Liar (The Castaways song)|Liar, Liar]]", which was later included on the 1972 ''Nuggets'' compilation.{{sfnm|1a1=Stax|1y=1998|1p=37|2a1=Markesich|2y=2012|2p=21}}  Featuring a lead vocal by [[Rick Derringer]], "[[Hang On Sloopy]]" became a No. 1 hit for Indiana's [[the McCoys]],<ref name="McCoys (Unterberger)">{{cite web |last1=Unterberger |first1=Richie |title=The McCoys |url=https://www.allmusic.com/artist/the-mccoys-mn0000890799/biography |website=AllMusic |access-date=July 31, 2020 |archive-date=March 19, 2017 |archive-url=https://web.archive.org/web/20170319101436/http://www.allmusic.com/artist/the-mccoys-mn0000890799/biography |url-status=live }}</ref> topping the ''Billboard'' charts in October 1965.<ref name="McCoys (Mastropolo)">{{cite web |last1=Mastropolo |first1=Frank |title=How the McCoys' Hit the Top of the Charts With 'Hang on Sloopy' |url=https://ultimateclassicrock.com/the-mccoys-hang-on-sloopy/ |website=Ultimate Classic Rock |access-date=July 31, 2020 |date=October 2, 2015 |archive-date=September 8, 2020 |archive-url=https://web.archive.org/web/20200908034731/https://ultimateclassicrock.com/the-mccoys-hang-on-sloopy/ |url-status=live }}</ref> They were immediately signed to [[Bang Records]] and followed up with another hit in 1966, a cover of "[[Fever (Little Willie John song)|Fever]]", originally recorded by [[Little Willie John]].<ref name="McCoys (Unterberger)"/>
It is generally agreed that the garage rock boom peaked around 1966.{{sfnm|1a1=Markesich|1y=2012|1p=23|2a1=Shaw|2y=1998|2p=20}}  That April, [[The Outsiders (American band)|the Outsiders]] from [[Cleveland]] hit  No.&nbsp;5 with "[[Time Won't Let Me]]",{{sfn|Stax|1998|p=52}} which was later covered by acts such as [[Iggy Pop]].<ref>{{cite web|last=Deming|first=Mark|title=Iggy Pop - Party|website=AllMusic|url=http://www.allmusic.com/album/party-mw0000067294|access-date=June 17, 2017|archive-date=July 14, 2017|archive-url=https://web.archive.org/web/20170714070453/http://www.allmusic.com/album/party-mw0000067294|url-status=live}}</ref> In July, [[the Standells]] from Los Angeles almost made it into the US top ten with "[[Dirty Water]]",{{sfn|Stax|1998|p=31}} a song now often associated with Boston.{{sfn|Greene|2013}} "[[Psychotic Reaction]]" by [[the Count Five]] went to No.&nbsp;5 on ''Billboard''{{'}}s Hot 100 and was later memorialized by Lester Bangs in his 1971 piece "Psychotic Reactions and Carburetor Dung".{{sfnm|1a1=Stax|1y=1998|1pp=38–39|2a1=Markesich|2y=2012|2p=23}}
{{listen|pos=left
|filename=Question Mark 96 Tears.ogg|title=Question Mark and the Mysterians – "96 Tears" (1966)
|description= Musicologist Pete Dale notes "96 Tears" as a typical example of 1960s punk, containing a "basic beat, repetitive structure, and a hypnotically simple keyboard part".{{sfn|Dale|2016|p=31}}}}
"[[96 Tears]]" (1966) by [[Question Mark and the Mysterians]], from Saginaw, Michigan, became a No.&nbsp;1 hit in the US.{{sfn|Dimery|2010|p=184}}  The song's organ riffs and theme of teenage heartbreak have been mentioned as a landmark recording of the garage rock era and recognized for influencing the works of acts as diverse as [[the B-52's]], [[the Cramps]], and [[Bruce Springsteen]].{{sfnm|1a1=Dimery|1y=2010|1p=184|2a1=Avant-Mier|2y=2010|2p=102}} Two months later, [[the Music Machine]] reached the top 20 with fuzz guitar-driven "[[Talk Talk (The Music Machine song)|Talk Talk]]",{{sfnm|1a1=Stax|1y=1998|1pp=45–46|2a1=Markesich|2y=2012|2p=32}} whose sound and image that helped pave the way for later acts such as [[the Ramones]].{{sfn|Aaron|2013|p=62}}  [[The Syndicate of Sound]]'s "[[Little Girl (Syndicate of Sound song)|Little Girl]]", which featured a cocksure half-spoken lead vocal set over chiming 12-string guitar chords, reached No.&nbsp;8 on the ''Billboard'' charts{{sfnm|1a1=Stax|1y=1998|1p=60|2a1=Markesich|2y=2012|2p=23}} and was later covered by acts such as [[the Dead Boys]], [[the Banned]], and [[the Chesterfield Kings]].<ref>{{cite web|last=Planer|first=Lindsay|title=The Syndicate of Sound: Little Girl (Review)|website=AllMusic|url=https://www.allmusic.com/song/little-girl-mt0054408242|access-date=June 12, 2020|archive-date=June 12, 2020|archive-url=https://web.archive.org/web/20200612200648/https://www.allmusic.com/song/little-girl-mt0054408242|url-status=live}}</ref> In 1965, a Pittsburgh disc jockey discovered "[[Hanky Panky (The Raindrops song)|Hanky Panky]]", a 1964 song by a since-defunct group, the Shondells; the song's belated success revived the career of [[Tommy James]], who assembled a new group under the name Tommy James and the Shondells{{sfn|Markesich|2012|p=23}}  and produced 12 more top-40 singles.{{sfn|Shuker|2005|p=75}}  In 1967, [[Strawberry Alarm Clock]] emerged from the garage outfit Thee Sixpence and had a No.&nbsp;1 hit in 1967 with psychedelic "[[Incense and Peppermints (album)|Incense and Peppermints]]".{{sfn|Stax|1998|p=50}}
===Female garage bands===
[[File:The Pleasure Seekers (band).jpg|thumb|upright|left|[[The Pleasure Seekers (band)|The Pleasure Seekers]] in 1966 ([[Suzi Quatro]] far right)]]
Garage rock was not an exclusively male phenomenon—it fostered the emergence of [[all-female band]]s whose members played their own instruments.  One of the first of such acts was New York's [[Goldie and the Gingerbreads]], who appeared at New York's Peppermint Lounge in 1964 and accompanied the Rolling Stones on their American tour the following year.<ref name="Eder (Goldie & The Gingerbreads)"/> They had a hit in England with a version of "[[Can't You Hear My Heartbeat]]".<ref name="Eder (Goldie & The Gingerbreads)"/> The [[Continental Co-ets]] from Fulda, Minnesota, were active from 1963 to 1967 and had a hit in Canada with "I Don't Love You No More".{{sfnm|1a1=Steil|1y=2001|2a1=Markesich|2y=2012|2p=85}} [[The Pleasure Seekers (band)|The Pleasure Seekers]] (later known as Cradle), from Detroit, featured [[Suzi Quatro]] and her sisters.<ref name="Ankeny (The Pleasure Seekers)"/>{{sfn|Markesich|2012|p=289}} Quatro went on to greater fame as a musical solo act and television actress in the 1970s.<ref name="Ankeny (The Pleasure Seekers)"/> [[Luv'd Ones|The Luv'd Ones]], also from Michigan, signed with Chicago's [[Dunwich Records]] and cut records with a sometimes somber sound, such as "Up Down Sue".<ref>{{cite web|last=Koda|first=Cub|title=Truth Gotta Stand: Luv'd Ones|website=AllMusic|url=http://www.allmusic.com/album/truth-gotta-stand-mw0000240518|access-date=May 17, 2017|archive-date=January 16, 2016|archive-url=https://web.archive.org/web/20160116201043/http://www.allmusic.com/album/truth-gotta-stand-mw0000240518|url-status=live}}</ref>{{sfn|Markesich|2012|p=156}}
San Francisco's [[the Ace of Cups]] became a fixture in the [[San Francisco Bay Area|Bay Area]] scene in the late 1960s.<ref>{{cite web|last=Unterberger|first=Richie|title=Ace of Cups|website=AllMusic|url=http://www.allmusic.com/artist/ace-of-cups-mn0000752377|access-date=June 8, 2017|archive-date=June 13, 2017|archive-url=https://web.archive.org/web/20170613151043/http://www.allmusic.com/artist/ace-of-cups-mn0000752377|url-status=live}}</ref> Other notable 1960s female groups were [[the Daughters of Eve]] from Chicago<ref>{{cite web|last1=Ankeny|first1=Jason|title=Daughters of Eve|url=http://www.allmusic.com/artist/daughters-of-eve-mn0001989762|website=AllMusic|access-date=May 25, 2017|archive-date=August 6, 2020|archive-url=https://web.archive.org/web/20200806215910/https://www.allmusic.com/artist/daughters-of-eve-mn0001989762|url-status=live}}</ref>{{sfn|Markesich|2012|p=156}} and [[She (American band)|She]] (previously known as the Hairem) from Sacramento, California.<ref>{{cite web|last=Unterberger|first=Richie|author-link=Richie Unterberger|title=She|url=http://www.allmusic.com/artist/she-mn0000021650|access-date=May 25, 2017|website=AllMusic|archive-date=April 13, 2017|archive-url=https://web.archive.org/web/20170413082815/http://www.allmusic.com/artist/she-mn0000021650|url-status=live}}</ref> All-female bands were not exclusive to North America. [[The Liverbirds]] were a beat group from the Beatles' home city of Liverpool, England, but became best known in Germany, often performing in Hamburg's [[Star-Club]].<ref>{{cite web|last=Unterberger|first=Richie|author-link=Richie Unterberger|title=The Liverbirds &#124; From Merseyside to Hamburg: Complete Star Club|website=AllMusic|url=http://www.allmusic.com/album/from-merseyside-to-hamburg-complete-star-club-mw0002002528|access-date=July 13, 2015|archive-date=September 24, 2015|archive-url=https://web.archive.org/web/20150924230927/http://www.allmusic.com/album/from-merseyside-to-hamburg-complete-star-club-mw0002002528|url-status=live}}</ref> All-female groups of the 1960s anticipated later acts associated with the 1970s punk movement, such as [[the Runaways]] and [[the Slits]].{{sfn|MacLeod|2015|pp=122–123}}
===Regional scenes in the United States and Canada===
[[File:Paul Revere and the Raiders 1967.JPG|thumb|upright|[[Paul Revere & the Raiders]] in 1967]]
====Pacific Northwest====
In 1964 and 1965, the impact of the Beatles and the British Invasion shifted the musical landscape, presenting not only a challenge, but also a new impetus, as previously established acts in the Pacific Northwest adapted to the new climate, often reaching greater levels of commercial and artistic success, while scores of new bands formed.  After relocating to Portland, Paul Revere&nbsp;& the Raiders in 1963 became the first rock-and-roll act to be signed to [[Columbia Records]], but did not achieve their commercial breakthrough until 1965 with the song "Steppin Out", which was followed by string of chart-topping hits such as "[[Just Like Me (Paul Revere & the Raiders song)|Just Like Me]]" (originally recorded by [[the Wilde Knights]]) and "[[Kicks (song)|Kicks]]".{{sfnm|1a1=Hicks|1y=1999|1pp=35–36|2a1=Blecha|2y=2009|2pp=124–126, 141, 180–182}}
[[The Sonics]] from Tacoma had a raunchy, hard-driving sound that influenced later acts such as [[Nirvana (band)|Nirvana]] and [[the White Stripes]].{{sfn|Kot|2015}} According to [[Peter Blecha]], they "were the unholy practitioners of punk rock long before anyone knew what to call it".{{sfn|Blecha|2009|p=169}}  Founded in 1960, they eventually enlisted the services of vocalist Gerry Rosalie and saxophonist Rob Lind and proceeded to cut their first single, "[[The Witch (song)|The Witch]]" in 1964.{{sfnm|1a1=Hicks|1y=1999|1pp=3, 17, 172, 178|2a1=Blecha|2y=2009|2pp=174–178}}  The song was re-issued again in 1965, this time with the even more intense "Psycho" on the flip side.{{sfnm|1a1=Blecha|1y=2009|1pp=176–177|2a1=Markesich|2y=2012|2p=219}}  They released several albums and are also known for other "high-octane" rockers such as "Cinderella" and "He's Waitin{{'"}}.{{sfn|Blecha|2009|pp=172–178, 183}} Prompted by the Sonics, the Wailers entered the mid-1960s with a harder-edged sound in the fuzz-driven "Hang Up" and "Out of Our Tree".{{sfn|Blecha|2009|pp=176–177}}
====New England and Mid-Atlantic====
[[File:The Remains 1966.jpg|thumb|upright|right|[[The Remains (band)|The Remains]] in 1966]]
[[The Barbarians (band)|The Barbarians]] from [[Cape Cod]], wearing sandals and long hair and cultivating an image of "noble savages", recorded an album and several singles, such as "[[Are You a Boy or Are You a Girl]]".{{sfnm|1a1=Stax|1y=1998|1p=35|2a1=Marsh|2y=2012}}  In 1964, the group appeared on the ''[[T.A.M.I. Show]]'' on same bill as the Rolling Stones and [[James Brown]].<ref name="Viglione (Victor Moulton)">{{cite web|last=Viglione|first=Joe|title=Victor Moulton|url=http://www.allmusic.com/artist/victor-moulton-mn0001793486/biography|website=AllMusic|access-date=July 6, 2015|archive-url=https://web.archive.org/web/20160310130651/http://www.allmusic.com/artist/victor-moulton-mn0001793486/biography|archive-date=March 10, 2016|url-status=live}}</ref> In the film of the show, their drummer, Victor "Moulty" Moulton, is seen holding one of his drumsticks with a prosthetic clamp while playing—the result of a previous accident in which he lost his left hand.<ref name="Viglione (Victor Moulton)"/>{{sfn|Stax|1998|pp=35–36}} In 1966, Moulton recorded "[[Moulty (song)|Moulty]]", a spoken monologue set to music, in which he recounted the travails of his disfigurement, released under the Barbarians' name, but backed by future members of [[the Band]].<ref name="Viglione (Victor Moulton)"/>{{sfn|Matheson|2014}}
Boston's [[the Remains (band)|the Remains]] (sometimes called Barry & the Remains), led by [[Barry Tashian]], became one of the region's most popular bands and, in addition to issuing five singles and a [[The Remains (album)|self-titled album]], toured with the Beatles in 1966.<ref>{{cite web|last=Unterberger|first=Richie|author-link=Richie Unterberger|title=Barry & the Remains|website=AllMusic|url=http://www.allmusic.com/artist/barry-the-remains-mn0001533507/biography|access-date=July 6, 2015|archive-date=March 12, 2016|archive-url=https://web.archive.org/web/20160312202503/http://www.allmusic.com/artist/barry-the-remains-mn0001533507/biography|url-status=live}}</ref> Also from Boston, [[the Rockin' Ramrods]] released the distortion-driven "She Lied" in 1964, which Rob Fitzpatrick called "a truly spectacular piece of proto-punk, the sort of perfect blend of melody and aggression that [[the Ramones]] would go on to transform the planet with a dozen or more years later".{{sfn|Fitzpatrick|2014}} [[The Squires (Pebbles band)|The Squires]] from Bristol, Connecticut, issued a song now regarded as a garage rock classic, "Going All the Way".{{sfnm|1a1=Markesich|1y=2012|1pp=387|2a1=Stax|2y=1998|2pp=52–53}}  Garage rock flourished up and down the Atlantic coast, with acts such as [[the Vagrants]], from Long Island,{{sfn|Stax|1998|pp=32–33}} and [[Richard and the Young Lions]] from Newark, New Jersey,<ref>{{cite web|last=Ankeny|first=Jason|title=Richard and the Young Lions|url=http://www.allmusic.com/artist/richard-the-young-lions-mn0000348695|access-date=July 7, 2015|archive-url=https://web.archive.org/web/20141122101207/http://www.allmusic.com/artist/richard-the-young-lions-mn0000348695|archive-date=November 22, 2014|url-status=live|website=AllMusic}}</ref> and [[the Blues Magoos]] from the Bronx,{{sfn|Aaron|2013|p=61}} who got their start in New York's Greenwich Village scene and had a hit in 1966 with "[[(We Ain't Got) Nothin' Yet]]", which appeared on their debut album, ''[[Psychedelic Lollipop]]'', along with a lengthy rendition of [[the Nashville Teens]]' "[[Tobacco Road (song)|Tobacco Road]]".{{sfn|Aaron|2013|p=61}}
====California====
{{See also|Sunset Strip|Surf rock|Chicano rock}}
[[File:The Standells.png|thumb|[[The Standells]] in 1965]]
The garage craze came into full swing in California, particularly in Los Angeles.<ref>{{cite web|last1=Erlewine|first1=Stephen Thomas|title=Where the Action Is! Los Angeles Nuggets 1965–1968 (Review)|website=AllMusic|url=http://www.allmusic.com/album/where-the-action-is!-los-angeles-nuggets-1965-1968-mw0000823154|access-date=July 22, 2015|archive-url=https://web.archive.org/web/20150506080158/http://www.allmusic.com/album/where-the-action-is!-los-angeles-nuggets-1965-1968-mw0000823154|archive-date=May 6, 2015|url-status=live}}</ref> The [[Sunset Strip]] was the center of L.A. nightlife, providing bands with high-profile venues to attract a larger following and possibly capture the attention of record labels looking to sign a new act.{{sfn|Markesich|2012|p=14}}  Exploitation films such as ''[[Riot on Sunset Strip]]'', ''[[Mondo Hollywood]]'', captured the musical and social milieu of life on the strip.<ref>{{cite web|title="Riot on Sunset Strip" (Review)|url=http://www.rottentomatoes.com/m/riot_on_sunset_strip/|website=Rotten Tomatoes|access-date=July 6, 2015|archive-url=https://web.archive.org/web/20150925055301/http://www.rottentomatoes.com/m/riot_on_sunset_strip/|archive-date=September 25, 2015|url-status=live}}</ref>  In ''Riot on Sunset Strip'', several bands make appearances at the [[Pandora's Box (nightclub)|Pandora's Box]], including [[the Standells]] who are seen during the opening credits performing the theme song, as well as San Jose's [[the Chocolate Watchband]].{{sfnm|1a1=Hall|1y=2015|2a1=Gibron|2y=2011|3a1=Thorn|3y=2013}} [[The Seeds]] and [[the Leaves]] were favorites with the "in-crowd" and managed to achieve national hits with songs that have come to be regarded as garage classics: the Seeds with "[[Pushin' Too Hard]]"{{sfn|Hicks|1999|p=10}} and the Leaves with their version of "[[Hey Joe]]", which became a staple in countless bands' repertoires.{{sfn|Hicks|1999|pp=47–48}}
[[Love (band)|Love]], a racially integrated band headed by African-American musician [[Arthur Lee (musician)|Arthur Lee]], was one of the most popular bands in the scene.{{sfn|Stax|1998|pp=51–52}}  Their propulsive 1966 proto-punk anthem "[[7 and 7 Is]]" was another song often covered by other groups.{{sfn|Schinder|Schwartz|2008|p=263}}  [[The Music Machine]], led by [[Sean Bonniwell]], employed innovative musical techniques, sometimes building their own custom-made fuzzboxes.<ref name="Robinson (Music Machine)">{{cite web|last1=Robinson|first1=Sean Michael|title=The Music Machine: Black Glove and the Loneliest Garage|url=http://www.hoodedutilitarian.com/2014/10/the-music-machine-black-glove-and-the-loneliest-garage/|website=The Hooded Utilitarian|access-date=July 6, 2015|date=October 28, 2014|archive-url=https://web.archive.org/web/20150721183947/http://www.hoodedutilitarian.com/2014/10/the-music-machine-black-glove-and-the-loneliest-garage/|archive-date=July 21, 2015|url-status=live}}</ref>  Their first album ''[[(Turn On) The Music Machine]]'' featured the hit "Talk Talk".{{sfn|Aaron|2013|p=63}}  [[The Electric Prunes]] were one of the more successful garage bands to incorporate [[Psychedelic rock|psychedelic]] influences into their sound,{{sfn|Markesich|2012|p={{page needed|date=June 2020}}}} such as in the hit "[[I Had Too Much to Dream (Last Night)]]", whose opening featured a buzzing [[fuzzbox#History|fuzz]]-toned guitar, and which appeared on their [[The Electric Prunes (album)|self titled debut LP]].<ref name="Unterberger (Liner Notes/Prunes)">{{cite web|last1=Unterberger|first1=Richie|title=Liner Notes for I Had Too Much to Dream Last Night|url=http://www.richieunterberger.com/prunes1.html|website=Richie Unterberger|access-date=December 21, 2015|archive-url=https://web.archive.org/web/20150924091128/http://www.richieunterberger.com/prunes1.html|archive-date=September 24, 2015|url-status=live}}</ref>  Garage rock was also present in the Latino community of East L.A.{{sfnm|1a1=Avant-Mier|1y=2008|1pp=555–574|2a1=Stax|2y=1998|2p=44}} [[The Premiers]], who had a hit in 1964 with "[[Farmer John (song)|Farmer John]]", and [[Thee Midniters]] are considered prominent figures in [[Chicano rock]],<ref name="Cuevas (Premiers)">{{cite web|last1=Cuevas|first1=Steven|title=Founding member of '60s LA garage rock band the Premiers to be laid to rest in Riverside|url=http://www.scpr.org/news/2011/01/05/22598/founding-member-60s-la-garage-rock-band-premiers-b/|website=Arts & Entertainment|date=January 5, 2011|access-date=July 16, 2015|archive-url=https://web.archive.org/web/20150924114836/http://www.scpr.org/news/2011/01/05/22598/founding-member-60s-la-garage-rock-band-premiers-b/|archive-date=September 24, 2015|url-status=live}}</ref><ref>{{cite web|last=Unterberger|first=Richie|author-link=Richie Unterberger|title=Thee Midniters|website=AllMusic|url=http://www.allmusic.com/artist/thee-midniters-mn0000490304/biography|access-date=July 16, 2015|archive-date=February 28, 2015|archive-url=https://web.archive.org/web/20150228024328/http://www.allmusic.com/artist/thee-midniters-mn0000490304/biography|url-status=live}}</ref> as are the [[San Diego]]–based, [[Cannibal&nbsp;& the Headhunters]], who had a hit with [[Chris Kenner]]'s "[[Land of a Thousand Dances]]".{{sfn|Bangs|1981|pp=261–264}}
San Jose and the [[South Bay (San Francisco Bay Area)|South Bay]] area had a bustling scene featuring the Chocolate Watchband, [[the Count Five]], and [[the Syndicate of Sound]].{{sfn|Kauppila|2006|pp=7–8}}  [[The Chocolate Watchband]] released several singles in 1967, including "Are You Gonna Be There (at the Love In)", which was also featured on their debut album ''[[No Way Out (The Chocolate Watchband album)|No Way Out]]''.<ref>{{cite web|last1=Eder|first1=Bruce|title=The Chocolate Watchband (Review)|website=AllMusic|url=http://www.allmusic.com/artist/the-chocolate-watchband-mn0000774791/biography|access-date=December 21, 2015|archive-url=https://web.archive.org/web/20160511041337/http://www.allmusic.com/artist/the-chocolate-watchband-mn0000774791/biography|archive-date=May 11, 2016|url-status=live}}</ref>  The album's opening cut was a rendition of "Let's Talk About Girls", previously recorded by the Tongues of Truth (aka [[the Grodes]]).{{sfn|Shaw|1998|p=42}}
====Midwest====
[[File:Shadows of Knight composite 1966.jpg|thumb|[[The Shadows of Knight]] in 1966]]
Chicago, known for electric blues, continued to have a strong recording industry in the 1960s and was also a hotbed of activity for garage rock.  Chicago blues as well as the Rolling Stones, [[the Pretty Things]], and [[the Yardbirds]] influenced [[the Shadows of Knight]],{{sfn|Aaron|2013|p=58}} who recorded for [[Dunwich Records]] and were known for a tough, hard-driving sound.{{sfn|Stax|1998|pp=34, 53}}  In 1966 they had hits with versions of [[Them (band)|Them]]'s [[Van Morrison]]-penned "[[Gloria (Them song)|Gloria]]" and Bo Diddley's "Oh Yeah", and also released the aggressive "I'm Gonna Make You Mine",{{sfn|Aaron|2013|p={{page needed|date=June 2020}}}} which Mike Stax remarked "was recorded live in the studio with the amps cranked beyond distortion, this is 60s punk at its sexually charged, aggressive best."{{sfn|Stax|1998|p=53}}  Also recording for Dunwich were [[the Del-Vetts]] and [[The Banshees (band)|the Banshees]], who released the cathartic "Project Blue".{{sfnm|1a1=Jarema|1y=1991|1pp=1–13|2a1=Markesich|2y=2012|2pp=60, 381}}{{sfn|Stax|1998|p=46}}  Other notable Chicago acts were [[the Little Boy Blues]]<ref>{{cite web|last1=Ankeny|first1=Jason|title=Little Boy Blues|website=AllMusic|url=http://www.allmusic.com/artist/little-boy-blues-mn0000258279/biography|access-date=July 7, 2015|archive-date=May 8, 2015|archive-url=https://web.archive.org/web/20150508093632/http://www.allmusic.com/artist/little-boy-blues-mn0000258279/biography|url-status=live}}</ref> and [[the New Colony Six]].{{sfn|Stax|1998|pp=62–63}}
Michigan had one of the largest scenes in the country.  In early 1966, Detroit's [[MC5]] released a version of "I Can Only Give You Everything" before they went on to greater success at the end of the decade.<ref name="Ankeny (MC5 Bio.)"/> [[The Unrelated Segments]] recorded a string of songs beginning with local hit "The Story Of My Life",{{sfn|Stax|1998|p=73}} followed by "Where You Gonna Go".<ref>{{cite web|last1=Ankeny|first1=Jason|title=The Unrelated Segments|website=AllMusic|url=http://www.allmusic.com/artist/the-unrelated-segments-mn0000811169/biography|access-date=July 7, 2015|archive-url=https://web.archive.org/web/20150615042239/http://www.allmusic.com/artist/the-unrelated-segments-mn0000811169/biography|archive-date=June 15, 2015|url-status=live}}</ref>  In 1966, [[the Litter]] from Minneapolis released the guitar-overdriven "[[Action Woman]]", a song which Michael Hann described as "one of garage's gnarliest, snarliest, most tight-trousered pieces of hormonal aggression".<ref>{{cite web|last1=Hann|first1=Michael|title=Old Music: The Electras - Action Woman|website=The Guardian|url=https://www.theguardian.com/music/musicblog/2012/jun/01/old-music-electras-action-woman|date=June 1, 2012|access-date=October 4, 2015|archive-url=https://web.archive.org/web/20160305014750/http://www.theguardian.com/music/musicblog/2012/jun/01/old-music-electras-action-woman|archive-date=March 5, 2016|url-status=live}}</ref>
====Other US Regions====
[[File:Five Americans.png|thumb|upright|[[The Five Americans]] from Oklahoma had a hit with "[[Western Union (song)|Western Union]]" 1967.]]
In Texas, [[the 13th Floor Elevators]] from Austin, featured [[Roky Erickson]] on guitar and vocals and are considered one of the prominent bands of the era.<ref>{{cite web|last1=Deming|first1=Mark|title=The 13th Floor Elevators|website=AllMusic|url=http://www.allmusic.com/artist/the-13th-floor-elevators-mn0000504928/biography|access-date=July 8, 2015|archive-url=https://web.archive.org/web/20150428143029/http://www.allmusic.com/artist/the-13th-floor-elevators-mn0000504928/biography|archive-date=April 28, 2015|url-status=live}}</ref>  They had a regional hit with "[[You're Gonna Miss Me (song)|You're Gonna Miss Me]]" and a string of albums, but the band was hampered by drug busts and related legal problems that hastened their demise.<ref name="Deusner (13th Floor Debut)"/><ref>{{cite web|last1=Deming|first1=Mark|title=The Psychedelic Sounds of the 13th Floor Elevators|website=AllMusic|url=http://www.allmusic.com/album/the-psychedelic-sounds-of-the-13th-floor-elevators-mw0000109270|access-date=December 19, 2015|archive-url=https://web.archive.org/web/20151222170458/http://www.allmusic.com/album/the-psychedelic-sounds-of-the-13th-floor-elevators-mw0000109270|archive-date=December 22, 2015|url-status=live}}</ref>  Richie Unterberger singled out [[The Zakary Thaks]], from Corpus Christi, for their songwriting skills,<ref>{{cite web|last1=Unterberger|first1=Richie|title=Zakary Thaks: Artist Biography|url=http://www.allmusic.com/artist/zakary-thaks-mn0000594426/biography|website=AllMusic|access-date=July 8, 2015|archive-url=https://web.archive.org/web/20150508232023/http://www.allmusic.com/artist/zakary-thaks-mn0000594426/biography|archive-date=May 8, 2015|url-status=live}}</ref> and they are best known for the frantic and sped-up "Bad Girl".{{sfn|Stax|1998|p=89}}  [[The Moving Sidewalks]], from Houston, featured [[Billy Gibbons]] on guitar, later of [[ZZ Top]].{{sfn|Ward|2013}}<ref>{{cite web|last=Unterberger|first=Richie|author-link=Richie Unterberger|title=The Moving Sidewalks|website=AllMusic|url=http://www.allmusic.com/artist/the-moving-sidewalks-mn0000503563/biography|access-date=July 8, 2015|archive-date=May 4, 2015|archive-url=https://web.archive.org/web/20150504131113/http://www.allmusic.com/artist/the-moving-sidewalks-mn0000503563/biography|url-status=live}}</ref> [[The Gentlemen (Dallas band)|The Gentlemen]] from Dallas cut the fuzz-driven "[[It's a Cry'n Shame]]", which in Mike Markesich's ''Teenbeat Mayhem'' is ranked as one of the top two garage rock songs of all time,{{sfn|Markesich|2012|pp=118, 387}} second only to "You're Gonna Miss Me", by the 13th Floor Elevators.{{sfn|Markesich|2012|p=388}}  [[The Outcasts (Texas band)|The Outcasts]] from San Antonio cut two highly regarded songs, "I'm in Pittsburgh and It's Raining", which became a local hit,  and "1523 Blair", that Jason Ankeny described as "Texas psychedelia at its finest".<ref>{{cite web|last1=Ankeny|first1=Jason|title=The Outcasts|website=AllMusic|url=http://www.allmusic.com/artist/the-outcasts-mn0001627238/biography|access-date=July 8, 2015|archive-url=https://web.archive.org/web/20140114060311/http://www.allmusic.com/artist/the-outcasts-mn0001627238/biography|archive-date=January 14, 2014|url-status=live}}</ref>
The [[Five Americans]] were from Durant, Oklahoma, and released a string of singles, such as "[[Western Union (song)|Western Union]]", which became a top 10 US hit in 1967.{{sfn|Markesich|2012|pp=21, 110}}  From Phoenix, Arizona, [[The Spiders (American rock band)|the Spiders]] featured Vincent Furnier, later known as [[Alice Cooper]], and  eventually adopted that name as the group's moniker.{{sfn|Aaron|2013|p=98}}  As the Spiders they recorded two singles, most notably "Don't Blow Your Mind", which became a local hit in Phoenix in 1966.<ref name="Hall of Fame (Alice Cooper)">{{cite web|title=Alice Cooper Biography|url=https://www.rockhall.com/inductees/alice-cooper|website=Rock and Roll Hall of Fame|access-date=July 6, 2015|archive-url=https://web.archive.org/web/20150727093609/https://rockhall.com/inductees/alice-cooper/|archive-date=July 27, 2015|url-status=live}}</ref>  The group ventured to Los Angeles in 1967 in hopes of achieving greater success, however they found it not there, but while in Detroit several years later, re-christened as [[Alice Cooper (band)|Alice Cooper]].<ref name="Hall of Fame (Alice Cooper)"/>{{sfn|Dominic|2003}}
From Florida, Orlando's [[We the People (band)|We the People]] came about as the result of the merger of two previous bands and featured songwriters Tommy Talton and Wane Proctor.<ref name="Unterberger (We the People)">{{cite web|last=Unterberger|first=Richie|author-link=Richie Unterberger|title=We the People|website=AllMusic|url=http://www.allmusic.com/artist/we-the-people-mn0000816941/biography|access-date=July 9, 2015|archive-date=June 15, 2015|archive-url=https://web.archive.org/web/20150615044313/http://www.allmusic.com/artist/we-the-people-mn0000816941/biography|url-status=live}}</ref> They recorded a string of self-composed songs, such as primitive rockers, "You Burn Me Upside Down" and "Mirror of my Mind", as well as the esoteric "In the Past", later covered by the Chocolate Watchband.<ref name="Unterberger (We the People)"/> [[Evil (band)|Evil]] from Miami, had a hard, sometimes thrashing sound and a reputation for musical mayhem, typified in songs such as "From a Curbstone" and "I'm Movin' On".{{sfn|Lemlich|1992|pp=14–17, 29–30, 34–35, 49, 51, 88}}
====Canada, islands, and territories====
[[File:The Paupers.png|thumb|[[The Paupers]] in 1967]]
Like the United States, Canada experienced a large and vigorous garage rock movement. Vancouver's [[The Northwest Company (band)|the Northwest Company]], who recorded "Hard to Cry", had a power chord-driven approach.<ref>{{cite web|last=Montfichet|first=Stansted|title=Northwest Company|website=AllMusic|url=http://www.allmusic.com/artist/northwest-company-mn0001780132/biography|access-date=October 16, 2015|archive-url=https://web.archive.org/web/20180729230516/https://www.allmusic.com/artist/northwest-company-mn0001780132/biography|archive-date=July 29, 2018|url-status=live}}</ref> The Painted Ship were known for primal songs such as the angst-ridden "Frustration" and "Little White Lies", which Stansted Montfichet called a "punk classic".<ref>{{cite web|last1=Montfichet|first1=Stansted|title=Painted Ship|website=AllMusic|url=http://www.allmusic.com/artist/painted-ship-mn0001822541|access-date=July 13, 2016|archive-url=https://web.archive.org/web/20160617111941/http://www.allmusic.com/artist/painted-ship-mn0001822541|archive-date=June 17, 2016|url-status=live}}</ref>  Chad Allan and the Reflections from [[Winnipeg]], Manitoba, began in 1962 and had a hit in the mid-1960s, [[Johnny Kidd & the Pirates|Johnny Kidd&nbsp;& the Pirates]]' "[[Shakin' All Over]]", then went on to greater success in the late 1960s and early 1970s as [[the Guess Who]].<ref>{{cite web|last1=Sendra|first1=Tim|title=Shakin' All Over/Hey Ho/It's Time: All Music Review|website=AllMusic|url=http://www.allmusic.com/album/shakin-all-over-hey-ho-its-time-mw0000318376|access-date=July 9, 2010|archive-url=https://web.archive.org/web/20131228010540/http://www.allmusic.com/album/shakin-all-over-hey-ho-its-time-mw0000318376|archive-date=December 28, 2013|url-status=live}}</ref>
In 1966, [[The Ugly Ducklings (band)|the Ugly Ducklings]] from [[Toronto]] had a hit with "Nothin{{'"}} and toured with the Rolling Stones.<ref>{{cite web|last=Unterberger|first=Richie|author-link=Richie Unterberger|title=The Ugly Ducklings|website=AllMusic|url=http://www.allmusic.com/artist/the-ugly-ducklings-mn0000209318/biography|access-date=July 9, 2015|archive-date=February 21, 2015|archive-url=https://web.archive.org/web/20150221130934/http://www.allmusic.com/artist/the-ugly-ducklings-mn0000209318/biography|url-status=live}}</ref><ref>{{cite web|last1=Pettipas|first1=Keith|title=The Ugly Ducklings - Somewhere Outside|url=http://www.allmusic.com/album/somewhere-outside-mw0000474564|website=AllMusic|access-date=January 29, 2017|archive-url=https://web.archive.org/web/20170202195252/http://www.allmusic.com/album/somewhere-outside-mw0000474564|archive-date=February 2, 2017|url-status=live}}</ref>  [[The Haunted (Canadian band)|The Haunted]] from Montreal specialized in a gritty blues-based sound influenced by the Rolling Stones and released the single "1–2–5".<ref>{{cite web|last=Unterberger|first=Richie|author-link=Richie Unterberger|title=The Haunted|website=AllMusic|url=http://www.allmusic.com/artist/the-haunted-mn0001469476/biography|access-date=July 26, 2015|archive-date=December 22, 2015|archive-url=https://web.archive.org/web/20151222203256/http://www.allmusic.com/artist/the-haunted-mn0001469476/biography|url-status=live}}</ref> Two other bands from Toronto were [[the Paupers]] and [[the Mynah Birds]].  The Paupers released several singles and two albums.<ref>{{cite web|last=Bush|first=John|title=The Paupers|website=AllMusic|url=http://www.allmusic.com/artist/the-paupers-mn0002141110/biography|access-date=July 10, 2015|archive-url=https://web.archive.org/web/20160313105835/http://www.allmusic.com/artist/the-paupers-mn0002141110/biography|archive-date=March 13, 2016|url-status=live}}</ref>  The Mynah Birds featured the combination of [[Rick James]] on lead vocals and [[Neil Young]] on guitar, who both went on to fame as solo acts, as well as [[Bruce Palmer]] who later accompanied Young to California to join [[Buffalo Springfield]] in 1966.<ref>{{cite web|last=Unterberger|first=Richie|title=The Mynah Birds|website=AllMusic|url=http://www.allmusic.com/artist/the-mynah-birds-mn0001374260|access-date=June 16, 2017|archive-date=June 13, 2017|archive-url=https://web.archive.org/web/20170613072711/http://www.allmusic.com/artist/the-mynah-birds-mn0001374260|url-status=live}}</ref><ref name="Jones (Mynah Birds)">{{cite web|last1=Jones|first1=Josh|title=When Neil Young & Rick James Created the 60's Motown Band, The Mynah Birds|url=http://www.openculture.com/2014/05/when-neil-young-rick-james-created-the-60s-motown-band-the-mynah-birds.html|website=Open Culture|access-date=July 10, 2015|date=May 1, 2014|archive-url=https://web.archive.org/web/20150924061438/http://www.openculture.com/2014/05/when-neil-young-rick-james-created-the-60s-motown-band-the-mynah-birds.html|archive-date=September 24, 2015|url-status=live}}</ref>  They signed a contract with [[Motown Records]] and recorded several songs including "It's My Time".<ref name="Jones (Mynah Birds)"/>
Outside of the mainland, garage rock became a fixture in the islands and territories adjacent to the continent.<ref>{{cite web|last=Unterberger|first=Richie|author-link=Richie Unterberger|title=The Savages|website=AllMusic|url=http://www.allmusic.com/artist/the-savages-mn0001217264/biography|access-date=July 10, 2015|archive-date=July 7, 2018|archive-url=https://web.archive.org/web/20180707042104/https://www.allmusic.com/artist/the-savages-mn0001217264/biography|url-status=live}}</ref> [[The Savages (Bermuda band)|The Savages]] from Bermuda recorded the album ''[[Live 'n Wild]]'',<ref>{{cite web|last=Unterberger|first=Richie|author-link=Richie Unterberger|title=The Savages: Live 'n Wild (Review)|website=AllMusic|url=http://www.allmusic.com/album/live-n-wild-mw0000886479|access-date=April 24, 2017|archive-date=April 24, 2017|archive-url=https://web.archive.org/web/20170424174845/http://www.allmusic.com/album/live-n-wild-mw0000886479|url-status=live}}</ref> which features "[[The World Ain't Round It's Square]]", an angry song of youthful defiance.{{sfn|Markesich|2012|pp=209, 387}}
===Variants in regions outside of the US and Canada===
The garage phenomenon, though most often associated with North America, was not exclusive to it.{{sfnm|1a1=Palao|1y=1998|1p=26|2a1=Bhatia|2y=2014|2pp=10, 51}}  As part of the international [[Beat music|beat]] trend of the 1960s, other countries developed grass-roots rock movements that closely mirrored what was happening in North America, which have sometimes been characterized as variants of garage rock or as closely related forms.<ref name="Erlewine (Nuggets II)"/><ref name="Lymangrover (Los Nuggetz)"/><ref name="GS I Love You">{{cite web|last=Unterberger|first=Richie|title=GS I Love You: Japanese Garage Bands of the '60s|url=http://www.allmusic.com/album/gs-i-love-you-japanese-garage-bands-of-the-60s-mw0000087195|website=AllMusic|access-date=June 2, 2017|archive-date=July 11, 2017|archive-url=https://web.archive.org/web/20170711033900/http://www.allmusic.com/album/gs-i-love-you-japanese-garage-bands-of-the-60s-mw0000087195|url-status=live}}</ref>{{sfn|Marks|McIntyre|2010|pp=7–9, 317}}
====United Kingdom====
{{See also|British Invasion|Freakbeat}}
[[File:Them (band).png|thumb|[[Them (band)|Them]], featuring [[Van Morrison]] (center), in 1965]]
Although Britain did not develop a distinct garage rock genre in the same way as the United States, many British beat groups shared important characteristics with the American bands who often attempted to emulate them, and the music of certain UK acts has been mentioned in particular relation to garage.{{sfn|Bangs|2003|pp=56–57, 61, 64, 101}}{{sfn|Hicks|1999|p=36}}
Beat music emerged in Britain in the early 1960s, as musicians who originally came together to play rock and roll or [[skiffle]] assimilated American rhythm and blues influences. The genre provided the model for the format of many later rock groups.{{sfn|Longhurst|2007|p=98}}  The [[Liverpool]] area had a particularly high concentration of acts and venues,<ref>{{cite web|url=http://www.triumphpc.com/mersey-beat/birth/|title=Birth of Mersey Beat 1|website=triumphpc.com|access-date=January 18, 2018|archive-url=https://web.archive.org/web/20180729230455/http://www.triumphpc.com/mersey-beat/birth/|archive-date=July 29, 2018|url-status=live}}</ref> and the Beatles emerged from this thriving music scene.{{sfn|Puterbaugh|1988}}  In London and elsewhere, certain groups developed a harder-driving, distinctively [[British blues]] style.{{sfn|Schwartz|2007|p=133}}  Nationally popular blues- and R&B- influenced beat groups included [[the Rolling Stones]] and [[the Yardbirds]] from London, [[the Animals]] from [[Newcastle upon Tyne|Newcastle]], and [[Them (band)|Them]], from [[Belfast]], Northern Ireland, featuring [[Van Morrison]].
Coinciding with the "British Invasion" of the US, a musical cross-fertilization developed between the two continents.  In their 1964 transatlantic hits "[[You Really Got Me]]" and "[[All Day and All of the Night]]", [[the Kinks]] took the influence of the Kingsmen's version of "Louie Louie" and applied greater volume and distortion, which in turn, influenced the approach of many American garage bands.{{sfnm|1a1=Hicks|1y=1999|1pp=17–18|2a1=Kitts|2y=2007|2p=41}}  With Van Morrison, Them recorded two songs widely covered by American garage bands: "[[Gloria (Them song)|Gloria]]", which became a big hit for Chicago's [[the Shadows of Knight]], and "I Can Only Give You Everything".{{sfn|Hicks|1999|p=34}}<ref>{{cite web|last=Unterberger|first=Richie|title=Them|url=http://www.allmusic.com/artist/them-mn0000925181/biography|access-date=July 10, 2015|archive-url=https://web.archive.org/web/20130918190809/http://www.allmusic.com/artist/them-mn0000925181/biography|archive-date=September 18, 2013|website=AllMusic}}</ref> [[Keith Richards]]'s use of fuzz distortion in the Rolling Stones' 1965 hit, "[[(I Can't Get No) Satisfaction]]" affected the sound of countless American garage bands.{{sfn|Markesich|2012|p=15}}  Also influential were [[the Pretty Things]] and [[the Downliners Sect]], both of whom were known for a particularly raw approach to blues-influenced rock that has sometimes been compared to garage.<ref name="Pretty Things influence">{{cite web |last1=Lindblad |first1=Peter |title=The Pretty Things recall their wild past and explore their angry present |url=https://www.goldminemag.com/articles/the-pretty-things-recall-their-wild-past-and-explore-their-angry-present |website=Goldmine |access-date=April 10, 2019 |date=April 21, 2010}}</ref><ref name="Erlewine (Pretty Things)">{{cite web|last1=Erlewine|first1=Stephen Thomas|title=The Pretty Things|website=AllMusic|url=http://www.allmusic.com/artist/the-pretty-things-mn0000489676/biography|access-date=July 12, 2015|archive-url=https://web.archive.org/web/20150820201717/http://www.allmusic.com/artist/the-pretty-things-mn0000489676/biography|archive-date=August 20, 2015|url-status=live}}</ref><ref name="Unterberger (Downliners Sect)">{{cite web|last1=Unterberger|first1=Richie|title=The Downliners Sect|website=AllMusic|url=http://www.allmusic.com/artist/the-downliners-sect-mn0000117803/biography|access-date=July 20, 2015|archive-url=https://web.archive.org/web/20150626064542/http://www.allmusic.com/artist/the-downliners-sect-mn0000117803/biography|archive-date=June 26, 2015|url-status=live}}</ref>
[[File:The Troggs (1966).png|thumb|[[The Troggs]] in 1966]]
By 1965, bands such as [[the Who]] and [[the Small Faces]] tailored their appeal to the [[mod subculture]] centered in London.<ref>{{cite web|last1=Butcher|first1=Terrance|title=The Who, the Mods, and the Quadrophenia Connection|url=http://www.popmatters.com/review/117196-the-who-the-mods-and-the-quadrophenia-connection/|website=Pop Matters|access-date=June 18, 2017|date=January 5, 2010|archive-url=https://web.archive.org/web/20170529222942/http://www.popmatters.com/review/117196-the-who-the-mods-and-the-quadrophenia-connection/|archive-date=May 29, 2017|url-status=live}}</ref><ref>{{cite web|last1=Eder|first1=Bruce|title=Small Faces|website=AllMusic|url=http://www.allmusic.com/artist/small-faces-mn0000423267/biography|access-date=July 10, 2015|archive-url=https://web.archive.org/web/20150502230821/http://www.allmusic.com/artist/small-faces-mn0000423267/biography|archive-date=May 2, 2015|url-status=live}}</ref> Some of the harder-driving and more obscure bands associated with the mod scene in the UK are sometimes referred to as [[Freakbeat]], which is sometimes viewed as a more stylish British equivalent of garage rock.<ref>{{cite web|title=Freakbeat|url=http://www.allmusic.com/style/freakbeat-ma0000012342|website=AllMusic|access-date=June 18, 2017|archive-url=https://web.archive.org/web/20170703120729/http://www.allmusic.com/style/freakbeat-ma0000012342|archive-date=July 3, 2017|url-status=live}}</ref><ref name="Erlewine (Nuggets II)"/><ref>{{cite web|title=Pop/Rock » British Invasion » Freakbeat|website=AllMusic|url=http://www.allmusic.com/style/freakbeat-ma0000012342/artists|access-date=July 10, 2015|archive-url=https://web.archive.org/web/20140711160455/http://www.allmusic.com/style/freakbeat-ma0000012342/artists|archive-date=July 11, 2014|url-status=live}}</ref> Several bands often mentioned as Freakbeat are [[The Creation (band)|the Creation]], [[the Action]], [[the Move]], [[the Smoke]], [[the Sorrows]], and [[Wimple Winch]].<ref name="Erlewine (Nuggets II)"/>
Some commentators have branded [[the Troggs]] as garage rock.{{sfn|Hicks|1999|p=36}}<ref name="presley/troggs/garage">{{cite magazine|title=Troggs Singer Reg Presley Dead at 71|url=https://www.rollingstone.com/music/music-news/troggs-singer-reg-presley-dead-at-71-119797/|magazine=Rolling Stone|access-date=March 21, 2019|archive-url=https://web.archive.org/web/20190321022532/https://www.rollingstone.com/music/music-news/troggs-singer-reg-presley-dead-at-71-119797/|archive-date=March 21, 2019|date=February 5, 2013|url-status=live}}</ref><ref name="Frisicano (Troggs)">{{cite web|last1=Frisicano|first1=Andrew|title=The Best Garage Bands of All Time|url=https://www.timeout.com/newyork/music/best-garage-bands-of-all-time|website=Time Out|access-date=February 27, 2018|date=November 2, 2016|archive-url=https://web.archive.org/web/20180227153738/https://www.timeout.com/newyork/music/best-garage-bands-of-all-time|archive-date=February 27, 2018|url-status=live}}</ref>  Extolling the virtues of their seemingly unrepentant primitivism and sexually charged innuendo, in 1971 Lester Bangs memorialized the Troggs as a quintessential "punk" [i.e. garage] band of the 1960s.{{sfn|Bangs|2003|pp=56–58, 101}}  They had a worldwide hit in 1966 with "[[Wild Thing (The Troggs song)|Wild Thing]]", written by American [[Chip Taylor]].<ref name="Unterberger (Troggs)">{{cite web|last1=Unterberger|first1=Richie|title=The Troggs|website=AllMusic|url=http://www.allmusic.com/artist/the-troggs-mn0000573870/biography|access-date=July 10, 2015|archive-url=https://web.archive.org/web/20150804064608/http://www.allmusic.com/artist/the-troggs-mn0000573870/biography|archive-date=August 4, 2015|url-status=live}}</ref>  [[The Equals]], a racially integrated band from North London whose membership included guitarist [[Eddy Grant]], later a popular solo artist, specialized in an upbeat style of rock—their 1966 recording "[[Baby, Come Back (The Equals song)|Baby Come Back]]" was a hit in Europe before becoming a British number one in 1968.<ref name="Bush (Equals)">{{cite web|last1=Bush|first1=John|title=The Equals|website=AllMusic|url=http://www.allmusic.com/artist/the-equals-mn0000056833/biography|access-date=July 10, 2015|archive-url=https://web.archive.org/web/20150331031020/http://www.allmusic.com/artist/the-equals-mn0000056833/biography|archive-date=March 31, 2015|url-status=live}}</ref>
====Continental Europe====
{{See also|Nederbeat|Beat-Club}}
[[File:Fanclub - Q65 - Jay Baar 3.png|thumb|upright|[[Q65 (band)|Q65]] in 1967]]
The beat boom swept through continental Europe, resulting in the emergence of national movements sometimes cited as European variants of garage rock.<ref name="Unterberger (Trans World Punk)">{{cite web|last1=Unterberger|first1=Richie|title=Trans-World Punk Rave-Up, Vol. 1–2: Review|website=AllMusic|url=http://www.allmusic.com/album/trans-world-punk-rave-up-vol-1-2-mw0000938459|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20160314084101/http://www.allmusic.com/album/trans-world-punk-rave-up-vol-1-2-mw0000938459|archive-date=March 14, 2016|url-status=live}}</ref><ref name="Unterberger (Nederbeat)">{{cite web|last1=Unterberger|first1=Richie|title=Living in the Past: 19 Forgotten Nederbiet Gems '64-'67|url=http://www.allmusic.com/album/living-in-the-past-19-forgotten-nederbiet-gems-64-67-mw0000996600|website=AllMusic|access-date=May 11, 2017|archive-url=https://web.archive.org/web/20171201131603/https://www.allmusic.com/album/living-in-the-past-19-forgotten-nederbiet-gems-64-67-mw0000996600|archive-date=December 1, 2017|url-status=live}}</ref>  The Netherlands had one of the largest scenes, sometimes retroactively described as [[Nederbeat]].<ref name="Unterberger (Nederbeat)"/><ref name="Start (Nederbeat)">{{cite web|title=Dutch Sixties Beatgroups|url=http://www.nederbiet.nl/home.html|website=Start|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20150714230416/http://www.nederbiet.nl/home.html|archive-date=July 14, 2015|url-status=live}} Website database includes over 1,400 mid-1960s bands from the Netherlands</ref>  From Amsterdam, [[The Outsiders (Dutch band)|the Outsiders]], who Richie Unterberger singled out as one of the most important 1960s rock acts from a non-English speaking country, featured [[Wally Tax]] on lead vocals and specialized in an eclectic R&B and folk-influenced style.<ref name="Deming (Outsiders--Dutch)">{{cite web|last1=Deming|first1=Mark|title=The Outsiders|website=AllMusic|url=http://www.allmusic.com/artist/the-outsiders-mn0001620705/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20150812032631/http://www.allmusic.com/artist/the-outsiders-mn0001620705/biography|archive-date=August 12, 2015|url-status=live}}</ref><ref name="Allmusic (Outsiders--Dutch Rev.)">{{cite web|title=Thinking About Today: Their Complete Works (Outsiders)|website=AllMusic|url=http://www.allmusic.com/album/thinking-about-today-their-complete-works-mw0002497056|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20170711013358/http://www.allmusic.com/album/thinking-about-today-their-complete-works-mw0002497056|archive-date=July 11, 2017|url-status=live}}</ref> [[Q65 (band)|Q65]] from the Hague had a diverse but primitive sound, particularly on their early records.<ref name="Eder (Q65)">{{cite web|last1=Eder|first1=Bruce|title=Q 65|website=AllMusic|url=http://www.allmusic.com/artist/q-65-mn0000379341/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20170711024848/http://www.allmusic.com/artist/q-65-mn0000379341/biography|archive-date=July 11, 2017|url-status=live}}</ref><ref name="Deming (Q65)">{{cite web|last1=Deming|first1=Mark|title=Nothing But Trouble: The Best of Q65|website=AllMusic|url=http://www.allmusic.com/album/nothing-but-trouble-the-best-of-q65-mw0000796075|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20151222202512/http://www.allmusic.com/album/nothing-but-trouble-the-best-of-q65-mw0000796075|archive-date=December 22, 2015|url-status=live}}</ref>  Also from the Hague, the Golden Earrings, who later gained international fame in the 1970s and 1980s as [[Golden Earring]], had a top ten hit in the Netherlands in 1965 with "Please Go", followed by "That Day", which went to number two on the Dutch charts.<ref name="Elliott (Gold. Earrings)">{{cite web|last1=Elliott|first1=Steve|title=Something Else! Interview: Frans Krassenburg of the Golden Earrings|url=http://somethingelsereviews.com/2013/03/03/something-else-interview-frans-krassenburg-of-the-golden-earrings/|website=Something Else!|access-date=May 11, 2017|date=March 3, 2013|archive-url=https://web.archive.org/web/20170802105648/http://somethingelsereviews.com/2013/03/03/something-else-interview-frans-krassenburg-of-the-golden-earrings/|archive-date=August 2, 2017|url-status=live}}</ref><ref name="Hann (Gold. Earrings)">{{cite web|last1=Hann|first1=Michael|title=Old music: Golden Earring – Twilight Zone|url=https://www.theguardian.com/music/musicblog/2012/dec/13/old-music-golden-earring-twilight-zone|website=The Guardian|access-date=May 11, 2017|date=December 13, 2012|archive-url=https://web.archive.org/web/20170709203448/https://www.theguardian.com/music/musicblog/2012/dec/13/old-music-golden-earring-twilight-zone|archive-date=July 9, 2017|url-status=live}}</ref>
Having nurtured the Beatles' early development in Hamburg, Germany was well-positioned to play a key role as beat music overtook the continent.  Bands from Britain and around Europe traveled there to gain exposure, playing in clubs and appearing on popular German television shows such as ''[[Beat Club]]'' and ''Beat! Beat! Beat!''<ref name="Brady (Beat Club)">{{cite web|last1=Brady|first1=Kate|title=Beat-Club: when TV and music Revolutionized German youth|url=http://www.dw.com/en/beat-club-when-tv-and-music-revolutionized-german-youth/a-17906830|website=DW|access-date=July 11, 2015|date=July 9, 2014|archive-url=https://web.archive.org/web/20150923223818/http://www.dw.com/en/beat-club-when-tv-and-music-revolutionized-german-youth/a-17906830|archive-date=September 23, 2015|url-status=live}}</ref><ref name="TV.com (Beat! Beat! Beat!)">{{cite web|title=Beat! Beat! Beat!|url=http://www.tv.com/shows/beat-beat-beat/|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20150313175015/http://www.tv.com/shows/beat-beat-beat/|archive-date=March 13, 2015|url-status=live}}</ref> [[The Lords (German band)|The Lords]], founded in Düsseldorf in 1959, pre-dated the British Invasion by several years, and adapted their sound and look to reflect the influence of the British groups, even singing in English, but providing a comic twist.<ref name="Unterberger (Lords)">{{cite web|last1=Unterberger|first1=Richie|title=The Lords|website=AllMusic|url=http://www.allmusic.com/artist/the-lords-mn0000082040/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20151210183208/http://www.allmusic.com/artist/the-lords-mn0000082040/biography|archive-date=December 10, 2015|url-status=live}}</ref> [[The Rattles]] from Hamburg also had a lengthy history, but were more serious in their approach.<ref name="Unterberger (Rattles)">{{cite web|last1=Unterberger|first1=Richie|title=The Rattles|website=AllMusic|url=http://www.allmusic.com/artist/the-rattles-mn0000895756/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20150626032337/http://www.allmusic.com/artist/the-rattles-mn0000895756/biography|archive-date=June 26, 2015|url-status=live}}</ref>  There were numerous bands active in Spain, such as [[Los Bravos]], who had a worldwide hit with "[[Black Is Black]]",<ref name="Unterberger (Bravos)">{{cite web|last1=Unterberger|first1=Richie|title=Los Bravos|website=AllMusic|url=http://www.allmusic.com/artist/los-bravos-mn0000290390/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20150423074711/http://www.allmusic.com/artist/los-bravos-mn0000290390/biography|archive-date=April 23, 2015|url-status=live}}</ref> as well as los Cheyenes and others.<ref name="Unterberger (Cheyenes)">{{cite web|last1=Unterberger|first1=Richie|title=Los Cheyenes|website=AllMusic|url=http://www.allmusic.com/artist/los-cheyenes-mn0000423980/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20160313101830/http://www.allmusic.com/artist/los-cheyenes-mn0000423980/biography|archive-date=March 13, 2016|url-status=live}}</ref>
====Latin America====
{{See also|Uruguayan Invasion}}
[[File:Los Mockers by Olga Masa, 1965.jpg|thumb|[[Los Mockers]], from Uruguay in 1965]]
Latin America got swept up in the worldwide beat trend and developed several of its own national scenes.  Mexico experienced its own equivalent to North American garage.<ref name="Lymangrover (Los Nuggetz)"/> The nation's proximity to the United States was detectable in the raw sounds produced by a number of groups while the country simultaneously embraced the British Invasion.{{sfnm|1a1=Coerver|1a2=Pasztor|1a3=Huffington|1y=2004|1pp=440–441|2a1=Shaw|2a2=Dennison|2y=2005|2p=46}}  One of Mexico's most popular acts were [[Los Dug Dug's]], who recorded several albums and stayed active well into the 1970s.<ref name="Ankeny (Dug Dug's)">{{cite web|last1=Ankeny|first1=Jason|title=Los Dug Dug's|website=AllMusic|url=http://www.allmusic.com/artist/los-dug-dugs-mn0001459070/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20140714210544/http://www.allmusic.com/artist/los-dug-dugs-mn0001459070/biography|archive-date=July 14, 2014|url-status=live}}</ref>
The beat boom flourished in [[Uruguay]] during the mid-1960s in a period sometimes referred to as the [[Uruguayan Invasion]]. Two of the best-known acts were [[Los Shakers]]<ref>{{cite web|last1=Unterberger|first1=Richie|title=Los Shakers|website=AllMusic|url=http://www.allmusic.com/artist/los-shakers-mn0000360089/biography|access-date=June 18, 2017|archive-url=https://web.archive.org/web/20180228041747/https://www.allmusic.com/artist/los-shakers-mn0000360089/biography|archive-date=February 28, 2018|url-status=live}}</ref> and [[Los Mockers]].<ref>{{cite web|last1=Unterberger|first1=Richie|title=Los Mockers|website=AllMusic|url=http://www.allmusic.com/artist/los-mockers-mn0001745731/biography|access-date=July 11, 2015|archive-url=https://web.archive.org/web/20150622001842/http://www.allmusic.com/artist/los-mockers-mn0001745731/biography|archive-date=June 22, 2015|url-status=live}}</ref> In [[Peru]], [[Los Saicos]] were one of the first bands to gain national prominence.<ref name="Watts & Collyns (Los Saicos)">{{cite web|last1=Watts|first1=Jonathan|last2=Collyns|first2=Dan|title=Where did Punk Begin? A Cinema in Peru|date=September 14, 2012|website=The Guardian|url=https://www.theguardian.com/music/2012/sep/14/where-punk-begin-cinema-peru|access-date=August 8, 2015|archive-url=https://web.archive.org/web/20150814231754/http://www.theguardian.com/music/2012/sep/14/where-punk-begin-cinema-peru|archive-date=August 14, 2015|url-status=live}}</ref> Their 1965 song "¡Demolición!" with its humorously anarchistic lyrics was a huge hit in Peru.<ref name="Watts & Collyns (Los Saicos)"/>  About them Phil Freeman noted "These guys were a punk rock band, even if nobody outside Lima knew it at the time".<ref>{{Cite web|title=¡Demolición!: The Complete Recordings Allmusic review|website=AllMusic|url=http://www.allmusic.com/album/|access-date=May 1, 2013|archive-url=https://web.archive.org/web/20130716125857/http://www.allmusic.com/album|archive-date=July 16, 2013|url-status=live}}</ref> [[Los Yorks]] became one of Peru's leading groups.<ref>{{cite web|last1=Deming|first1=Mark|title=Los York's - Los York's '68|website=AllMusic|url=http://www.allmusic.com/album/los-yorks-68-mw0000490565|access-date=February 12, 2017|archive-url=https://web.archive.org/web/20170213000601/http://www.allmusic.com/album/los-yorks-68-mw0000490565|archive-date=February 13, 2017|url-status=live}}</ref> [[Colombia]] hosted bands such [[Los Speakers]] and Los Flippers from [[Bogotá]], Los Yetis from [[Medellín]].<ref>{{cite web|last1=Unterberger|first1=Richie|title=Los Speakers|website=AllMusic|url=http://www.allmusic.com/artist/los-speakers-mn0001830933/biography|access-date=August 2, 2015|archive-url=https://web.archive.org/web/20181221041934/https://www.allmusic.com/artist/los-speakers-mn0001830933/biography|archive-date=December 21, 2018|url-status=live}}</ref>  [[Los Gatos Salvajes (band)|Los Gatos Salvajes]], who came from [[Rosario]], Argentina, were one of the country's first beat groups,<ref name="Deming (Los Gatos Salvajes)">{{cite web|last1=Deming|first1=Mark|title=Los Gatos Salvajes|website=AllMusic|url=http://www.allmusic.com/artist/los-gatos-salvajes-mn0001544471/biography|access-date=July 31, 2016|archive-url=https://web.archive.org/web/20171125100739/https://www.allmusic.com/artist/los-gatos-salvajes-mn0001544471/biography|archive-date=November 25, 2017|url-status=live}}</ref> and two of their members went on to form [[Los Gatos (band)|Los Gatos]], a popular act in Argentina during the late 1960s.<ref name="Deming (Los Gatos Salvajes)"/>
====Asia====
{{See also|Group Sounds}}
[[File:The Spiders.jpg|thumb|[[The Spiders (Japanese band)|The Spiders]] in 1966]]
The Far East was not immune to the beat craze, and Japan was no exception; this was particularly true after the Beatles' 1966 visit, when they played five shows at Tokyo's [[Nippon Budokan|Budokan]] arena.{{sfn|Bartlett|2008}}  The popular 1960s beat/garage movement in Japan is often referred to as [[Group Sounds]] (or ''GS'').<ref name="GS I Love You"/> [[The Spiders (Japanese band)|The Spiders]]{{efn|Not to be confused with Alice Cooper's American band of the same name.}} were one of the better-known groups.<ref name="GS I Love You"/> Other notable bands were [[the Golden Cups]]{{sfn|Hicks|1999|p=49}}<ref>{{cite web|last1=Cope|first1=Julian|title=The Golden Cups|url=http://www.japrocksampler.com/artists/groupsounds/golden_cups/|website=Julian Cope Presents|access-date=August 8, 2015|archive-url=https://web.archive.org/web/20160304033408/http://japrocksampler.com/artists/groupsounds/golden_cups/|archive-date=March 4, 2016|url-status=live}}</ref> and [[the Tigers (Japanese band)|the Tigers]].<ref name="GS I Love You Too">{{cite web|last1=Unterberger|first1=Richie|title=GS I Love You Too: Japanese Garage Bands of the '60s|url=http://www.allmusic.com/album/gs-i-love-you-too-japanese-garage-bands-of-the-60s-vol-2-mw0000259471|website=AllMusic|access-date=February 5, 2017|archive-url=https://web.archive.org/web/20160918190346/http://www.allmusic.com/album/gs-i-love-you-too-japanese-garage-bands-of-the-60s-vol-2-mw0000259471|archive-date=September 18, 2016|url-status=live}}</ref>{{sfn|Bhatia|2014|p=91. Bhatia mentions that Biddu, previously of India's the Trojans, produced the Tigers and that they cut a hit.}}
Despite famine, economic hardship, and political instability, India experienced its own proliferation of garage bands in the 1960s, persisting into the early 1970s with the 1960s musical style still intact even after it fallen out of favor elsewhere.{{sfn|Bhatia|2014|pp=1–4, 10, 51}}<ref name="Unterberger (Simla Beat)"/>{{efn|On pages 10 and 51 the author indicates that the term often used for many the Indian bands of the 1960s is "garage bands".}}  Mumbai, with its hotels, clubs, and nightlife, had a bustling music scene.  The Jets, who were active from 1964 to 1966, were perhaps the first beat group to become popular there.{{sfn|Bhatia|2014|pp=23, 32}}  Also popular in Mumbai were the Trojans, featuring [[Biddu]], originally from [[Bangalore]], who later moved to London and become a solo act.{{sfn|Bhatia|2014|pp=15–22, 91.}}  Every year the annual Simla Beat Contest was held in Bombay by the Imperial Tobacco Company.{{sfn|Bhatia|2014|pp=1–3, 46, 50–51, 54, 67, 78, 121, 134}}  Groups from all over India, such as the Fentones and Velvet Fogg, competed in the event.{{sfn|Bhatia|2014|pp=1–2, 29, 50, 54, 121–122, 134}}<ref name="Unterberger (Simla Beat)"/>
====Australia and New Zealand====
{{See also|Australian rock}}
[[File:The Easybeats.png|thumb|upright|[[The Easybeats]] in 1966]]
Australia and New Zealand experienced a garage/beat explosion in the mid-1960s.{{sfn|Marks|McIntyre|2010|pp=12, 55, 63, 317}}  Before the British Invasion hit, the region enjoyed a sizable surf rock scene, with popular bands such as [[the Atlantics]], who had several instrumental hits, as well as the Aztecs and the Sunsets.{{sfn|Marks|McIntyre|2010|pp=12, 55, 63}}<ref name="Unterberger (Atlantics--as surf)">{{cite web|last1=Unterberger|first1=Richie|title=The Atlantics|website=AllMusic|url=http://www.allmusic.com/artist/the-atlantics-mn0000039417/biography|access-date=July 18, 2015|archive-url=https://web.archive.org/web/20150422211607/http://www.allmusic.com/artist/the-atlantics-mn0000039417/biography|archive-date=April 22, 2015|url-status=live}}</ref>  In late 1963 and early 1964 British Invasion influence began to permeate the music scenes there.<ref name="Unterberger (Atlantics--as surf)"/>{{sfn|Marks|McIntyre|2010|p=12}}  In June 1964 the Beatles visited Australia as part of their world tour and were greeted by a crowd of an estimated 300,000 in Adelaide.{{sfn|Marks|McIntyre|2010|p=12}}  In response, many prior Australian surf bands adapted by adding vocals over guitars, and a host of new bands formed.{{sfn|Marks|McIntyre|2010|p=12}}  The first wave of British-inspired bands tended towards the pop-oriented sound of the [[Beat music|Merseybeat]].{{sfn|Marks|McIntyre|2010|pp=12, 16, 18–19, 87}}  With rise in popularity of bands such as the Rolling Stones and the Animals, a second wave of Australian bands emerged that favored a harder, blues-influenced approach.{{sfn|Marks|McIntyre|2010|pp=12, 16, 18–19, 87}}
Sydney was the host to numerous acts.  [[The Atlantics]] switched to a vocal rock format and brought in veteran singer [[Johnny Rebb]], formerly with Johnny Rebb and His Rebels.{{sfn|Marks|McIntyre|2010|pp=55–61}}  "Come On" was their best-known song from this period.{{sfn|Marks|McIntyre|2010|pp=55–61}}  [[The Easybeats]], featuring vocalist [[Stevie Wright (Australian singer)|Stevie Wright]] and guitarist [[George Young (rock musician)|George Young]], the older brother of [[Angus Young|Angus]] and [[Malcolm Young]] of the later hard rock group [[AC/DC]], became the most popular group in Australia during the mid-1960s.{{sfn|Marks|McIntyre|2010|pp=117–132}}  One of Sydney's most notorious acts was [[The Missing Links (band)|the Missing Links]], who throughout 1965 went through a complete and total lineup change between the release their first single in March and on the subsequent releases later that year, such as the primitivist anthems "Wild About You", as well as their self-titled LP.{{sfn|Marks|McIntyre|2010|pp=87–100}}<ref name="Unterberger (Missing Links)">{{cite web|last1=Unterberger|first1=Richie|title=The Missing Links|website=AllMusic|url=http://www.allmusic.com/artist/the-missing-links-mn0000498637|access-date=July 18, 2015|archive-url=https://web.archive.org/web/20151117041403/http://www.allmusic.com/artist/the-missing-links-mn0000498637|archive-date=November 17, 2015|url-status=live}}</ref>  In 1966, [[the Throb]] had a hit in Australia with their version of "[[Fortune Teller (song)|Fortune Teller]]", and later that year released "Black", a brooding version of a traditional folk ballad noted for its expressionistic use of guitar feedback.{{sfn|Marks|McIntyre|2010|pp=49–54}}  [[The Black Diamonds (Australian band)|The Black Diamonds]]' "I Want, Need, Love You" featured an intense and hard-driving guitar sound that Ian D. Marks described as "speaker cone-shredding".{{sfn|Marks|McIntyre|2010|pp=252–253}}
From Brisbane came [[the Pleazers]]{{sfn|Marks|McIntyre|2010|pp=197–204, 338}}<ref name="Unterberger (Pleazers)">{{cite web|last1=Unterberger|first1=Richie|title=The Pleazers|website=AllMusic|url=http://www.allmusic.com/artist/the-pleazers-mn0000346680/biography|access-date=July 23, 2015|archive-url=https://web.archive.org/web/20160207224427/http://www.allmusic.com/artist/the-pleazers-mn0000346680/biography|archive-date=February 7, 2016|url-status=live}}</ref> and [[Purple Hearts (Australian band)|the Purple Hearts]],{{sfn|Marks|McIntyre|2010|pp=154–155, 163}} and from Melbourne [[the Pink Finks]], [[The Loved Ones (Australian band)|the Loved Ones]],{{sfn|Marks|McIntyre|2010|pp=214–223}} Steve and the Board,{{sfn|Marks|McIntyre|2010|p=339}} and [[The Moods (Australian band)|the Moods]].{{sfn|Marks|McIntyre|2010|pp=205–208}}  Like Sydney's the Missing Links, [[The Creatures (Australian band)|the Creatures]] were another notorious group of the period, who Iain McIntyre remarked "Thanks to their brightly coloured hair and bad-ass attitude, the Creatures left in their wake a legacy of multiple arrests, bloodied noses and legendary rave ups".{{sfn|Marks|McIntyre|2010|p=256}}<ref name="Music Minder (Creatures)">{{cite web|title=The Creatures|url=http://musicminder.com/scripts/entertainers/displayentertainer.asp?ID=008125|website=Music Minder|access-date=August 12, 2015|archive-url=https://web.archive.org/web/20160128163650/http://musicminder.com/scripts/entertainers/displayentertainer.asp?ID=008125|archive-date=January 28, 2016|url-status=live}}</ref>  [[The Masters Apprentices]]' early sound was largely R&B-influenced garage and psychedelic.{{sfn|Marks|McIntyre|2010|pp=275–292}}<ref name="Unterberger (Masters Apprentices)">{{cite web|last1=Unterberger|first1=Richie|title=The Masters Apprentices|website=AllMusic|url=http://www.allmusic.com/artist/the-masters-apprentices-mn0000399622/biography|access-date=July 23, 2015|archive-url=https://web.archive.org/web/20160207223409/http://www.allmusic.com/artist/the-masters-apprentices-mn0000399622/biography|archive-date=February 7, 2016|url-status=live}}</ref>
From New Zealand, [[The Bluestars (New Zealand band)|the Bluestars]] cut the defiant "Social End Product", aimed at social oppression much in the manner of 1970s punk rock acts.{{sfn|Marks|McIntyre|2010|pp=265–269}}<ref name="New Zealand Music (Bluestars)">{{cite web|title=Bluestars|url=http://www.sergent.com.au/music/bluestars.html|website=New Zealand Music|access-date=July 24, 2015|archive-url=https://web.archive.org/web/20150527005513/http://www.sergent.com.au/music/bluestars.html|archive-date=May 27, 2015|url-status=live}}</ref>  [[Chants R&B]] were known for a raw R&B-influenced sound.{{sfn|Marks|McIntyre|2010|pp=164–170}}<ref name="Unterberger (Chants R&B)">{{cite web|last1=Unterberger|first1=Richie|title=Chants R&B|website=AllMusic|url=http://www.allmusic.com/artist/chants-r-b-mn0001278995/biography|access-date=July 24, 2015|archive-url=https://web.archive.org/web/20161011152251/http://www.allmusic.com/artist/chants-r-b-mn0001278995/biography|archive-date=October 11, 2016|url-status=live}}</ref> [[The La De Da's]] recorded a version of [[the Changin' Times]]' "How is the Air Up There?", which went to No.&nbsp;4 on the nation's charts.{{sfn|Marks|McIntyre|2010|pp=179–186}}
===Integration with psychedelia and counterculture===
====Historical and cultural associations====
{{See also|Counterculture of the 1960s|Psychedelia}}
Increasingly throughout 1966, partly due to the growing influence of drugs such as [[marijuana]] and [[LSD]],<ref>{{cite web|last1=Stieb|first1=Matt|title=Trippin' Out in TX: A journey through Texas' psychedelic music scene|url=http://www.sacurrent.com/sanantonio/trippin-out-in-tx-a-journey-through-texas-psychedelic-music-scene/Content?oid=2249547|website=San Antonio Current|access-date=December 24, 2015|url-status=live|archive-url=https://web.archive.org/web/20160201095910/http://www.sacurrent.com/sanantonio/trippin-out-in-tx-a-journey-through-texas-psychedelic-music-scene/Content?oid=2249547|archive-date=February 1, 2016}}<br />– {{cite web|title=The 60's Drug Culture|url=http://crescentok.com/staff/jaskew/TAH/US/drugs.htm|website=Crescent Tok|access-date=December 24, 2015|archive-url=https://web.archive.org/web/20160316150808/http://crescentok.com/staff/jaskew/TAH/US/drugs.htm|archive-date=March 16, 2016|url-status=dead}}</ref> numerous bands began to expand their sound, sometimes employing eastern scales and various sonic effects to achieve exotic and hypnotic soundscapes in their music.{{sfnm|1a1=Schinder|1a2=Schwartz|1y=2008|1pp=266–267|2a1=Rubin|2a2=Melnick|2y=2007|2pp=162–164}}  The development was nonetheless the result of a longer musical evolution growing out of folk rock and other forms, and prefigured even in certain surf rock recordings.{{sfn|Hicks|1999|p=59}}{{sfn|Gress|2014}}{{efn|The title of [[the Gamblers (American band)|the Gamblers']] 1960 instrumental "LSD-25" mentions LSD,{{sfn|Hicks|1999|p=59}}<ref>{{cite web|last1=Chadbourne|first1=Eugene|title=The Gamblers|website=AllMusic|url=http://www.allmusic.com/artist/the-gamblers-mn0000063768|access-date=December 23, 2015|archive-url=https://web.archive.org/web/20160308190526/http://www.allmusic.com/artist/the-gamblers-mn0000063768|archive-date=March 8, 2016|url-status=live}}</ref> and in "[[Miserlou]]" (1962), [[Dick Dale]] used a [[Phrygian mode|Phrygian]] scale.{{sfn|Gress|2014}}  The first musical act to use the term "psychedelic was the New York-based folk group [[the Holy Modal Rounders]] on their version of [[Lead Belly]]'s "[[Hesitation Blues]]" (there pronounced as "psycho-delic") in 1964.{{sfnm|1a1=Hicks|1y=1999|1pp=59–60|2a1=Hall|2y=2014|2pp=116–117}} }}  As the decade progressed, psychedelic influences became pervasive in much garage rock.{{sfn|Stiernberg|2014}}<ref>{{cite web|title=Psychedelic/Garage|url=http://www.allmusic.com/subgenre/psychedelic-garage-ma0000002800|website=AllMusic|access-date=February 5, 2017|archive-url=https://web.archive.org/web/20170506113343/http://www.allmusic.com/subgenre/psychedelic-garage-ma0000002800|archive-date=May 6, 2017|url-status=live}}</ref>
{{listen|pos=right
|filename=Psychotic Reaction - Count Five.ogg|title=Count Five – "Psychotic Reaction" (1966)
|description="[[Psychotic Reaction]]" by [[Count Five|the Count Five]] contains characteristics that came to typify much [[psychedelic rock|psychedelic]] and [[acid rock]], such as the use of fuzz and feedback, as opposed to the clean guitar sounds prevalent in early rock.{{sfn|Browne|Browne|2001|p=8}}}}
By the mid-1960s, numerous garage bands began to employ tone-altering devices such as [[fuzzbox#1960s: fuzz, distortion, and introduction of commercial devices|fuzzboxes]] on guitars often for the purpose of enhancing the music's sonic palate, adding an aggressive edge with loudly amplified instruments to create a barrage of "clanging" sounds, in many cases expressing anger, defiance, and sexual frustration.{{sfnm|1a1=Hicks|1y=1999|1pp=18–22|2a1=Kauppila|2y=2006|2pp=7–8}}  The genre came into its peak of popularity at a time when a collective sense of discontent and alienation crept into the psyche of the youth in the United States and elsewhere—even in the largely conservative suburban communities which produced so many garage bands.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1pp=97–105|2a1=Kauppila|2y=2006|2pp=7–8}}  Garage bands, though generally apolitical, nonetheless reflected the attitudes and tenor of the times.{{sfn|Berger|Coston|2014|p=101}}  Nightly news reports had a cumulative effect on the mass consciousness, including musicians.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1pp=97|2a1=Markesich|2y=2012|p=36}}  Detectable in much of the music from this era is a disparate array of raw sounds and emotions, coinciding with surrounding events, such as the [[assassinations]] of major political figures and the ongoing escalation of troops sent to [[Vietnam War|Vietnam]],{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1pp=101|2a1=Kauppila|2y=2006|2pp=7–8}} yet certain commentators have also noted an apparent bygone innocence as part of the style's appeal to later generations.{{sfnm|1a1=Shaw|1y=1998|1p=21|2a1=Palao|2y=1998|2p=27}}
In 1965, the influence of artists such as [[Bob Dylan]], who moved beyond political [[Protest song|protest]] by experimenting with abstract and surreal lyrical imagery{{sfn|Wilentz|2014}} and [[Electric Dylan controversy|switched to electric guitar]], became increasingly pervasive across the musical landscape, affecting a number of genres, including garage rock.{{sfnm|1a1=Shaw|1y=1998|1pp=18–19|2a1=Philo|2y=2015|2p=95}} The members of garage bands, like so many musicians of the 1960s, were part of a generation that was largely born into the paradigm and customs of an older time, but grew up confronting a new set of issues facing a more advanced and technological age.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1p=97|2a1=Kauppila|2y=2006|2pp=7–8|3a1=Gilmore|3y=1990}}  Postwar prosperity brought the advantages of better education, as well as more spare time for recreation, which along with the new technology, made it possible for an increasing number of young people to play music.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1p=1|2a1=Kauppila|2y=2006|2p=10}}  With the advent of television, [[nuclear weapons]], [[civil rights]], the [[Cold War]], and [[space exploration]], the new generation was more global in its mindset and began to conceive of a higher order of human relations, attempting to reach for a set of [[Transcendence (philosophy)|transcendent]] ideals, often expressed through rock music.{{sfnm|1a1=Gilmore|1y=1990|2a1=Berger|2a2=Coston|2y=2014|2pp=1, 97}}  Though set to a backdrop of tragic events that proved increasingly disillusioning,{{sfn|Berger|Coston|2014|pp=97–105}} various forms of personal and musical experimentation held promise, at least for a time, in the minds of many.{{sfn|Gilmore|1990}}  While opening boundaries and testing the frontiers of what the new world had to offer, 1960s youth ultimately had to accept the limitations of the new reality, yet often did so while experiencing the ecstasy of a moment when the realm of the infinite seemed possible and within reach.{{sfnm|1a1=Gilmore|1y=1990|2a1=Sclafani|2y=2009|3a1=Kaye|3y=1972}}{{efn|Commenting on the 1960s youth generation, as well as garage bands, Lenny Kaye mentions in his liner notes to ''Nuggets'' (1972): "The social situation similarly set the pace, doing its part by opening once rigid-boundaries of individual musics — folk, jazz, more exotic foreign forms — as well as cracking open the door to a world in which the youth felt that they had too long suffered a pat on the head ad a kick in the ass.  Lastly you might take into account the players and audiences themselves, nurtured on a steady diet of rock for as long as they could remember, the former sure that a piece of plutonian pie could easily be theirs by as simple act of faith as picking up a guitar..."}}
====Garage-based psychedelic rock====
{{Main|Psychedelic rock}}{{See also|acid rock}}
[[File:The Electric Prunes.png|thumb|[[The Electric Prunes]] in 1966]]
Tapping into the psychedelic zeitgeist, musicians sonically pushed barriers and explored new horizons.  Garage acts, while generally lacking the budgetary means to produce musical extravaganzas on the scale of the Beatles' ''[[Sgt. Pepper's Lonely Hearts Club Band]]'' or the instrumental virtuosity of acts such as [[Jimi Hendrix]] or [[Cream (band)|Cream]], nonetheless managed to infuse esoteric elements into basic primitive rock.{{sfn|Markesich|2012|p=31}}  [[The 13th Floor Elevators]] from Austin, Texas, are usually thought to be first band to use the term "psychedelic"—in their promotional literature in early 1966.<ref name="Deusner (13th Floor Debut)">{{cite web|last1=Deusner|first1=Stephen M.|title=The 13th Floor Elevators: The Psychedelic Sounds of...|url=http://pitchfork.com/reviews/albums/11855-the-psychedelic-sounds-of-i-have-always-been-here-before/|website=Pitchfork Media|access-date=December 19, 2015|date=July 10, 2005|archive-url=https://web.archive.org/web/20151115143844/http://pitchfork.com/reviews/albums/11855-the-psychedelic-sounds-of-i-have-always-been-here-before/|archive-date=November 15, 2015|url-status=live}}</ref>  They also used it in the title of their debut album released in November, ''[[The Psychedelic Sounds of the 13th Floor Elevators]]''.  In August 1966, [[the Deep (band)|the Deep]] traveled from New York to Philadelphia to record a set of hallucinogenic songs for the album ''[[Psychedelic Moods]]: A Mind-Expanding Phenomena'', released in October 1966, one month before the 13th Floor Elevators' debut album, and whose all-night sessions produced mind-expanding [[Stream of consciousness (narrative mode)|stream of consciousness]] ramblings.<ref name="Benes (Deep/Psych Moods)">{{cite web|last1=Benes|first1=Ross|title=The First 'Psychedelic' Album Ever|url=http://www.esquire.com/entertainment/music/a27725/the-deep-psychedelic-moods/|website=Esquire|access-date=December 19, 2015|date=March 12, 2014|archive-url=https://web.archive.org/web/20151222132952/http://www.esquire.com/entertainment/music/a27725/the-deep-psychedelic-moods/|archive-date=December 22, 2015|url-status=live}}</ref>  Other notable bands that incorporated psychedelia into garage rock were the Electric Prunes, the Music Machine, the Blues Magoos,{{sfn|Markesich|2012|p=32}} and the Chocolate Watchband.  Garage rock helped lay the groundwork for the [[acid rock]] of the late 1960s.{{sfn|Hoffmann|2004|p=1725}}
====Primitivist avant-garde acts====
{{See also|Experimental rock}}
Certain acts conveyed a world view markedly removed from the implicit innocence of much psychedelia and suburban garage, often infusing their work with [[subversive]] political or philosophical messages,{{sfn|Woods|2017}} dabbling in [[Experimental music|experimental]] musical forms and concepts considered at the time to be decidedly out of the mainstream.<ref name="Unterberger (Velvets Bio.)">{{cite web|last1=Unterberger|first1=Richie|title=The Velvet Underground|website=AllMusic|url=http://www.allmusic.com/artist/the-velvet-underground-mn0000840402/biography|access-date=June 12, 2016|archive-url=https://web.archive.org/web/20170318031311/http://www.allmusic.com/artist/the-velvet-underground-mn0000840402/biography|archive-date=March 18, 2017|url-status=live}}</ref>  Such artists shared certain characteristics with the garage bands in their use of primitivistic instrumentation and arrangements, while displaying psychedelic rock's affinity for exploration—creating more urbanized, intellectual, and [[avant garde]] forms of primitivist rock, sometimes characterized as variants of garage rock.{{sfnm|1a1=Billet|1y=2016|2a1=Seavey|2y=2013|3a1=Dougan|3y=2003}}  New York City was the home to several such groups. [[The Fugs]], who formed in 1963, were one of rock's first experimental bands and its core members were singer, poet, and social activist [[Ed Sanders]], along with [[Tuli Kupferberg]] and [[Ken Weaver (musician)|Ken Weaver]].<ref name="Unterberger (Fugs Bio.)">{{cite web|last1=Unterberger|first1=Richie|title=The Fugs|website=AllMusic|url=http://www.allmusic.com/artist/the-fugs-mn0000763301/biography|access-date=June 12, 2016|archive-url=https://web.archive.org/web/20160922172933/http://www.allmusic.com/artist/the-fugs-mn0000763301/biography|archive-date=September 22, 2016|url-status=live}}</ref>  They specialized in a satirical mixture of amateurish garage rock, [[jug band|jug]], [[folk music|folk]], and psychedelic laced with leftist political commentary.<ref name="Unterberger (Fugs Bio.)"/><ref name="Raggett (Fugs' 1st)">{{cite web|last1=Raggett|first1=Ned|title=The Fugs (Review)|website=AllMusic|url=http://www.allmusic.com/artist/the-fugs-mn0000763301|access-date=June 12, 2016|archive-url=https://web.archive.org/web/20160711051918/http://www.allmusic.com/artist/the-fugs-mn0000763301|archive-date=July 11, 2016|url-status=live}}</ref>{{sfn|Dougan|2003}}  In a 1970 interview, Ed Sanders became the first known musician to describe his music as "punk rock".{{sfn|Shapiro|2006|p=492}}<ref name="Essor-Winston (Sanders/Punk)">{{cite web|last1=Essor-Winston|first1=Marissa|title=The American Punk Rock Movement: From the 1970's On|url=https://prezi.com/hwq5j9v9ss_n/the-american-punk-rock-movement-from-the-1970s-on/|website=Prezi|access-date=June 12, 2016|date=November 20, 2012|archive-url=https://web.archive.org/web/20160616224645/https://prezi.com/hwq5j9v9ss_n/the-american-punk-rock-movement-from-the-1970s-on/|archive-date=June 16, 2016|url-status=live}}</ref>
[[File:The_monks_1966.jpg|thumb|[[The Monks]]'s music imbued garage rock with [[Avant-garde music|avant-garde]] elements.]]
[[The Velvet Underground]], whose roster included [[Lou Reed]], are now generally considered the foremost experimental rock group of the period.<ref name="Unterberger (Velvets Bio.)"/>  At the time of recording their first album, they were involved with [[Andy Warhol]], who produced some its tracks, and his assemblage of "scenesters" at [[the Factory]], including model-turned-singer [[Nico]].<ref name="Deming (Velvets 1st)">{{cite web|last1=Deming|first1=Mark|title=The Velvet Underground & Nico|website=AllMusic|url=http://www.allmusic.com/album/the-velvet-underground-nico-mw0001955423|access-date=June 12, 2016|archive-url=https://web.archive.org/web/20160531232021/http://www.allmusic.com/album/the-velvet-underground-nico-mw0001955423|archive-date=May 31, 2016|url-status=live}}</ref>  She shared billing with them on the resulting album, ''[[The Velvet Underground & Nico]]''.<ref name="Deming (Velvets 1st)"/>  The album's lyrics, though generally apolitical, depict the world of hard drugs in songs such as "[[I'm Waiting for the Man]]" and "[[Heroin (The Velvet Underground song)|Heroin]]", and other topics considered taboo at the time.<ref name="Deming (Velvets 1st)"/>
Outside of New York were [[the Monks]] from Germany, whose members were former US servicemen who chose to remain in Germany, where in 1965 they developed an experimental sound on their album ''[[Black Monk Time]]''.{{sfn|Billet|2016}}<ref name="Unterberger (Monks Bio.)">{{cite web|last1=Unterberger|first1=Richie|title=The Monks|website=AllMusic|url=http://www.allmusic.com/artist/the-monks-mn0000404345/biography|access-date=June 12, 2016|archive-url=https://web.archive.org/web/20160323133900/http://www.allmusic.com/artist/the-monks-mn0000404345/biography|archive-date=March 23, 2016|url-status=live}}</ref><ref name="Deming (Monks/album)">{{cite web|last1=Deming|first1=Mark|title=The Monks - Black Monk Time (Review)|website=AllMusic|url=http://www.allmusic.com/album/black-monk-time-mw0000091408|access-date=June 12, 2016|archive-url=https://web.archive.org/web/20160605041128/http://www.allmusic.com/album/black-monk-time-mw0000091408|archive-date=June 5, 2016|url-status=live}}</ref>  The group, who sometimes wore [[habit (clothing)|habits]] and partially shaven [[tonsure]]s, specialized in a style featuring chanting and hypnotic percussion.<ref name="Unterberger (Monks Bio.)"/>
===Decline===
Even at the height of garage rock's popularity in the mid-1960s, the success of most of its records, in spite of a handful of notable exceptions, was relegated to local and regional markets.{{sfn|Markesich|2012|p=28}}  In the wake of psychedelia, as rock music became increasingly sophisticated, garage rock began to fade.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1pp=144, 148–149|2a1=Markesich|2y=2012|2pp=36, 38}}  After the release of ''[[Sgt. Pepper's Lonely Hearts Club Band]]'' and other late-1960s big-production spectaculars, rock albums became increasingly elaborate and were expected to display a high level of maturity and complexity, while the 45-RPM [[Single (music)|single]] ceded to the [[LP record|long-play album]] as the preferred medium.<ref name="Marcotte (Pepper)">{{cite web|last1=Marcotte|first1=Amanda|title=Against 'Sgt. Pepper': the Beatles Classic Made Pop Seem Male, Nerdy, and Important - and that Wasn't a Good Thing|url=http://www.salon.com/2017/05/29/against-sgt-pepper-the-beatles-classic-made-pop-seem-male-nerdy-and-important-and-that-wasnt-a-good-thing/|website=Salon|access-date=June 3, 2017|date=May 29, 2017|archive-url=https://web.archive.org/web/20170602063745/http://www.salon.com/2017/05/29/against-sgt-pepper-the-beatles-classic-made-pop-seem-male-nerdy-and-important-and-that-wasnt-a-good-thing/|archive-date=June 2, 2017|url-status=live}} '''Source B:''' {{cite news|last1=Clarke|first1=Donald|title=Sgt Pepper's: When The Beatles Got High on Pomposity|url=http://www.irishtimes.com/culture/music/sgt-pepper-s-when-the-beatles-got-high-on-pomposity-1.3047520|newspaper=The Irish Times|access-date=June 3, 2017|date=April 15, 2017|archive-url=https://web.archive.org/web/20170521100817/http://www.irishtimes.com/culture/music/sgt-pepper-s-when-the-beatles-got-high-on-pomposity-1.3047520|archive-date=May 21, 2017|url-status=live}}</ref>{{sfn|Markesich|2012|pp=36, 38}}
Album-oriented [[FM broadcasting|FM]] radio stations{{efn|[[Progressive rock (radio format)|Progressive rock]] and [[Album-oriented rock|AOR]] are two examples of FM rock radio formats that became prominent in the late 1960 and 1970s.}} eventually overtook AM radio in popularity, and as the large major-label record companies became more powerful and less willing to sign new acts, the once plentiful local and regional independent labels of the mid-1960s began to fold.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1pp=144, 148–149|2a1=Markesich|2y=2012|2pp=36, 38|3a1=Shaw|3y=1998|3pp=17–18}} Radio playlists became more regimented and disc jockeys began to have less freedom, making it increasingly difficult for local and regional bands to receive airplay.{{sfn|Shaw|1973|p=68}}  Teen clubs and dance venues which previously served as reliable and steady engagements for young groups started to close.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1pp=144, 152|2a1=Markesich|2y=2012|2p=36}}  The garage sound disappeared at both the national and local level, as band members graduated and departed for college, work, or the military.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1pp=144, 149, 152|2a1=Unterberger|2y=1998|2p=69|3a1=Smith|3y=2009|3pp=96–98}}  Musicians in bands frequently faced the prospect of the [[Vietnam War]] [[Conscription|draft]], and many were selected for service.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1pp=101–104, 146|2a1=Markesich|2y=2012|2p=36}}  Some died in action.<ref name="Moores (Vietnam Casualties)">{{cite web|last1=Moores|first1=Sean|title=Vietnam: the first rock and roll war|url=https://www.stripes.com/news/special-reports/vietnam-at-50/1966/vietnam-the-first-rock-and-roll-war-1.438304|website=Stars and Stripes|access-date=June 3, 2017|date=November 10, 2016|archive-url=https://web.archive.org/web/20170705153514/https://www.stripes.com/news/special-reports/vietnam-at-50/1966/vietnam-the-first-rock-and-roll-war-1.438304|archive-date=July 5, 2017|url-status=live}}</ref><ref name="Sringsteen band drummer">{{cite web|last1=Carino|first1=Jerry|title=Vietnam War Scars: Springsteen's First Drummer, Heroic Nurse Among Those New Jersey Lost|url=https://www.app.com/story/news/military/veterans/2017/09/18/vietnam-war-scars-springsteens-first-drummer-heroic-nurse-among-those-new-jersey-lost/664945001/|website=APP|access-date=June 10, 2019|date=September 18, 2017|archive-date=June 1, 2021|archive-url=https://web.archive.org/web/20210601043742/https://www.app.com/story/news/military/veterans/2017/09/18/vietnam-war-scars-springsteens-first-drummer-heroic-nurse-among-those-new-jersey-lost/664945001/|url-status=live}}</ref>  With the tumultuous political events of 1968, the tense mood of the country reached a breaking point, while increasing use of drugs and other factors intermingled with shifting musical tastes.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1pp=101–104, 146|2a1=Markesich|2y=2012|2pp=36, 38}}  New styles either evolved out of garage rock or replaced it, such as [[acid rock]], [[progressive rock]], [[Heavy metal music|heavy metal]], [[country rock]], and [[bubblegum pop|bubblegum]].{{sfn|Unterberger|1998|p=69}}<ref name="Vox (Decline of popularity)">{{cite web|title=Rewind to the garage rock era|url=http://archive.voxmagazine.com/stories/2006/08/10/rewind-to-the-garage-rock-era/|website=Vox|access-date=April 6, 2016|date=August 10, 2006|archive-url=https://web.archive.org/web/20160417224206/http://archive.voxmagazine.com/stories/2006/08/10/rewind-to-the-garage-rock-era/|archive-date=April 17, 2016|url-status=dead}}</ref>  By 1969 the garage rock phenomenon had largely run its course.{{sfnm|1a1=Berger|1a2=Coston|1y=2014|1pp=144, 148–149|2a1=Markesich|2y=2012|2pp=36, 38|3ay=Shaw|3y=1998|3p=21}}
==Later developments==
===1969–1975: Garage-based proto-punk===
{{See also|Proto-punk}}
Though the garage rock boom faded at the end of the 1960s, a handful of maverick acts carried its impetus into the next decade, seizing on the style's rougher edges, while brandishing them with increased volume and aggression.<ref name="Uhelszki (MC5)">{{cite web |last1=Uhelszki |first1=Jaan |title=MC5 on 'Kick Out The Jams': "We weren't on a meth power trip… just a power trip" |url=https://www.uncut.co.uk/features/the-making-of-mc5-s-kick-out-the-jams-33061 |website=Uncut |access-date=June 23, 2019 |date=May 4, 2018 |archive-date=June 23, 2019 |archive-url=https://web.archive.org/web/20190623210320/https://www.uncut.co.uk/features/the-making-of-mc5-s-kick-out-the-jams-33061 |url-status=live }}</ref><ref name="Erlewine (Stooges Bio.)"/> Such acts, often retroactively described as "[[proto-punk]]", worked in a variety of rock genres and came from various places, most notably [[Michigan]], and specialized in music that was often loud, but more primitive than the typical hard rock of the time.{{sfn|Aaron|2013|pp=94, 95}}
[[File:Iggy-Pop 1977.jpg|thumb|upright|[[Iggy Pop]] was a member of [[the Stooges]], who are considered one of the preeminent proto-punk acts.]]
In the late 1960s and early 1970s, several Michigan bands rooted in garage rock<ref>{{cite web|last1=Rivadavia|first1=Eduardo|title=The Story of MC5's Historic 'Kick Out the Jams'|date=February 27, 2014|url=http://ultimateclassicrock.com/mc5-kick-out-the-jams/|website=Ultimate Classic Rock|access-date=May 7, 2017|archive-url=https://web.archive.org/web/20170509101447/http://ultimateclassicrock.com/mc5-kick-out-the-jams/|archive-date=May 9, 2017|url-status=live}}</ref><ref>{{cite web|last1=Ankeny|first1=Jason|title=The Iguanas|url=http://www.allmusic.com/artist/the-iguanas-mn0002295191|website=AllMusic|access-date=May 7, 2017|archive-url=https://web.archive.org/web/20160529154313/http://www.allmusic.com/artist/the-iguanas-mn0002295191|archive-date=May 29, 2016|url-status=live}}</ref><ref name="Hall of Fame (Alice Cooper)"/> recorded works that became highly influential, particularly with the 1970s punk movement.<ref>{{cite web|last1=Petrides|first1=Alexis|title=Punk Profits|date=March 13, 2003|website=The Guardian|url=https://www.theguardian.com/music/2003/mar/13/artsfeatures.popandrock|access-date=May 7, 2017|archive-url=https://web.archive.org/web/20170310112858/https://www.theguardian.com/music/2003/mar/13/artsfeatures.popandrock|archive-date=March 10, 2017|url-status=live}}</ref> In 1969, [[MC5]] issued their live debut LP, ''[[Kick Out the Jams]]'', which featured a set of highly energetic, politically charged songs.<ref name="Ankeny (MC5 Bio.)"/><ref name="Erlewine (Stooges Bio.)"/><ref>{{cite web|last1=Deming|first1=Mark|title=MC5 - Kick Out the Jams (Review)|website=AllMusic|url=http://www.allmusic.com/album/kick-out-the-jams-mw0000263578|access-date=June 9, 2016|archive-url=https://web.archive.org/web/20160527163005/http://www.allmusic.com/album/kick-out-the-jams-mw0000263578|archive-date=May 27, 2016|url-status=live}}</ref>  [[The Stooges]], from [[Ann Arbor, Michigan|Ann Arbor]] were fronted by lead singer Iggy Pop,<ref name="Erlewine (Stooges Bio.)"/>  Describing their approach, Stephen Thomas Erlewine commented: "Taking their cue from the over-amplified pounding of British blues, the primal raunch of American garage rock, and the psychedelic rock (as well as the audience-baiting) of the Doors, the Stooges were raw, immediate, and vulgar."<ref name="Erlewine (Stooges Bio.)"/> The group released three albums during this period, beginning with the self-titled ''[[The Stooges (album)|The Stooges]]'' in 1969<ref name="Erlewine (Stooges Bio.)"/><ref name="Deming (Stooges' 1st)">{{cite web|last1=Deming|first1=Mark|title=The Stooges - The Stooges (Review)|website=AllMusic|url=http://www.allmusic.com/album/the-stooges-mw0000195830|access-date=June 9, 2016|archive-url=https://web.archive.org/web/20160530131327/http://www.allmusic.com/album/the-stooges-mw0000195830|archive-date=May 30, 2016|url-status=live}}</ref> and culminating with ''[[Raw Power]]'' (now billed as Iggy and the Stooges) in 1973, which featured the cathartic "Search and Destroy" as its opening track.<ref name="Deming (Raw Power)">{{cite web|last1=Deming|first1=Mark|title=Iggy and the Stooges - Raw Power (Review)|website=AllMusic|url=http://www.allmusic.com/album/raw-power-mw0000202295|access-date=June 15, 2016|archive-url=https://web.archive.org/web/20160611175554/http://www.allmusic.com/album/raw-power-mw0000202295|archive-date=June 11, 2016|url-status=live}}</ref>  The [[Alice Cooper (band)|Alice Cooper]] band (previously the Spiders) relocated to Detroit, where they began to gain success with a new "[[shock rock]]" image, and recorded 1971's ''[[Love It to Death]]'', which featured their breakout hit "[[I'm Eighteen]]".{{sfn|Dominic|2003}}<ref name="Hall of Fame (Alice Cooper)"/>
Two bands that formed during the waning days of the Detroit scene in the early 1970s were [[the Punks]] and [[Death (protopunk band)|Death]].  The Punks had a sometimes thrashing sound that caught the attention of rock journalist Lester Bangs, and their song "My Time's Comin{{'"}} was retroactively featured in a 2016 episode of HBO's ''[[Vinyl (TV series)|Vinyl]]''.<ref name="Graff (Punks)">{{cite web|last1=Graff|first1=Gary|title=Waterford Band the Punks Lives Again Thanks to HBO's "Vinyl"|url=http://www.theoaklandpress.com/arts-and-entertainment/20160315/waterford-band-the-punks-lives-again-thanks-to-hbos-vinyl|website=The Oakland Press|access-date=May 16, 2016|date=March 15, 2016|archive-url=https://web.archive.org/web/20160428215827/http://www.theoaklandpress.com/arts-and-entertainment/20160315/waterford-band-the-punks-lives-again-thanks-to-hbos-vinyl|archive-date=April 28, 2016|url-status=live}}</ref>  In 1974, [[Death (protopunk band)|Death]], whose membership was made up of brothers David, Bobby, and Dannis Hackney, recorded tracks for an album that remained unreleased for over 30 years, ''[[...For the Whole World to See]]'', which, along with the release of their other previously unissued tracks, finally earned them a reputation as pioneers in punk rock.<ref name="Monger (Death)">{{cite web|last=Monger|first=James Christopher|title=Death (Biography)|website=AllMusic|url=http://www.allmusic.com/artist/death-mn0001043986/biography|access-date=December 10, 2015|archive-url=https://web.archive.org/web/20151222204849/http://www.allmusic.com/artist/death-mn0001043986/biography|archive-date=December 22, 2015|url-status=live}}</ref><ref name="Rubin (Death">{{cite news|last=Rubin|first=Mike|title=This Band Was Punk Before Punk Was Punk|date=March 12, 2009|newspaper=[[The New York Times]]|url=https://www.nytimes.com/2009/03/15/arts/music/15rubi.html|access-date=March 15, 2009|archive-date=April 16, 2009|archive-url=https://web.archive.org/web/20090416055527/http://www.nytimes.com/2009/03/15/arts/music/15rubi.html|url-status=live}}</ref><ref>{{cite web|last=Jurek|first=Thom|title=Death: ...For the Whole World to See|website=AllMusic|url=http://www.allmusic.com/album/for-the-whole-world-to-see-mw0000809362|access-date=June 10, 2016|archive-url=https://web.archive.org/web/20160516012902/http://www.allmusic.com/album/for-the-whole-world-to-see-mw0000809362|archive-date=May 16, 2016|url-status=live}}</ref>  Death's music anticipated the arrival of later African American punk acts such as the [[Bad Brains]].<ref name="Rubin (Death"/>
In Boston, [[the Modern Lovers]], led by Velvet Underground devotee [[Jonathan Richman]], gained attention with their minimalistic style.<ref name="Lewis (Lovers)">{{cite web|last1=Lewis|first1=Uncle Dave|title=The Modern Lovers: Artist Profile|website=AllMusic|url=http://www.allmusic.com/artist/the-modern-lovers-mn0000570825/biography|access-date=June 10, 2016|archive-url=https://web.archive.org/web/20151222204943/http://www.allmusic.com/artist/the-modern-lovers-mn0000570825/biography|archive-date=December 22, 2015|url-status=live}}</ref><ref name="Star Pulse (Richman)">{{cite web|title=Jonathan Richman Biography|url=http://www.starpulse.com/Music/Richman,_Jonathan/Biography/|website=Star Pulse.com|access-date=June 10, 2016|archive-url=https://web.archive.org/web/20090917171533/http://www.starpulse.com/Music/Richman,_Jonathan/Biography/|archive-date=September 17, 2009|url-status=live}}</ref>  In 1972, they recorded a set of demos that formed the basis of their belated ''[[The Modern Lovers (album)|Modern Lovers]]'' album in 1976.<ref name="Lewis (Lovers)"/>  In 1974, an updated garage rock scene began to coalesce around [[the Rathskeller]] club in [[Kenmore Square]].<ref name="(Culture Brats)">{{cite web|title=Culture Brats, Bars of Our Youth|url=http://www.culturebrats.com/2010/11/bars-of-our-youth-rathskeller-boston-ma.html|access-date=February 3, 2013|archive-url=https://web.archive.org/web/20130610025548/http://www.culturebrats.com/2010/11/bars-of-our-youth-rathskeller-boston-ma.html|archive-date=June 10, 2013|url-status=live}}</ref><ref name="(Time/Boston)">{{cite magazine |url=https://content.time.com/time/subscriber/article/0,33009,919062,00.html |title=Music: Anthems of the Blank Generation |magazine=[[Time (magazine)|Time]] |date=July 11, 1977 |access-date=April 13, 2022}}</ref> [[The Real Kids]], a leading band in the scene, were founded by former Modern Lover [[John Felice]].<ref>Andersen and Jenkins (2001), p. 12. {{cite web|last=Vaughan|first=Robin|title=Reality Bites|work=Boston Phoenix|url=http://bostonphoenix.com/boston/music/cellars/documents/02927794.htm|date=June 6–12, 2003|access-date=June 11, 2016|archive-url=https://archive.today/20120628205924/http://bostonphoenix.com/boston/music/cellars/documents/02927794.htm|archive-date=June 28, 2012|url-status=dead}} {{cite web|last=Harvard|first=Joe|title=Mickey Clean and the Mezz|work=Boston Rock Storybook|url=http://www.rockinboston.com/themezz.htm|url-status=dead|archive-url=https://web.archive.org/web/20071024022732/http://www.rockinboston.com/themezz.htm|archive-date=October 24, 2007}}</ref>  [[Electric Eels (band)|The Electric Eels]], who formed in 1972, were a fixture in the underground rock scene in Cleveland, Ohio, which has sometimes been mentioned as a precursor to the punk scenes in New York and London.<ref name="Eels/Guardian">{{cite web |last1=Savage |first1=Jon |title=Cleveland's Early Punk Pioneers: From Cultural Vacuum to Creative Explosion |url=https://www.theguardian.com/music/2013/nov/14/clevelands-early-punk-pioneers-ohio |website=The Guardian |access-date=February 16, 2020 |date=November 14, 2013 |archive-date=December 25, 2019 |archive-url=https://web.archive.org/web/20191225215452/https://www.theguardian.com/music/2013/nov/14/clevelands-early-punk-pioneers-ohio |url-status=live }}</ref><ref>{{cite web |last1=Dougan |first1=John |title=The Electric Eels |url=https://www.allmusic.com/artist/the-electric-eels-mn0000792275/biography |website=AllMusic |access-date=February 16, 2020 |archive-date=December 31, 2019 |archive-url=https://web.archive.org/web/20191231083247/https://www.allmusic.com/artist/the-electric-eels-mn0000792275/biography |url-status=live }}</ref>  The Electric Eels were notorious for mayhem at their shows and had a markedly nihilistic approach suggestive of later acts<ref name="Eels/Guardian"/> and recorded a set of demos in 1975, from which the single "Agitated" b/w "Cyclotron" was eventually released in 1978, several years after the group's demise.<ref name="Eels/Guardian"/><ref name="Eels/Dangerous">{{cite web |last1=Metzger |first1=Richard |title=Die Electric Eels: Short, Sloppy, Raw, with a Lousy Solo |url=https://dangerousminds.net/comments/die_electric_eels_short_sloppy_raw_with_a_lousy_solo |website=Dangerous Minds |access-date=February 16, 2020 |date=March 29, 2011 |archive-date=February 16, 2020 |archive-url=https://web.archive.org/web/20200216081012/https://dangerousminds.net/comments/die_electric_eels_short_sloppy_raw_with_a_lousy_solo |url-status=live }}</ref>
Between 1969 and 1975, other movements further removed from the American garage rock tradition emerged, that nonetheless displayed hallmarks of proto-punk, such as [[Glam rock|Glam]] and [[pub rock (United Kingdom)|pub rock]] in Great Britain, as well as [[Krautrock]] in Germany.<ref name="Gallagher (Slade)">{{cite web|last1=Gallagher|first1=Paul|title=Slade: Proto Punk Heroes of Glam Rock|url=http://dangerousminds.net/comments/slade_proto_punk_heroes_of_glam_rock|website=Dangerous Minds|access-date=June 10, 2016|date=August 17, 2011|archive-url=https://web.archive.org/web/20160810023655/http://dangerousminds.net/comments/slade_proto_punk_heroes_of_glam_rock|archive-date=August 10, 2016|url-status=live}}</ref><ref name="Sommer (Kraut)">{{cite web|last1=Sommer|first1=Tim|title=8 Krautrock Artists You Need to Hear Right Now|url=http://observer.com/2015/07/8-krautrock-artists-you-need-to-hear-right-now/|work=Observer|access-date=June 10, 2016|date=July 7, 2015|archive-url=https://web.archive.org/web/20160611125802/http://observer.com/2015/07/8-krautrock-artists-you-need-to-hear-right-now/|archive-date=June 11, 2016|url-status=live}}</ref>  Conversely, glam rock had an influence on the sound of [[the New York Dolls]] from New York, exhibited on their [[New York Dolls (album)|1973 self-titled debut album]] and its follow-up, ''[[Too Much Too Soon (album)|Too Much Too Soon]]''.<ref name="Dolls/Elewine">{{cite web |last1=Erlewine |first1=Stephen Thomas |title=The New York Dolls |url=https://www.allmusic.com/artist/new-york-dolls-mn0000866786/biography |website=AllMusic |access-date=February 17, 2020 |archive-date=March 28, 2017 |archive-url=https://web.archive.org/web/20170328215232/https://www.allmusic.com/artist/new-york-dolls-mn0000866786/biography |url-status=live }}</ref><ref name="Dolls/SOS">{{cite web |last1=Buskin |first1=Richard |title=New York Dolls 'Personality Crisis': Classic Tracks |url=https://www.soundonsound.com/people/new-york-dolls-personality-crisis-classic-tracks |website=Sound on Sound |access-date=February 17, 2020 |date=December 2009 |archive-date=February 17, 2020 |archive-url=https://web.archive.org/web/20200217045706/https://www.soundonsound.com/people/new-york-dolls-personality-crisis-classic-tracks |url-status=live }}</ref>  [[The Dictators]], fronted by [[Richard Manitoba|Handsome Dick Manitoba]], were another influential New York act of this period.<ref name="Dictators (Dougan)">{{cite web |last1=Dougan |first1=John |title=The Dictators |url=https://www.allmusic.com/artist/the-dictators-mn0000787757/biography |website=AllMusic |access-date=February 23, 2020 |archive-date=July 31, 2020 |archive-url=https://web.archive.org/web/20200731210622/https://www.allmusic.com/artist/the-dictators-mn0000787757/biography |url-status=live }}</ref>  The music from these disparate scenes helped set the stage for the punk rock phenomenon of the mid- to late- 1970s.{{sfn|Aaron|2013|p=90}}
===Mid-1970s: Emergence of the punk movement===
{{Main|Punk rock|Punk subculture}}
[[File:Ramones Toronto 1976.jpg|thumb|The [[Ramones]] (pictured in 1977), who were influenced by garage rock, spearheaded the mid-1970s punk movement in New York.]]
Identification of garage rock by certain critics in the early 1970s (and their use of the term "punk rock" to describe it), as well as the 1972 ''Nuggets'' compilation  exerted a marked degree of influence on the [[Punk rock|punk]] movement that emerged in the mid-to-late 1970s.{{sfnm|1a1=Smith|1y=2009|1pp=96–98|2a1=Gray|2y=2004|2pp=26–29|3a1=Robb|3y=2012|3pp=34, 66, 76, 106, 132–133, 187, 215}}  As a result of the popularity of ''Nuggets'' and critical attention paid to primitive-sounding rock of the past and present, a self-conscious musical aesthetic began to emerge around the term "punk"{{sfnm|1a1=Laing|1y=2015|1pp=22–23|2a1=Kent|2y=2006|2p=14}} that eventually manifested in the punk scenes of [[Punk rock#New York City|New York]], [[Punk rock#United Kingdom|London]], and elsewhere between 1975 and 1977, and in the process transformed into a new musical and social movement having its own separate [[Punk subculture|subculture]], identity, and values.{{sfnm|1a1=Laing|1y=2015|1pp=24, 50-53|2a1=Lister|2y=2017}}
The mid- to late-1970s saw the arrival of the acts now most commonly identified as punk rock.  Frequently mentioned as the first of these<ref name="Ramones (Ind.Lens)">{{cite web|url=https://www.pbs.org/independentlens/endofthecentury/legacy.html|title=The Ramones|website=Independent Lens|access-date=June 22, 2019|archive-date=May 6, 2010|archive-url=https://web.archive.org/web/20100506053944/http://www.pbs.org/independentlens/endofthecentury/legacy.html|url-status=live}}</ref> were the [[Ramones]] from New York, some of whose members earlier played in 1960s garage bands.{{sfn|Aaron|2013|p=53}}  They were followed by the [[Sex Pistols]] in London, who struck a far more defiant pose and effectively heralded the arrival punk as a ''[[cause célèbre]]'' in the larger public mind.<ref name="Erlewine (Pistols)">{{cite web|first1=Stephen Thomas|last1=Erlewine|url=http://www.allmusic.com/artist/sex-pistols-mn0000418740/biography|title=Sex Pistols &#124; Biography|website=AllMusic|access-date=July 13, 2015|archive-url=https://web.archive.org/web/20161011080621/http://www.allmusic.com/artist/sex-pistols-mn0000418740/biography|archive-date=October 11, 2016|url-status=live}}</ref>  Both bands spearheaded the popular punk movement from their respective locations.<ref name="rockhall1">{{cite web|url=https://www.rockhall.com/inductees/ramones|title=Ramones Biography &#124; The Rock and Roll Hall of Fame and Museum|access-date=July 13, 2015|archive-url=https://web.archive.org/web/20150710095617/http://rockhall.com/inductees/ramones/|archive-date=July 10, 2015|url-status=live}}</ref><ref name="Erlewine (Pistols)"/>  Simultaneously, Australia developed its own punk scene,<ref name="Australian punk">{{cite web |last1=Cunningham |first1=Adrian |title=The History Of Australian Punk In 30 Tracks |url=https://junkee.com/longform/australian-punk-history-30-tracks |website=Junkee |access-date=April 8, 2019 |archive-url=https://web.archive.org/web/20180730021338/http://junkee.com/longform/australian-punk-history-30-tracks |archive-date=July 30, 2018 |url-status=live  }}</ref>  which derived some of its inspiration from the 1960s Australian garage/beat movement.<ref name="Australian punk"/>  One of its leading bands [[The Saints (Australian band)|the Saints]], from Brisbane, included a rendition of [[The Missing Links (band)|the Missing Links]]' 1965 song "Wild About You" on their 1977 debut album.<ref name="Australian punk"/>
Despite the influence of garage rock and proto-punk on the originating musicians of these scenes,{{sfnm|1a1=Gray|1y=2004|1pp=26–29|2a1=Robb|2y=2012|2pp=34, 66, 76, 106, 132–133, 187, 215|3a1=Aaron|3y=2013|3p=53}} punk rock emerged as a new phenomenon, distinct from its prior associations,{{sfn|Laing|2015|pp=24, 50-53}} and the garage band era of the 1960s came to be viewed as a distant forerunner.{{sfn|Gray|2004|pp=26–29}}{{sfn|Shaw|1998|p=21}}
===1970s–2000s: Revivalist and hybrid movements{{anchor|Garage rock revival}}===
Garage rock has experienced various revivals in the ensuing years and continues to influence numerous modern acts who prefer a "back to basics" and "do it yourself" musical approach.{{sfnm|1a1=Stiernberg|1y=2014|2a1=Heller|2y=2015}}
====Retro revival acts 1970s-1980s====
The earliest group to attempt to revive the sound of 1960s garage was [[the Droogs]], from Los Angeles, who formed in 1972 and pre-dated many of the revival acts of the 1980s.{{sfn|Markesich|2012|p=40}}  In the early 1980s, revival scenes linked to the [[underground music]] movements of the period sprang up in Los Angeles, New York, Boston, and elsewhere, with acts such as [[the Chesterfield Kings]], [[the Fuzztones]], [[the Pandoras]], and [[Lyres (band)|Lyres]] earnestly attempting to replicate the sound and look of the 1960s garage bands.{{sfn|DeRogatis|2007|p=35}}  This trend fed in into the [[alternative rock]] movement and future [[grunge]] explosion, which embraced influences by 1960s garage bands such as the Sonics and the Wailers.{{sfnm|1a1=Szatmary|1y=2013|1p=134|2a1=Blecha|2y=2009|2pp=184–196|3a1=Mazzarone|3y=2013}}
[[File:Blackkeys022011.jpg|thumb|[[The Black Keys]] performing in 2011]]
==== Other movements ====
{{See also|Garage punk (fusion genre)}}
Out of the garage revival, a more aggressive form of garage rock known as [[Garage punk (fusion genre)|garage punk]] emerged in the late 1980s.  It differed from the "retro" revival in that its acts did not attempt to replicate the exact look and sound of 1960s groups, and their approach tended to be louder, often infusing garage rock with elements of Stooges-era proto-punk, 1970s [[punk rock]], and other influences, creating a new hybrid.{{sfn|Markesich|2012|p=43}}<ref name="AllMusic (Garage Punk)">{{cite web|title=Garage Punk|url=http://www.allmusic.com/style/garage-punk-ma0000002408|website=AllMusic|access-date=July 23, 2016|archive-url=https://web.archive.org/web/20160902012740/http://www.allmusic.com/style/garage-punk-ma0000002408|archive-date=September 2, 2016|url-status=live}}</ref>  Several notable garage punk bands were [[the Gories]], [[thee Mighty Caesars]], [[the Mummies]] and [[thee Headcoats]].<ref>{{cite web|url=http://www.allmusic.com/artist/thee-mighty-caesars-mn0000490541/biography|title=Thee Mighty Caesars&nbsp;– biography|url-status=live|archive-url=https://web.archive.org/web/20180810044136/https://www.allmusic.com/artist/thee-mighty-caesars-mn0000490541/biography|archive-date=August 10, 2018|website=AllMusic|access-date=February 1, 2014}}</ref>  Originally associated with the 1960s garage revival of the early 1980s, the Pandoras' sound became increasingly harder as decade progressed.<ref name="Deming (Pandoras)">{{cite web |last1=Deming |first1=Mark |title=The Pandoras |url=https://www.allmusic.com/artist/the-pandoras-mn0000481195/biography |website=AllMusic |access-date=December 23, 2020 |archive-date=June 29, 2018 |archive-url=https://web.archive.org/web/20180629155705/https://www.allmusic.com/artist/the-pandoras-mn0000481195/biography |url-status=live }}</ref>  Out of Japan came [[Guitar Wolf]] from Nagasaki<ref name="Phares (Guitar Wolf)">{{cite web|first1=Heather|last1=Phares|title=Guitar Wolf|website=AllMusic|url=http://www.allmusic.com/artist/guitar-wolf-mn0000549571/biography|access-date=June 12, 2017|archive-url=https://web.archive.org/web/20180106064019/https://www.allmusic.com/artist/guitar-wolf-mn0000549571/biography|archive-date=January 6, 2018|url-status=live}}</ref> and [[the 5.6.7.8's]] from Tokyo.{{sfn|Rowthorn|2003|p=37}} Garage punk and revival acts persisted into the 1990s and the new millennium,{{sfn|Markesich|2012|p=43}} with [[independent record labels]] releasing records by bands playing fast-paced, [[lo-fi music]].{{sfn|Rutter|2006}}  Some of the more prolific independent labels include [[Estrus Records|Estrus]],{{sfn|Blecha|2007|p=121}} [[Get Hip Records|Get Hip]],{{sfn|Adams|2002|p=469}} [[Bomp! Records|Bomp!]],{{sfn|Frith|2004|p=98}} and [[Sympathy for the Record Industry]].{{sfn|True|2004|p=73}}
==== 2000s garage rock revival ====
{{See also|Post-punk revival}}
The 2000s was identified as having another wave of garage rock revivalism, with ''[[NME]]'' in 2003 designating it a "new garage rock revolution",<ref name="Borthwick&Moy2004">S. Borthwick and R. Moy, ''Popular Music Genres: an Introduction'' (Edinburgh: Edinburgh University Press, 2004), {{ISBN|0-7486-1745-0}}, p. 117.</ref> or simply a "new rock revolution".<ref name="Spitz2010">M. Spitz, [https://books.google.com/books?id=yqmlNOuYQdEC&dq=Spitz+%22The+New+Rock+Revolution%22&pg=PA95 "The 'New Rock Revolution' fizzles"], May 2010, ''Spin'', vol. 26, no. 4, ISSN 0886-3032, p. 95.</ref> The mainstream attention to the revival began with [[the Strokes]] and their 2001 debut album ''[[Is This It]]''. Playing a style indebted to '60s-70s bands like [[the Velvet Underground]] and [[the Ramones]], the band's intention musically was to sound like "a band from the past that took a time trip into the future to make their record."<ref name="Indie88">{{cite web |date=19 September 2022 |title=Indie Anthology: The Strokes release their influential debut album 'Is This It' |url=https://indie88.com/indie-anthology-the-strokes-debut-is-this-it/ |access-date=5 December 2023 |publisher=[[CIND-FM]]}}</ref> When the Strokes released their commercial debut, the public perception of "rock music" was based in [[post-grunge]], [[nu metal]] and [[rap rock]], putting their throwback style of garage rock as a stark contrast to the mainstream.<ref name="Golsen 2022">{{cite web |last1=Golsen |first1=Tyler |date=30 July 2021 |title=Is This It' at 20: How The Strokes changed music forever |url=https://faroutmagazine.co.uk/how-the-strokes-album-is-this-it-changed-music-forever/ |access-date=16 June 2023}}</ref> The Strokes were accompanied in this commercial breakthrough by [[the White Stripes]] and [[the Hives]], who according to music critic [[Jim DeRogatis]], all had a sound "to some extent rooted in ''[[Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968|Nuggets]]''-era garage rock".<ref name="DeRogatis2003p373-4">J. DeRogatis, ''Turn on your Mind: Four Decades of Great Psychedelic Rock'' (Milwaukee, WI: Hal Leonard Corporation, 2003), {{ISBN|0-634-05548-8}}, p. 373.</ref>
Detroit's garage rock scene included the White Stripes, [[the Von Bondies]], [[Electric Six]], [[the Dirtbombs]], [[the Detroit Cobras]], and Rocket 455.{{sfn|Buckley|2003|p=1144}} Elsewhere, acts such as [[Billy Childish]] and [[the Buff Medways]] from Chatham, England,{{sfn|Buckley|2003|pp=189–190}} [[the (International) Noise Conspiracy]] from Umeå, Sweden,{{sfn|Bonnazzelli|2001|p=69}} and [[Jay Reatard]] and [[Oblivians|the Oblivians]] from Memphis, enjoyed moderate [[Underground music|underground]] success and appeal.{{sfn|True|2004|p=59}} A second wave of bands that gained international recognition as a result of the movement included [[the Black Keys]],{{sfn|Harvilla|2011}} [[Black Rebel Motorcycle Club]], [[Death from Above 1979]], [[Yeah Yeah Yeahs|the Yeah Yeah Yeahs]], [[the Killers]], [[Interpol (band)|Interpol]], [[Cage the Elephant]], and [[Kings of Leon]] from the US,{{sfn|Blackman|2004|p=90}} [[the Libertines]], [[Arctic Monkeys]], [[Bloc Party]], [[Editors (band)|Editors]], and [[Franz Ferdinand (band)|Franz Ferdinand]] from the UK,{{sfn|Else|2007|p=75}} [[Jet (band)|Jet]] from Australia,{{sfn|Smitz|Bain|Bao|Farfor|2005|p=58}} and [[the Datsuns]] and [[the D4]] from New Zealand.{{sfn|Rawlings-Way|2008|p=52}}
The mid-2000s saw several underground bands achieve mainstream prominence. Acts such as [[Ty Segall]], [[Thee Oh Sees]], [[Black Lips]]<ref>{{cite web|title=Signed: Black Lips Sign To Vice Records|url= http://www.thespacelab.tv/spaceLAB/2006/10October/MusicNews-24-BlackLips.htm|url-status=dead|archive-url=https://web.archive.org/web/20120425080441/http://www.thespacelab.tv/spaceLAB/2006/10October/MusicNews-24-BlackLips.htm|archive-date=April 25, 2012|website=Spacelab|access-date=November 30, 2011}}</ref> and Jay Reatard,{{sfn|Kharas|2007}} that initially released records on smaller garage punk labels such as [[In the Red Records]], began signing to larger, better-known independent labels.{{sfn|Rose|2010}}  Several bands followed them in signing to larger labels such as [[Rough Trade Records|Rough Trade]]{{sfn|Jacobs|2009}} and [[Drag City (record label)|Drag City]].{{sfn|Hughes|2011}}
==Compilations==
{{See also|List of garage rock compilation albums}}
According to Peter Aaron, there are over a thousand garage rock [[Compilation album|compilations]] featuring work by various artists of the 1960s.{{sfn|Aaron|2013|pp=51–54}} The first major garage rock compilation, ''[[Nuggets: Original Artyfacts from the First Psychedelic Era, 1965–1968]]'', was released by [[Elektra Records]] in 1972.{{sfn|Markesich|2012|p=38}} ''Nuggets'' grew into a multi-volume series, when [[Rhino Records]] in the 1980s released [[Nuggets (series)|fifteen installments]] that consisted of songs from the original album plus additional tracks.<ref>{{cite web|last=Eder|first=Bruce|title=Nuggets: A Classic Collection From the Psychedelic Sixties|website=AllMusic|url=http://www.allmusic.com/album/nuggets-a-classic-collection-from-the-psychedelic-sixties-mw0000191242|access-date=June 5, 2017|archive-date=September 25, 2016|archive-url=https://web.archive.org/web/20160925164029/http://www.allmusic.com/album/nuggets-a-classic-collection-from-the-psychedelic-sixties-mw0000191242|url-status=live}}</ref> In 1998, Rhino released a four-CD box set version of ''Nuggets'', containing the original album and three additional discs of material, that included extensive liner notes by some of garage rock's most influential writers.<ref>{{cite web|last1=Unterberger|first1=Richie|title=Nuggets: Original Artyfacts from the First Psychedelic Era 1965–1968 [Box Set]|url=http://www.allmusic.com/album/release/nuggets-original-artyfacts-from-the-first-psychedelic-era-1965-1968-box-set-mr0000157314|website=AllMusic|access-date=June 12, 2017|archive-date=November 26, 2017|archive-url=https://web.archive.org/web/20171126031657/https://www.allmusic.com/album/release/nuggets-original-artyfacts-from-the-first-psychedelic-era-1965-1968-box-set-mr0000157314|url-status=live}}</ref>
The ''[[Pebbles (series)|Pebbles]]'' series was begun by Greg Shaw and originally appeared on his [[Bomp Records|Bomp]] label in 1978 and has been issued in successive installments on LP and CD.{{sfn|Markesich|2012|p=40}} ''[[Back from the Grave (series)|Back from the Grave]]'' is a series issued by [[Crypt Records]] that focuses on hard-driving and primitive examples of the genre.{{sfn|Markesich|2012|p=295}}{{sfn|Aaron|2013|p=54}}  [[Big Beat Records (UK)|Big Beat Records]]' ''[[Uptight Tonight: The Ultimate 1960s Garage Punk Primer]]'' also features harder material.{{sfn|Aaron|2013|p=53}}<ref>{{cite web|last=Leggett|first=Steve|title=Uptight Tonight: Ultimate 60's Garage Collection (Review)|website=AllMusic|url=http://www.allmusic.com/album/uptight-tonight-ultimate-60s-garage-collection-mw0000187426|access-date=June 20, 2016|archive-date=June 26, 2016|archive-url=https://web.archive.org/web/20160626074722/http://www.allmusic.com/album/uptight-tonight-ultimate-60s-garage-collection-mw0000187426|url-status=live}}</ref> There are several notable anthologies devoted to female garage bands from the 1960s. ''[[Girls in the Garage (series)|Girls in the Garage]]'' was the first female garage rock series,<ref>{{cite web|last1=Ankeny|first1=Jason|title=Girls in the Garage, Vol. 1–6|website=AllMusic|url=http://www.allmusic.com/album/girls-in-the-garage-vol-1-6-mw0000944442|access-date=June 2, 2017|archive-date=June 8, 2016|archive-url=https://web.archive.org/web/20160608060210/http://www.allmusic.com/album/girls-in-the-garage-vol-1-6-mw0000944442|url-status=live}}</ref> and [[Ace Records (UK)|Ace Records']] issued the more recent ''[[Girls with Guitars (album)|Girls with Guitars]]'' compilations.<ref>{{cite web|last=Unterberger|first=Richie|title=Girls With Guitars|url=http://www.allmusic.com/album/girls-with-guitars-mw0000483122|website=AllMusic|access-date=June 2, 2017|archive-date=May 7, 2015|archive-url=https://web.archive.org/web/20150507063504/http://www.allmusic.com/album/girls-with-guitars-mw0000483122|url-status=live}}</ref><ref>{{cite web|last=Unterberger|first=Richie|title=Destroy That Boy! More Girls with Guitars|url=http://www.allmusic.com/album/destroy-that-boy%21-more-girls-with-guitars-mw0000816047|website=AllMusic|access-date=June 2, 2017|archive-date=October 11, 2016|archive-url=https://web.archive.org/web/20161011070317/http://www.allmusic.com/album/destroy-that-boy!-more-girls-with-guitars-mw0000816047|url-status=live}}</ref><ref>{{cite web|last=Sendra|first=Tim|title=The Rebel Kind: Girls with Guitars, Vol. 3|url=http://www.allmusic.com/album/the-rebel-kind-girls-with-guitars-vol-3-mw0002622100|website=AllMusic|access-date=June 2, 2017|archive-date=October 30, 2015|archive-url=https://web.archive.org/web/20151030105640/http://www.allmusic.com/album/the-rebel-kind-girls-with-guitars-vol-3-mw0002622100|url-status=live}}</ref>
There are numerous collections featuring garage/beat music from outside of North America.  Rhino's ''[[Nuggets II: Original Artyfacts from the British Empire and Beyond, 1964–1969]]'' 4-CD box set includes music from the United Kingdom and other countries in the [[British commonwealth]].<ref name="Erlewine (Nuggets II)"/> It is of particular interest to fans of [[freakbeat]].<ref>{{cite web|last=Bruno|first=Paul|title=Nuggets, Vol. 2: Original Artyfacts from the British Empire & Beyond|website=Pop Matters|url=http://www.popmatters.com/review/various-nuggets2/|archive-url=https://web.archive.org/web/20170606010101/http://www.popmatters.com/review/various%2Dnuggets2/|access-date=June 6, 2017|archive-date=June 6, 2017|url-status=dead}}</ref> The ''[[Trans World Punk Rave-Up (series)|Trans World Punk Rave-Up]]'' series focuses on garage and [[Nederbeat]] music from Continental Europe from the 1960s.<ref name="Unterberger (Trans World Punk)"/>  ''[[Ugly Things (series)|Ugly Things]]'' was the first compilation series to highlight 1960s Australian garage bands.{{sfn|Marks|McIntyre|2010|p=7}}  ''[[Down Under Nuggets: Original Australian Artyfacts 1965–1967]]'' is also devoted to Australian acts,{{sfn|Paterson|2013}}<ref>{{cite web|last=Unterberger|first=Richie|title=Ugly Things, Vol. 1–3|website=AllMusic|url=http://www.allmusic.com/album/ugly-things-vol-1-3-mw0000569928|access-date=June 6, 2017|archive-date=June 18, 2016|archive-url=https://web.archive.org/web/20160618064846/http://www.allmusic.com/album/ugly-things-vol-1-3-mw0000569928|url-status=live}}</ref> while ''[[Do the Pop! The Australian Garage Rock Sound 1976-1987]]'' covers more recent bands.<ref>{{cite web |last1=Unterberger |first1=Richie |title=Do the Pop!: The Australian Garage-Rock Sound 1976-1987 Review by Richie Unterberger |url=https://www.allmusic.com/album/do-the-pop%21-the-australian-garage-rock-sound-1976-1987-mw0000399756 |website=AllMusic |publisher=AllMusic, Netaktion LLC |access-date=9 August 2022}}</ref>
''[[Los Nuggetz Volume Uno]]'' is devoted primarily to Latin American groups of the 1960s and is available in a single-CD edition,<ref name="Lymangrover (Los Nuggetz)"/> as well as an expanded 4-CD box set.<ref>{{cite web|last=Spear|first=Chelsea|date=August 14, 2013|title=Music Review: Los Nuggetz: '60s Garage and Psych From Latin America|website=Popshifter|url=http://popshifter.com/2013-08-14/music-review-los-nuggetz-60s-garage-and-psych-from-latin-america/|access-date=June 2, 2017|archive-url=https://web.archive.org/web/20170606010101/http://popshifter.com/2013%2D08%2D14/music%2Dreview%2Dlos%2Dnuggetz%2D60s%2Dgarage%2Dand%2Dpsych%2Dfrom%2Dlatin%2Damerica/|archive-date=June 6, 2017|url-status=dead}}</ref> ''[[GS I Love You: Japanese Garage Bands of the 1960s]]''<ref name="GS I Love You"/> and its companion piece ''[[GS I Love You Too: Japanese Garage Bands of the 1960s]]''<ref name="GS I Love You Too"/> Both sets feature GS acts from Japan.<ref name="GS I Love You"/><ref name="GS I Love You Too"/> The ''[[Simla Beat 70/71]]'' compilation consists of recordings by garage rock acts from India that competed in the 1970 and 1971 Simla Beat contests.<ref name="Unterberger (Simla Beat)"/> Though its tracks were recorded at the turn of the 1970s, most of them bear a striking resemblance to music made in the West several years earlier.<ref name="Unterberger (Simla Beat)"/>
==List of bands==
{{Main|List of garage rock bands}}
==See also==
{{Portal bar|1960s|Rock music|Music}}
* [[American rock]]
* [[List of 1960s one-hit wonders in the United States]]
* [[List of garage rock bands]]
* [[Nederpop]]
==Notes==
{{Notelist|40em}}
==References==
===Citations===
{{Reflist|refs=
<ref name="Ankeny (The Pleasure Seekers)">{{cite web|last=Ankeny|first=Jason|title=The Pleasure Seekers|url=http://www.allmusic.com/artist/the-pleasure-seekers-mn0000849889/biography|website=AllMusic|access-date=May 25, 2017|archive-url=https://web.archive.org/web/20170615015302/http://www.allmusic.com/artist/the-pleasure-seekers-mn0000849889/biography|archive-date=June 15, 2017|url-status=live}}</ref>
<ref name="Ankeny (MC5 Bio.)">{{cite web|last1=Ankeny|first1=Jason|title=MC5 (Biography)|website=AllMusic|url=http://www.allmusic.com/artist/mc5-mn0000182598/biography|access-date=July 7, 2015|archive-url=https://web.archive.org/web/20150922182717/http://www.allmusic.com/artist/mc5-mn0000182598/biography|archive-date=September 22, 2015|url-status=live}}</ref>
<ref name="Eder (Goldie & The Gingerbreads)">{{cite web|last=Eder|first=Bruce|title=Goldie & The Gingerbreads|website=AllMusic|url=https://www.allmusic.com/artist/goldie-the-gingerbreads-mn0001364077|access-date=June 12, 2020|archive-date=June 12, 2020|archive-url=https://web.archive.org/web/20200612232233/https://www.allmusic.com/artist/goldie-the-gingerbreads-mn0001364077|url-status=live}}</ref>
<ref name="Erlewine (Stooges Bio.)">{{cite web|last1=Erlewine|first1=Stephen Thomas|title=The Stooges: Biography|website=AllMusic|url=http://www.allmusic.com/artist/the-stooges-mn0000562304/biography|access-date=December 10, 2015|archive-url=https://web.archive.org/web/20150908065421/http://www.allmusic.com/artist/the-stooges-mn0000562304/biography|archive-date=September 8, 2015|url-status=live}}</ref>
<ref name="Erlewine (Nuggets II)">{{cite web|last1=Erlewine|first1=Stephen Thomas|title=Nuggets, Vol. 2: Original Artyfacts from the British Empire & Beyond (Review)|website=AllMusic|url=http://www.allmusic.com/album/nuggets-vol-2-original-artyfacts-from-the-british-empire-beyond-mw0000005166|access-date=July 21, 2015|archive-url=https://web.archive.org/web/20150705001817/http://www.allmusic.com/album/nuggets-vol-2-original-artyfacts-from-the-british-empire-beyond-mw0000005166|archive-date=July 5, 2015|url-status=live}}</ref>
<ref name="Lymangrover (Los Nuggetz)">{{cite web|last=Lymangrover|first=Jason Lymangrover|title=Los Nuggetz: Volume Uno (review)|website=AllMusic|url=http://www.allmusic.com/album/los-nuggetz-volume-uno-mw0002352043|access-date=July 10, 2015|archive-url=https://web.archive.org/web/20151018150948/http://www.allmusic.com/album/los-nuggetz-volume-uno-mw0002352043|archive-date=October 18, 2015|url-status=live}}</ref>
<ref name="Unterberger (Simla Beat)">{{cite web|last1=Unterberger|first1=Richie|title=Simla Beat: 1970-1971 (Review)|website=AllMusic|url=https://www.allmusic.com/album/simla-beat-1970-1971-mw0000055793|access-date=June 12, 2020|archive-date=August 1, 2020|archive-url=https://web.archive.org/web/20200801002301/https://www.allmusic.com/album/simla-beat-1970-1971-mw0000055793|url-status=live}}</ref>
}}
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*{{cite book|last=Austen|first=J.|title=TV-a-go-go: Rock on TV from American Bandstand to American Idol|publisher=Chicago Review Press|date=2005|isbn=978-1-55652-572-8}}
*{{cite journal|last=Avant-Mier|first=Roberto|title=Latinos in the Garage: A Genealogical Examination of the Latino/a Presence and Influence in Garage Rock (and Rock and Pop Music)|journal=Popular Music and Society|date=December 2008|volume=31|issue=5|pages=555–574|url=http://www.nabilechchaibi.com/resources/latinos%20in%20the%20garage.pdf|access-date=June 15, 2017|archive-url=https://web.archive.org/web/20110601111826/http://www.nabilechchaibi.com/resources/latinos%20in%20the%20garage.pdf|archive-date=June 1, 2011|url-status=dead|doi=10.1080/03007760701579977|s2cid=193227122}}
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*{{cite news|last=Bartlett|first=Duncan|title=Japan keeps Lennon's memory alive|url=http://news.bbc.co.uk/1/hi/entertainment/7770865.stm|work=BBC News|date=December 8, 2008|access-date=April 7, 2010|archive-url=https://web.archive.org/web/20081209054530/http://news.bbc.co.uk/2/hi/entertainment/7770865.stm|archive-date=December 9, 2008}}
*{{cite book |last1=Berger |first1=Jacob |last2= Coston |first2=Daniel |title= There Was a Time: Rock & Roll in the 1960s in Charlotte and North Carolina |year=2014 |edition= 1st |publisher= Fort Canoga Press |location=Charlotte |isbn=978-0-615-80940-3}}
*{{cite book |last=Bhatia |first=Sidharth |title= India Psychedelic: The Story of a Rocking Generation |year=2014 |edition=1st |publisher= Harper Collins |isbn=978-93-5029-837-4}}
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*{{cite book|last=Blecha|first=Peter|author-link=Peter Blecha|title=Music in Washington, Seattle and Beyond|year=2007|edition=1st|publisher=Arcadia Publishing|isbn=978-0-7385-4818-0}}
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*{{cite magazine|last=Bonnazzelli|first=Andrew|title=Review: The (International) Noise Conspiracy, A New Morning; Changing Weather|magazine=[[New Music Monthly]]|date=November–December 2001|page=69}}
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*{{cite book|last=Else|first=D.|title=Great Britain|publisher=[[Lonely Planet]]|date=2007|isbn=978-1-74104-565-9|url=https://archive.org/details/lonelyplanetgrea00davi}}
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*{{cite magazine |last=Gilmore |first=Mikal |title=Bob Dylan, the Beatles, and the Rock of the Sixties |magazine=Rolling Stone |date=August 23, 1990 |issue=585 |url=https://www.rollingstone.com/music/news/bob-dylan-the-beatles-and-the-rock-roll-of-the-60s-19900823?page=7 |access-date=July 9, 2015 |archive-date=July 17, 2015 |archive-url=https://web.archive.org/web/20150717193154/http://www.rollingstone.com/music/news/bob-dylan-the-beatles-and-the-rock-roll-of-the-60s-19900823?page=7 |url-status=live }}
*{{cite book |last=Gray |first=Marcus |title= ''The Clash: Return of the Last Gang in Town'' |date=2004 |publisher=Hal Leonard |isbn=978-0-634-08240-5}}
*{{cite journal |last= Gress |first= Jesse |title= Play Like Dick Dale |journal= Guitar Player |date= January 30, 2014 |url= http://www.guitarplayer.com/artists/1026/10-things-you-gotta-do-to-play-like-dick-dale/13941 |access-date= December 19, 2015 |archive-url= https://web.archive.org/web/20140301034404/http://www.guitarplayer.com/artists/1026/10-things-you-gotta-do-to-play-like-dick-dale/13941 |archive-date= March 1, 2014 }}
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*{{cite book|last=Hicks|first=Michael|title=Sixties Rock: Garage, Psychedelic, and Other Satisfactions|date=1999|publisher=University of Illinois Press|isbn=978-0-252-06915-4}}
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*{{cite journal|last=Kauppila|first=Paul|title=The Sound of the Suburbs: A Case Study of Three Garage Bands in San Jose, California during the 1960s|publisher=San Jose State University|journal=SJSU Scholar Works|date=October 2006|pages=7–8, 10–11|url=http://scholarworks.sjsu.edu/cgi/viewcontent.cgi?article=1054&context=lib_pub|access-date=August 1, 2015|location=San Jose, California|archive-date=September 29, 2015|archive-url=https://web.archive.org/web/20150929123022/http://scholarworks.sjsu.edu/cgi/viewcontent.cgi?article=1054&context=lib_pub|url-status=live}}
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*{{cite book|last=Morrison|first=Craig|title=Encyclopedia of the Blues|editor-last=Komara|editor-first=Edward|publisher=Psychology Press|date=2005|isbn=978-0-415-92699-7}}
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*{{cite book|last=Schwartz|first=R. F.|title=How Britain Got the Blues: the Transmission and Reception of American Blues Style in the United Kingdom|publisher=Ashgate|date=2007|isbn=978-0-7546-5580-0}}
*{{cite book|last1=Schinder|first1=S.|last2=Schwartz|first2=A.|title=Icons of Rock|year=2008|publisher=ABC-CLIO|isbn=978-0-313-33846-5}}
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*{{cite magazine|last=Shaw|first=Greg|title=Punk Rock: The Arrogant Underbelly of Sixties Pop (review of ''Nuggets'')|magazine=[[Rolling Stone]]|date=January 4, 1973|pages=68–70}}
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*{{cite book|last=Waksman|first=S.|title=This Ain't the Summer of Love: Conflict and Crossover in Heavy Metal and Punk|publisher=University of California Press|date=2009|isbn=978-0-520-25717-7|url-access=registration|url=https://archive.org/details/thisaintsummerof0000waks}}
*{{cite news|last=Woods|first=Baynard|title=Ed Sanders, Founder of the Fugs, led an Exorcism of the White House ... and it May Have Worked|journal=Orlando Weekly|url=http://www.orlandoweekly.com/orlando/ed-sanders-founder-of-the-fugs-led-an-exorcism-of-the-white-house-and-it-may-have-worked/Content?oid=4765769|date=June 2, 2017|access-date=June 7, 2017|archive-date=June 6, 2017|archive-url=https://web.archive.org/web/20170606102223/http://www.orlandoweekly.com/orlando/ed-sanders-founder-of-the-fugs-led-an-exorcism-of-the-white-house-and-it-may-have-worked/Content?oid=4765769|url-status=live}}
{{Refend}}
===Websites===
{{Refbegin|30em}}
*{{cite news|last1=Billet|first1=Alexander|title=Monk Time|url=http://www.redwedgemagazine.com/online-issue/monk-time-fifty|website=Red Wedge|access-date=February 13, 2017|date=March 29, 2016|archive-date=October 7, 2016|archive-url=https://web.archive.org/web/20161007092210/http://www.redwedgemagazine.com/online-issue/monk-time-fifty|url-status=live}}
*{{cite web|last=Dean|first=Bill|title=50 Years Ago Today, The Beatles Taught a Young America to Play|url=http://www.gainesville.com/article/20140209/ent/140209672|website=[[The Gainesville Sun]]|access-date=October 10, 2015|date=February 9, 2014|archive-date=November 22, 2015|archive-url=https://web.archive.org/web/20151122040505/http://www.gainesville.com/article/20140209/ent/140209672|url-status=live}}
*{{cite web|last1=Dougan|first1=John|title=The Fugs - Final CD (Part 1)|date=July 16, 2003|work=PopMatters|url=http://www.popmatters.com/review/fugs-finalcd1/|access-date=June 11, 2016|archive-date=August 12, 2016|archive-url=https://web.archive.org/web/20160812064858/http://www.popmatters.com/review/fugs-finalcd1/|url-status=live}}
*{{cite web|last=Fitzpatrick|first=Rob|title=The 101 strangest records on Spotify: Rockin' Ramrods&nbsp;– She Lied|url=https://www.theguardian.com/music/2014/jan/22/101-strangest-spotify-rockin-ramrods-she-lied|website=The Guardian|access-date=July 22, 2015|date=January 22, 2014|archive-date=June 1, 2021|archive-url=https://web.archive.org/web/20210601043739/https://www.theguardian.com/music/2014/jan/22/101-strangest-spotify-rockin-ramrods-she-lied|url-status=live}}
*{{cite web|last=Flanagan|first=Mike|title=When did they start calling it 'garage' rock?|url=http://www.cpr.org/openair/blog/when-did-they-start-calling-it-garage-rock|website=Colorado Public Radio|access-date=March 8, 2017|date=May 22, 2014|archive-url=https://web.archive.org/web/20170308150336/http://www.cpr.org/openair/blog/when-did-they-start-calling-it-garage-rock|archive-date=March 8, 2017|url-status=dead}}
*{{cite web|last=Fensterstock|first=Alison|title=New Orleans Garage-Rock Teen Stars the Gaunga Dyns Reunite at 11th Ponderosa Stomp|url=http://www.nola.com/music/index.ssf/2013/10/new_orleans_garage-rock_teen_s.html|website=[[The Times-Picayune]]|access-date=July 16, 2015|date=October 2, 2013|archive-url=https://web.archive.org/web/20131004112522/http://www.nola.com/music/index.ssf/2013/10/new_orleans_garage-rock_teen_s.html|archive-date=October 4, 2013}}
*{{cite web|last= Gibron|first= Bill|title= Riot on Sunset Strip: Review|url= http://www.dvdtalk.com/reviews/52958/riot-on-sunset-strip/|date= October 24, 2011|access-date= July 6, 2015|archive-url= https://web.archive.org/web/20111028180105/http://www.dvdtalk.com/reviews/52958/riot-on-sunset-strip/|archive-date= October 28, 2011}}
*{{cite magazine|last=Greene|first=Andy|date=April 16, 2013|title=Flashback: Standells Perform Boston Anthem 'Dirty Water' on 'Mike Douglas'|magazine=Rolling Stone|url=https://www.rollingstone.com/music/videos/flashback-standells-perform-boston-anthem-dirty-water-on-mike-douglas-20130416|access-date=June 9, 2017|archive-date=December 10, 2015|archive-url=https://web.archive.org/web/20151210224828/http://www.rollingstone.com/music/videos/flashback-standells-perform-boston-anthem-dirty-water-on-mike-douglas-20130416|url-status=live}}
*{{cite web|last=Hall|first=Oliver|title='Riot on Sunset Strip': Watch the Standells and Chocolate Watchband in this exploitation classic|url=http://dangerousminds.net/comments/riot_on_sunset_strip_watch_the_standells_and_chocolate_watchband_in_this_ex|website=Dangerous Minds|access-date=July 19, 2015|date=July 17, 2015|archive-url=https://web.archive.org/web/20150719215600/http://dangerousminds.net/comments/riot_on_sunset_strip_watch_the_standells_and_chocolate_watchband_in_this_ex|archive-date=July 19, 2015}}
*{{cite web|last=Harvilla|first=Rob|title=The Black Keys: El Camino|url=http://pitchfork.com/reviews/albums/16098-el-camino/|website=[[Pitchfork (website)|Pitchfork]]|date=December 2, 2011|access-date=December 5, 2011|archive-url=https://web.archive.org/web/20111204213942/http://pitchfork.com/reviews/albums/16098-el-camino/|archive-date=December 4, 2011|url-status=dead}}
*{{cite web|last=Heller|first=Jason|title=Where to Start with the Primal Sound of Garage Rock|url=http://www.avclub.com/article/where-start-primal-sound-garage-rock-216756|website=A.V. Club|access-date=February 6, 2017|date=March 30, 2015|archive-url=https://web.archive.org/web/20150401154810/http://www.avclub.com/article/where-start-primal-sound-garage-rock-216756|archive-date=April 1, 2015}}
*{{cite web|last=Hughes|first=Josiah|title=Ty Segall Signs to Drag City for New Studio Album|url=http://exclaim.ca/News/ty_segall_signs_to_drag_city_for_new_studio_album|website=[[Exclaim!]]|date=March 2, 2011|access-date=November 30, 2011|archive-url=https://web.archive.org/web/20150713230012/http://exclaim.ca/music/article/ty_segall_signs_to_drag_city_for_new_studio_album|archive-date=July 13, 2015}}
*{{cite web|last=Jacobs|first=Justin|title=The Strange Boys Sign to Rough Trade, Tour With Julian Casablancas, Prep New Album for 2010|url=http://www.pastemagazine.com/articles/2009/11/the-strange-boys-sign-to-rough-trade-will-release.html|website=[[Paste (magazine)|Paste]]|date=November 11, 2009|access-date=November 30, 2011|archive-url=https://web.archive.org/web/20160821211033/https://www.pastemagazine.com/articles/2009/11/the-strange-boys-sign-to-rough-trade-will-release.html|archive-date=August 21, 2016}}
*{{cite web|last=Kharas|first=Kev|title=Red Rag: Jay Reatard Signs with Matador|url=http://drownedinsound.com/news/2716483-red-rag--jay-reatard-signs-with-matador|website=[[Drowned in Sound]]|date=December 19, 2007|access-date=November 30, 2011|archive-url=https://web.archive.org/web/20120518103416/http://drownedinsound.com/news/2716483-red-rag--jay-reatard-signs-with-matador|archive-date=May 18, 2012}}
*{{cite web|last=Lister|first=Kat|title=Anarchy in the UK: A brief history of punk fashion|url=http://www.marieclaire.co.uk/fashion/a-brief-history-of-punk-fashion-79145|website=Marie Claire|access-date=May 17, 2017|date=March 2, 2017|archive-url=https://web.archive.org/web/20160926151021/http://www.marieclaire.co.uk/fashion/a-brief-history-of-punk-fashion-79145|archive-date=September 26, 2016}}
*{{cite web|last=Marsh|first=David|title=Old music: The Barbarians – Are You a Boy or Are You a Girl?|url=https://www.theguardian.com/music/musicblog/2012/may/28/old-music-barbarians|website=The Guardian|date=May 28, 2012|access-date=June 28, 2017|archive-date=September 3, 2017|archive-url=https://web.archive.org/web/20170903115303/https://www.theguardian.com/music/musicblog/2012/may/28/old-music-barbarians|url-status=live}}
*{{cite web|last=Matheson|first=Whitney|title=Listen: 'Pitch' investigates the '60s rock song 'Moulty'|url=http://www.azcentral.com/story/popcandy/2014/08/13/pitch-podcast-moulty/13996195/|website=AZ Central (USA Today)|access-date=June 28, 2017|date=August 13, 2014|archive-date=June 1, 2021|archive-url=https://web.archive.org/web/20210601043810/https://www.azcentral.com/story/popcandy/2014/08/13/pitch-podcast-moulty/13996195/|url-status=live}}
*{{cite web|last=Mazzarone|first=Mike|title=Mudhoney's Mark Arm on Being Influenced by the Sonics & the Wailers|url=http://www.alternativenation.net/mudhoneys-mark-arm-on-being-influenced-by-the-sonics-the-wailers/|website=Alternative Nation|access-date=November 3, 2015|date=February 14, 2013|url-status=dead|archive-url=https://web.archive.org/web/20151208061610/http://www.alternativenation.net/mudhoneys-mark-arm-on-being-influenced-by-the-sonics-the-wailers/|archive-date=December 8, 2015}}
* {{cite web|last=Pareles|first=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|website=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}}
*{{cite web|last=Paterson|first=Beverly|title=The Bee Gees, Easybeats, others – Down Under Nuggets: Original Australian Artyfacts (1965–67)|url=http://somethingelsereviews.com/2013/11/27/the-bee-gees-easybeats-others-down-under-nuggets-original-australian-artyfacts-1965-67/|website=Something Else!|access-date=June 2, 2017|date=November 27, 2013|archive-date=June 24, 2017|archive-url=https://web.archive.org/web/20170624010441/http://somethingelsereviews.com/2013/11/27/the-bee-gees-easybeats-others-down-under-nuggets-original-australian-artyfacts-1965-67/|url-status=live}}
*{{cite web|last=Rose|first=Steve|title=In the Red Records' Larry Hardy – Interview – January 2010|website=Rockfeedback.com|access-date=November 30, 2011|date=January 2010|url=http://www.rockfeedback.com/feature/1321/in-the-red-records-larry-hardy-interview-january-2010/|archive-url=https://web.archive.org/web/20100216123455/http://www.rockfeedback.com/feature/1321/in-the-red-records-larry-hardy-interview-january-2010|archive-date=February 16, 2010|url-status=dead}}
*{{cite web|last=Rutter|first=Alan|title=Bluffer's Guide: Garage Punk|url=https://www.timeout.com/london/things-to-do/bluffers-guide-garage-punk|website=Time Out|access-date=March 4, 2017|archive-url=https://web.archive.org/web/20130622050703/https://www.timeout.com/london/things-to-do/bluffers-guide-garage-punk|archive-date=June 22, 2013|date=September 5, 2006}}
*{{cite web|last=Sclafani|first=Tony|date=August 10, 2009|title=The kids are all right! And they love the '60s|website=Today|url=http://www.today.com/popculture/kids-are-all-right-they-love-60s-wbna32322322|access-date=June 9, 2017|archive-date=September 14, 2020|archive-url=https://web.archive.org/web/20200914233224/https://www.today.com/popculture/kids-are-all-right-they-love-60s-wbna32322322|url-status=live}}
*{{cite news|last1=Seavey|first1=Todd Seavey|title=All Tomorrow's Partisans: Lou Reed, 1942–2013|url=http://spectator.org/56561_all-tomorrows-partisans-lou-reed-1942-2013/|archive-url=https://web.archive.org/web/20161007030735/http://spectator.org/56561_all-tomorrows-partisans-lou-reed-1942-2013/|url-status=dead|archive-date=October 7, 2016|journal=The American Spectator|access-date=June 11, 2016|date=October 28, 2013}}
*{{cite web|last=Simmons|first=Rick|title=One and Done: 1965's Top 10 Songs by 'One-Hit Wonders'|url=http://www.rebeatmag.com/one-and-done-1965s-top-10-songs-by-one-hit-wonders/|website=Rebeat|access-date=July 18, 2015|date=January 1, 2015|archive-url=https://web.archive.org/web/20150109184643/http://www.rebeatmag.com/one-and-done-1965s-top-10-songs-by-one-hit-wonders/|archive-date=January 9, 2015|url-status=dead}}
*{{cite web|last=Stiernberg|first=Bonnie|title=The 50 Best Garage Rock Songs of All Time|url=http://www.pastemagazine.com/blogs/lists/2014/08/the-50-best-garage-rock-songs-of-all-time.html|website=Paste|access-date=July 13, 2015|date=August 27, 2014|archive-date=July 15, 2015|archive-url=https://web.archive.org/web/20150715031831/http://www.pastemagazine.com/blogs/lists/2014/08/the-50-best-garage-rock-songs-of-all-time.html|url-status=live}}
*{{cite web|last=Thorn|first=Steve|title=The Standells: From the Sunset Strip to Adams Avenue|url=http://sandiegotroubadour.com/2013/09/the-standells-from-the-sunset-strip-to-adams-avenue/|website=[[San Diego Troubadour]]|access-date=July 22, 2015|location=San Diego, CA|date=September 2013|archive-url=https://web.archive.org/web/20130908225948/http://sandiegotroubadour.com/2013/09/the-standells-from-the-sunset-strip-to-adams-avenue/|archive-date=September 8, 2013}}
*{{cite web|last=Tupica|first=Rich|title=Back to the Garage|website=City Pulse|url=http://lansingcitypulse.com/article-4396-back-to-the-garage.html|series=Madness, Money and Music: The Legacy of Lansing's 1960s Rock Scene|date=January 4, 2013|access-date=July 22, 2016|archive-date=August 18, 2016|archive-url=https://web.archive.org/web/20160818094516/http://lansingcitypulse.com/article-4396-back-to-the-garage.html|url-status=live}}
*{{cite web|last=Ward|first=Ed|title=The Moving Sidewalks: Where The British Invasion Met Texas Blues|url=https://www.npr.org/2013/03/13/170191642/the-moving-sidewalks-where-the-british-invasion-met-texas-blues|website=NPR Music|access-date=February 9, 2017|date=March 13, 2013|archive-url=https://web.archive.org/web/20170211155645/http://www.npr.org/2013/03/13/170191642/the-moving-sidewalks-where-the-british-invasion-met-texas-blues|archive-date=February 11, 2017}}
*{{cite web|last1=Whiteside|first1=Jonny|title=Rockin' from the Golden Age|url=http://www.latimes.com/tn-gnp-rockin-from-the-golden-age-20150228-story.html|work=[[Los Angeles Times]]|access-date=April 3, 2016|date=February 28, 2015|archive-date=April 16, 2016|archive-url=https://web.archive.org/web/20160416172447/http://www.latimes.com/tn-gnp-rockin-from-the-golden-age-20150228-story.html|url-status=live}}
*{{cite magazine|last=Wilentz|first=Sean|title=The Halloween Concert That Reinvented Bob Dylan|url=https://newrepublic.com/article/126708/americas-electable-fictional-presidents|magazine=[[The New Republic|New Republic]]|access-date=December 29, 2015|date=October 30, 2014|archive-date=December 29, 2015|archive-url=https://web.archive.org/web/20151229215635/https://newrepublic.com/article/126708/americas-electable-fictional-presidents|url-status=live}}
{{Refend}}
==Suggested reading==
===Books===
*{{cite book|ref=none|last=Aswell|first=Tom|title=Louisiana Rocks!: The True Genesis of Rock and Roll|year=2010|edition=1st|publisher=Pelican Publishing Company|location=Gretna, Louisiana|isbn=978-1-58980-677-1}}
*{{cite book |last1=Bovey |first1=Seth |title=Five Years Ahead of My Time: Garage Rock from the 1950s to the Present |date=2019 |publisher=Reaktion Books |location=London |isbn=9781789140651}}
*{{cite book |last1=Crowley |first1=Kent |title=Surf Beat: Rock 'n' Roll's Forgotten Revolution |date=2011 |publisher=Backbeat Books |location=New York |isbn=9781617130076}}
*{{cite book |last1=Dalley |first1=Robert J. |title=Surfin' Guitars: Instrumental Surf Bands of the Sixties |date=1996 |publisher=Popular Culture, Ink |location=Ann Arbor, Michigan |isbn=1560750421 |edition=2nd}}
*{{cite book|ref=none|last=Davidson|first=Eric|title=We Never Learn: The Gunk Punk Undergut, 1988–2001|date=2010|publisher=Backbeat Books (Hal Leonard Performing Arts Publishing)|isbn=978-0-87930-972-5|url=https://archive.org/details/weneverlearngunk00davi}}
*{{cite book|ref=none|last=Edmondson|first=Jacqueline|title=Jerry Garcia: A Biography|date=April 2009|publisher=Greenwood Biographies|location=Santa Barbara, California|isbn=978-0-313-35121-1}}
*{{cite book|ref=none|last= Gendron|first=Bernard|title= Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde|year=2002|edition=1st|publisher= University of Chicago Press|isbn=978-0-226-28735-5}}
*{{cite book|ref=none|last=Grubbs|first=David|title=Records Ruin the Landscape: John Cage, the Sixties, and Sound Recording|date=2014|publisher=Duke University Press|isbn=978-0-8223-5576-2|edition=1st}}
*{{cite book|ref=none|last=Hall|first=Ron|title=Playing for a Piece of the Door: A History of Garage & Frat Bands in Memphis 1960–1975|year=2001|edition=1st|publisher=Sharngri-La Projects|location=Memphis|isbn=978-0-9668575-1-1|url=https://archive.org/details/playingforpieceo00hall}}
*Joynson, Vernon (2004) ''Fuzz, Acid and Flowers Revisited: A Comprehensive Guide to American Garage, Psychedelic and Hippie Rock (1964-1975). Borderline'' {{ISBN|978-1-899855-14-8}}.
*{{cite book|ref=none|last=Kristiansen|first=Lars J.|title=Screaming for Change: Articulating a Unifying Philosophy of Punk Rock|date=2010|publisher=Rowman & Littlefield Publishers Inc.|isbn=978-0-7391-4274-5}}
*{{cite book|ref=none|last=Medina|first=Cuahtémoc|editor-first=Francesco|editor-last=Pellizzi|title=Res: Anthropology and Aesthetics, 48: Autumn 2005: Permanent/Impermanent - Henry Flynt|url=https://books.google.com/books?id=SlMLvFIplLAC&q=henry+flynt+nihilism&pg=PA187|date=Autumn 2005|page=187|publisher=Harvard University Press |access-date=June 7, 2017|isbn=978-0-87365-766-2}}
*{{cite book|ref=none|last=Murrells|first=Joseph|title=The Book of Golden Discs|year=1978|edition=2nd|publisher=Barrie and Jenkins Ltd|location=London|isbn=978-0-214-20512-5|url=https://archive.org/details/bookofgoldendisc00murr}}
*{{cite book|ref=none|last=Rogan|first=Johnny|year=1998|title=The Byrds: Timeless Flight Revisited|edition=2nd|publisher=Rogan House|isbn=978-0-9529540-1-9}}
*{{cite book|ref=none|last=Rosenberg|first=Stuart|title=Rock and Roll and the American Landscape: The Birth of an Industry and the Expansion of the Popular Culture, 1955–1969|year=2008|publisher=iUniverse|isbn=978-1-4401-6458-3}}
*{{cite book|ref=none|last=Swenson|first=John|title=New Atlantis: Musicians Battle for the Survival of New Orleans|date=2012|publisher=Oxford University Press|location=Oxford, UK|isbn=978-0-19-993171-2}}
*{{cite book|ref=none|last=Thompson|first=Dave|title=The Music Lover's Guide to Record Collecting|date=September 1, 2002|publisher=Backbeat Books|location=San Francisco|isbn=978-0-87930-713-4}}
*{{cite book|ref=none|last=Unterberger|first=Richie|title=Urban Spacemen and Wayfaring Strangers: Overlooked Innovators and Eccentric Visionaries of '60s Rock|publisher=Hal Leonard Corporation|date=2000|isbn=978-0-87930-616-8|url-access=registration|url=https://archive.org/details/urbanspacemenway0000unte}}
*{{cite book|ref=none|last=Whitburn|first=Joel|title=The Billboard Book of Top 40 Hits: Eighth Edition|year=2004|publisher=Record Research|page=499|isbn=978-0-8230-8554-5}}
*{{cite book |last1=Wickham |first1=Barry G. |last2=Richman |first2=Geoffrey M. |title=Price and Reference Guide for 1960s Garage, Psychedelic and Uncharted Rock 45s |date=2008 |publisher=Richman and Wickham |location=Petaluma, California |isbn=9780615260211}}
===News===
*{{cite magazine|ref=none|last=Christgau|first=Robert|title=Consumer Guide (20)|magazine=The Village Voice|date=October 14, 1971|url=http://www.robertchristgau.com/xg/cg/cg20.php|access-date=July 23, 2016|via=www.robertchristgau.com}}
*{{cite web|ref=none|last=Gordon|first=Robert|title=Memphis: Where to Find the Blues|date=August 16, 2013|work=The Guardian|url= https://www.theguardian.com/travel/2013/aug/17/memphis-guide-to-the-blues|access-date=July 16, 2016|url-status=live|archive-url= https://web.archive.org/web/20130817210740/http://www.theguardian.com/travel/2013/aug/17/memphis-guide-to-the-blues|archive-date= August 17, 2013}}
*{{cite web|ref=none|last=Wilonsky|first=Robert|title=Journey Through Tyme, or: Finally a History of Dallas' Great Garage Rock Scene of the 1960s|date=June 3, 2011|work=[[Dallas Observer]]|url= http://www.dallasobserver.com/news/journey-through-tyme-or-finally-a-history-of-dallass-great-garage-rock-scene-of-the-1960s-7146390|access-date=February 8, 2017|url-status=live|archive-url= https://web.archive.org/web/20150715011006/http://www.dallasobserver.com/news/journey-through-tyme-or-finally-a-history-of-dallass-great-garage-rock-scene-of-the-1960s-7146390|archive-date=July 15, 2015}}
===Websites===
*{{cite web|ref=none|last=Eder|first=Bruce|title=The Music Machine|url=http://www.allmusic.com/artist/the-music-machine-mn0000469286/biography|website=AllMusic|access-date=June 12, 2017}}
*{{cite web|ref=none|last=Skelly|first=Richard|title=The Syndicate of Sound|website=AllMusic|url=http://www.allmusic.com/artist/the-syndicate-of-sound-mn0000742577/biography|access-date=June 9, 2017}}
*{{cite web|ref=none|last=Unterberger|first=Richie|title=Kenny & the Kasuals|website=AllMusic|url=http://www.allmusic.com/artist/kenny-the-kasuals-mn0000080613/biography|access-date=July 8, 2015}}
*{{cite web|ref=none|last=Unterberger|first=Richie|title=The Wheels|website=AllMusic|url=http://www.allmusic.com/artist/the-wheels-mn0000207651/biography|access-date=July 10, 2015}}
==External links==
{{Commons category|Garage rock}}
{{Library resources box|by=no|onlinebooks=no|about=yes|wikititle=Garage rock}}
* [https://web.archive.org/web/20160416014722/http://www.60sgaragebands.com/ '60s Garage Bands] – histories of local and regional bands of the 1960s
* [http://www.beyondthebeatgeneration.com/ Beyond the Beat Generation] – interviews with former members of 1960s garage bands
* [http://www.collapseboard.com/features/columns/everett-trues-australian-garage-rock-primer/ Everett True's Australian Garage Rock Primer] – covers Australian garage rock bands of the 1960s and later
* [https://web.archive.org/web/20171013220759/http://www.g45central.com/forum/index.php?portal%2F G45 Central] – website and blog which hosts discussions on various topics related to garage rock
* [http://www.garagehangover.com Garage Hangover] – garage bands of the 1960s by state, province and country
* [http://60spunk.m78.com/gs.htm GS] {{Webarchive|url=https://web.archive.org/web/20140120091632/http://60spunk.m78.com/gs.htm |date=January 20, 2014 }} – covers the group sounds ("G.S.") garage/beat boom in Japan
* [https://www.psychedelicbabymag.com/ It's Psychedelic Baby! Magazine] - articles, interviews, and reviews of 1960s psychedelic and garage acts
* [http://www.nederbiet.nl/ Start] – Website devoted to covering as many as 1400 Dutch Nederbeat bands of the 1960s (in both Dutch and English)
* [http://ugly-things.com/ Ugly Things] – magazine that provides information on garage rock and vintage music from the 1960s and other eras
{{rock}}
{{Punk rock}}
{{Authority control}}
[[Category:Garage rock| ]]
[[Category:20th-century music genres]]
[[Category:American styles of music]]
[[Category:Rock music genres]]
[[Category:1980s neologisms]]