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Genre of rock music
Not to be confused with Rock art
Art rock is a subgenre of rock music that generally reflects 💸 a challenging or avant-garde approach to rock, or which makes use of modernist, experimental, or unconventional elements. Art rock aspires 💸 to elevate rock from entertainment to an artistic statement, opting for a more experimental and conceptual outlook on music.[3] Influences 💸 may be drawn from genres such as experimental music, avant-garde music, classical music, and jazz.[1]
Art Rock's music was created with 💸 the intention of listening and contemplation rather than for dancing,[3] and is often distinguished by the use of electronic effects 💸 and easy listening textures far removed from the propulsive rhythms of early rock. The term may sometimes be used interchangeably 💸 with "progressive rock", though the latter is instead characterized in particular by its employment of classically trained instrumental technique and 💸 symphonic textures.
The genre's greatest level of popularity was in the early 1970s through British artists. The music, as well as 💸 the theatrical nature of performances associated with the genre, was able to appeal to artistically inclined adolescents and younger adults, 💸 especially due to its virtuosity and musical/lyrical complexity.[3] Art rock is most associated with a certain period of rock music, 💸 beginning in 1966–67 and ending with the arrival of punk rock in the mid-1970s. After, the genre would be infused 💸 within later popular music genres of the 1970s–90s.[3]
Definitions [ edit ]
Critic John Rockwell says that art rock is one of 💸 rock's most wide-ranging and eclectic genres with its overt sense of creative detachment, classical music pretensions, and experimental, avant-garde proclivities. 💸 In the rock music of the 1970s, the "art" descriptor was generally understood to mean "aggressively avant-garde" or "pretentiously progressive".[11] 💸 "Art rock" is often used synonymously with progressive rock.[1][3] Historically, the term has been used to describe at least two 💸 related, but distinct, types of rock music. The first is progressive rock, while the second usage refers to groups who 💸 rejected psychedelia and the hippie counterculture in favor of a modernist, avant-garde approach defined by the Velvet Underground. Essayist Ellen 💸 Willis compared these two types:
From the early sixties … there was a counter-tradition in rock and roll that had much 💸 more in common with high art—in particular avant-garde art—than the ballyhooed art-rock synthesis [progressive rock]; it involved more or less 💸 consciously using the basic formal canons of rock and roll as material (much as pop artists used mass art in 💸 general) and refining, elaborating, playing off that material to produce … rockand-roll art. While art rock was implicitly based on 💸 the claim that rock and roll was or could be as worthy as more established art forms, rock-and-roll art came 💸 out of an obsessive commitment to the language of rock and roll and an equally obsessive disdain for those who 💸 rejected that language or wanted it watered down, made easier … the new wave has inherited the counter-tradition.
Art rock emphasizes 💸 Romantic and autonomous traditions, in distinction to the aesthetic of the everyday and the disposable embodied by art pop. Larry 💸 Starr and Christopher Waterman's American Popular Music defines art rock as a "form of rock music that blended elements of 💸 rock and European classical music", citing the English rock bands King Crimson, Emerson, Lake & Palmer, and Pink Floyd as 💸 examples.[16] Common characteristics include album-oriented music divided into compositions rather than songs, with usually complicated and long instrumental sections and 💸 symphonic orchestration.[3] Its music was traditionally used within the context of concept records, and its lyrical themes tended to be 💸 "imaginative" and politically oriented.[3]
Differences have been identified between art rock and progressive rock, with art rock emphasizing avant-garde or experimental 💸 influences and "novel sonic structure", while progressive rock has been characterized as putting a greater emphasis on classically trained instrumental 💸 technique, literary content, and symphonic features.[1] Compared to progressive rock, art rock is "more challenging, noisy and unconventional" and "less 💸 classically influenced", with more of an emphasis on avant-garde music.[1] Similarities are that they both describe a mostly British attempt 💸 to elevate rock music to new levels of artistic credibility,[1] and became the instrumental analog to concept albums and rock 💸 operas, which were typically more vocal oriented.
Art rock can also refer to either classically driven rock, or to a progressive 💸 rock-folk fusion.[3] Bruce Eder's essay The Early History of Art-Rock/Prog Rock states that "'progressive rock,' also sometimes known as 'art 💸 rock,' or 'classical rock'" is music in which the "bands [are] playing suites, not songs; borrowing riffs from Bach, Beethoven, 💸 and Wagner instead of Chuck Berry and Bo Diddley; and using language closer to William Blake or T. S. Eliot 💸 than to Carl Perkins or Willie Dixon."[18]
History [ edit ]
1960s [ edit ]
Background [ edit ]
The boundaries between art and 💸 pop music became increasingly blurred throughout the second half of the 20th century. The first usage of the term "art 💸 rock", according to Merriam-Webster Online Dictionary, was in 1968.[4] As pop music's dominant format transitioned from singles to albums,[nb 1] 💸 many rock bands created works that aspired to make grand artistic statements, where art rock would flourish.[21] As it progressed 💸 in the late 1960s – in tandem with the development of progressive rock – art rock acquired notoriety alongside experimental 💸 rock.
Proponents [ edit ]
The earliest figure of art rock has been assumed to be record producer and songwriter Phil Spector, 💸 who became known as an auteur for his Wall of Sound productions that aspired to a "classical grandiosity". According to 💸 biographer Richard Williams: "[Spector] created a new concept: the producer as the overall director of the creative process, from beginning 💸 to end. He took control of everything, he picked the artists, wrote or chose the material, supervised the arrangements, told 💸 the singers how to phrase, masterminded all phases of the recording process with the most painful attention to detail, and 💸 released the result on his own label." Williams also says that Spector transformed rock music from a performing art into 💸 an art that could only exist in the recording studio, which "paved the way for art rock".
Brian Wilson in the 💸 studio, 1976
The Beach Boys' leader Brian Wilson is also cited as one of the first examples of the auteur music 💸 producer.[nb 2] Like Spector, Wilson was known as a reclusive studio obsessive who laboriously produced fantastical soundscapes through his mastery 💸 of recording technology. Biographer Peter Ames Carlin wrote that Wilson was the forerunner of "a new kind of art-rock that 💸 would combine the transcendent possibilities of art with the mainstream accessibility of pop music".[29] Drawing from the influence of Wilson's 💸 work and the work of the Beatles' producer George Martin, music producers after the mid 1960s began to view the 💸 recording studio as a musical instrument used to aid the process of composition. Critic Stephen Holden says that mid-1960s recordings 💸 by the Beatles, Spector and Wilson are often identified as marking the start of art pop, which preceded the "bombastic, 💸 classically inflected" art rock that started in the late 1960s.[21]
Many of the top British groups during the 1960s – including 💸 members of the Beatles, the Rolling Stones, the Kinks, the Who, 10cc, the Move, the Yardbirds and Pink Floyd – 💸 came to music via art school. This institution differed from its US counterpart in terms of having a less industry-applicable 💸 syllabus and in its focus on furthering eccentric talent. By the mid-1960s, several of these acts espoused an approach based 💸 on art and originality, where previously they had been absorbed solely in authentic interpretation of US-derived musical styles, such as 💸 rock 'n' roll and R&B.
According to journalist Richard Goldstein, many popular musicians from California (like Wilson) desired to be acknowledged 💸 as artists, and struggled with this aspiration. Goldstein says that the line between violating musical conventions and making "truly popular 💸 music" caused those who did not have "strong enough egos" (in contrast to Bob Dylan and the Beatles) to be 💸 "doomed to a respectful rejection, and a few albums with disappointing sales usually meant silence. ... They yearned for fame, 💸 as only needy people can, but they also wanted to make art, and when both of those impulses couldn't be 💸 achieved they recoiled in a ball of frantic confusion."[34]
Author Matthew Bannister traces "the more self-conscious, camp aesthetic of art rock" 💸 to pop artist Andy Warhol and the Velvet Underground, who emulated Warhol's art/pop synthesis. Accordingly: "Warhol took Spector's combination of 💸 the disembodiment, 'distance' and refinement of high culture with the 'immediacy' of mass cultural forms like rock and roll several 💸 stages further ... But Warhol's aesthetic was more thoroughly worked out than Spector's, which represented a transitional phase between old-fashioned 💸 auteurism and the thoroughly postmodern, detached tenets of pop art. ... Warhol's approach reverberates throughout art rock, most obviously in 💸 his stance of distance and disengagement." In 1969, the Doors also explored art rock genre on their fourth album, The 💸 Soft Parade.
Influential albums [ edit ]
The December 1965 release of the Beatles' Rubber Soul signified a watershed for the pop 💸 album, transforming it in scope from a collection of singles with lesser-quality tracks to a distinct art form, filled with 💸 high-quality original compositions. The album garnered recognition for the Beatles as artists from the American mainstream press, anticipating rock music's 💸 cultural legitimization as an art form. Writing in 1968, Gene Sculatti of Jazz & Pop recognized Rubber Soul as "the 💸 definitive 'rock as art' album" and "the necessary prototype" that major artists such as the Rolling Stones (with Aftermath) and 💸 the Beach Boys had felt compelled to follow.[42]
The period when rock music became most closely aligned with art began in 💸 1966 and continued until the mid 1970s. Academic Michael Johnson associates "the first documented moments of ascension in rock music" 💸 to the Beach Boys' Pet Sounds and the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967). Released in May 1966, 💸 Pet Sounds came from Wilson's desire to make a "complete statement", as he believed the Beatles had previously done with 💸 Rubber Soul.[nb 3] In 1978, biographer David Leaf wrote that the album heralded art rock, while according to The New 💸 York Observer, "Pet Sounds proved that a pop group could make an album-length piece comparable with the greatest long-form works 💸 of Bernstein, Copland, Ives, and Rodgers and Hammerstein."[47] Pet Sounds is also noted as the first rock concept album.[49][nb 4] 💸 In 1971, Cue magazine described the Beach Boys as having been "among the vanguard" with regard to art rock, among 💸 many other aspects relating to the counterculture, over the period up to late 1967.[50]
Jacqueline Edmondson's 2013 encyclopedia Music in American 💸 Life states that, although it was preceded by earlier examples, Frank Zappa and the Mothers of Invention's debut album Freak 💸 Out! (June 1966) came to be seen as "the first successful incorporation of art music in a pop context". With 💸 Los Angeles as his base since the early 1960s, Zappa was able to work in an environment where student radicalism 💸 was closely aligned with an active avant-garde scene, a setting that placed the city ahead of other countercultural centres at 💸 the time and would continue to inform his music. Writer and pianist Michael Campbell comments that the album "contains a 💸 long noncategorical list of Zappa's influences, from classical avant-garde composers to obscure folk musicians".
The Beatles' Revolver (August 1966) furthered the 💸 album-as-art perspective and continued pop music's evolution. Led by the art-rock single "Eleanor Rigby", it expanded the genre's scope in 💸 terms of the range of musical styles, which included Indian, avant-garde and classical, and the lyrical content of the album, 💸 and also in its departure from previous notions of melody and structure in pop songwriting. According to Rolling Stone, "Revolver 💸 signaled that in popular music, anything – any theme, any musical idea – could now be realized."[56] As with Rubber 💸 Soul, the album inspired many of the progressive rock artists of the 1970s, and each of its songs has been 💸 recognised as anticipating a new subgenre or style.
1967 [ edit ]
Clash Music names the Velvet Underground's debut March 1967 album 💸 The Velvet Underground & Nico "the original art-rock record".[59][nb 5] Bannister writes of the Velvet Underground: "no other band exerted 💸 the same grip on the minds of 1970s/1980s art/alternative rock artists, writers and audiences." Their influence would recur from the 💸 1970s onwards to various worldwide indie scenes,[nb 6] and in 2006, The Velvet Underground & Nico was inducted into the 💸 Library of Congress' National Recording Registry, who commented: "For decades [it] has cast a huge shadow over nearly every sub-variety 💸 of avant-garde rock, from 70s art-rock to no-wave, new-wave, and punk." However, when the Velvet Underground first appeared in the 💸 mid 1960s, they faced rejection and were commonly dismissed as a "fag" band. In 1982, musician Brian Eno famously stated 💸 that while The Velvet Underground & Nico initially sold just 30,000 copies, "everyone who bought one of those 30,000 copies 💸 started a band."[64]
The Beatles' Paul McCartney deemed Pet Sounds "the record of the time", and in June 1967, the band 💸 responded with their own album: Sgt. Pepper's,[nb 7] which was also influenced by Freak Out! AllMusic states that the first 💸 wave of art rock musicians were inspired by Sgt. Pepper's and believed that for rock music to grow artistically, they 💸 should incorporate elements of European and classical music to the genre.[1][nb 8] Many British groups flowered in the album's wake; 💸 those who are listed in Music in American Life include the Moody Blues, the Strawbs, Genesis, and "most notably", Pink 💸 Floyd.[nb 9] The band's Roger Waters later stated that both Sgt. Pepper and Pet Sounds "completely changed everything about records" 💸 for him.[70]
Art rock's greatest level of popularity was in the early 1970s through British artists including King Crimson and Queen.[3]
David 💸 Bowie photographed in 1974
Early in the decade, Pink Floyd released Atom Heart Mother, with the 23-minute title track taking up 💸 the entire first side of the LP. This experiment with collaborator Ron Geesin yielded the longest unbroken Pink Floyd song 💸 on record, a suite divided into six parts, which required the band at times to utilize a choir and brass 💸 section on tour. The album was a commercial success, giving the band to its first number one record in the 💸 UK. It signaled a shift in their music from the psychedelic forays of their late '60s albums and into a 💸 period of renewed creativity in the form of longer and more progressive rock music.
Enthusiasm for art rock explorations waned in 💸 the mid 1970s. From then to the 1990s, art rock was infused within various popular music genres.[3] Encyclopædia Britannica states 💸 that its genre's tendencies were continued by some British and American hard rock and pop rock artists, and that Brian 💸 Eno's late 1970s and early 1980s collaborations with David Bowie and Talking Heads are exemplary of "the successful infusion of 💸 art rock tendencies into other popular music genres".[3] Bowie and Eno collaborated on a series of consecutive albums called the 💸 "Berlin Trilogy", characterized as an "art rock trifecta" by Consequence of Sound, who noted that at the time of their 💸 release, "The experimental records weren't connecting with audiences on the scale Bowie was used to. ... New Wave had exploded, 💸 and a generation of Bowie descendants had taken the stage."[71]
In the 1980s, a new generation of English art rockers took 💸 the place of 1970s bands such as Roxy Music,[72] Yes, Genesis, Jethro Tull and Emerson, Lake & Palmer. Journalist Roy 💸 Trakin says: "Of course, these stalwarts can still fill Madison Square Garden and sell a great many records, as they 💸 always have, but their days of adventurous risk-taking and musical innovation are long gone – replaced by the smug satisfaction 💸 of commercial success."[73]
Notes [ edit ]
References [ edit ]
Bibliography [ edit ]
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