Hard rock is a loosely defined subgenre of rock music that began in the mid-1960s, with the garage and blues rock movements. It is typified by a heavy use of aggressive vocals, distorted electric guitars, bass guitar and accompanied with keyboards. Hard rock developed into a major form of popular music in the 1970s, with notable bands such as AC/DC, the Who, Led Zeppelin, Deep Purple, Aerosmith and Van Halen. During the 1980s, some hard rock bands moved away from their hard rock roots and more towards pop rock, while others began to return to a hard rock sound. Established bands made a comeback in the mid-1980s and it reached a commercial peak in the 1980s, with glam metal bands like Bon Jovi and Def Leppard and the rawer sounds of Guns N' Roses, which followed up with great success in the part of that decade. Hard rock began losing popularity with the commercial success of R&B, hip-hop, urban pop and Britpop in the 1990s. Despite this, many post-grunge bands adopted a hard rock sound and in the 2000s there came a renewed interest in established bands, attempts at a revival, new hard rock bands that emerged from the garage rock and post-punk revival scenes.
Out of this movement came garage rock bands like the White Stripes, the Strokes, Interpol and on, the Black Keys. In the 2000s, only a few hard rock bands from the 1970s and 1980s managed to sustain successful recording careers. Hard rock is a form of aggressive rock music; the electric guitar is emphasised, used with distortion and other effects, both as a rhythm instrument using repetitive riffs with a varying degree of complexity, as a solo lead instrument. Drumming characteristically focuses on driving rhythms, strong bass drum and a backbeat on snare, sometimes using cymbals for emphasis; the bass guitar works in conjunction with the drums playing riffs, but providing a backing for the rhythm and lead guitars. Vocals are growling, raspy, or involve screaming or wailing, sometimes in a high range, or falsetto voice. Hard rock has sometimes been labelled cock rock for its emphasis on overt masculinity and sexuality and because it has been predominantly performed and consumed by men: in the case of its audience white, working-class adolescents.
In the late 1960s, the term heavy metal was used interchangeably with hard rock, but began to be used to describe music played with more volume and intensity. While hard rock maintained a bluesy rock and roll identity, including some swing in the back beat and riffs that tended to outline chord progressions in their hooks, heavy metal's riffs functioned as stand-alone melodies and had no swing in them. Heavy metal took on "darker" characteristics after Black Sabbath's breakthrough at the beginning of the 1970s. In the 1980s it developed a number of subgenres termed extreme metal, some of which were influenced by hardcore punk, which further differentiated the two styles. Despite this differentiation, hard rock and heavy metal have existed side by side, with bands standing on the boundary of, or crossing between, the genres; the roots of hard rock can be traced back to the 1950s electric blues, which laid the foundations for key elements such as a rough declamatory vocal style, heavy guitar riffs, string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, posturing performances.
Electric blues guitarists began experimenting with hard rock elements such as driving rhythms, distorted guitar solos and power chords in the 1950s, evident in the work of Memphis blues guitarists such as Joe Hill Louis, Willie Johnson, Pat Hare, who captured a "grittier, more ferocious electric guitar sound" on records such as James Cotton's "Cotton Crop Blues". Other antecedents include Link Wray's instrumental "Rumble" in 1958, the surf rock instrumentals of Dick Dale, such as "Let's Go Trippin'" and "Misirlou". In the 1960s, American and British blues and rock bands began to modify rock and roll by adding harder sounds, heavier guitar riffs, bombastic drumming, louder vocals, from electric blues. Early forms of hard rock can be heard in the work of Chicago blues musicians Elmore James, Muddy Waters, Howlin' Wolf, the Kingsmen's version of "Louie Louie" which made it a garage rock standard, the songs of rhythm and blues influenced British Invasion acts, including "You Really Got Me" by the Kinks, "My Generation" by the Who, "Shapes of Things" by the Yardbirds, "Inside Looking Out" by the Animals, " Satisfaction" by the Rolling Stones.
From the late 1960s, it became common to divide mainstream rock music that emerged from psychedelia into soft and hard rock. Soft rock was derived from folk rock, using acoustic instruments and putting more emphasis on melody and harmonies. In contrast, hard rock was most derived from blues rock and was played louder and with more intensity. Blues rock acts that pioneered the sound included Cream, the Jimi Hendrix Experience, the Jeff Beck Group. Cream, in songs like "I Feel Free" combined blues rock with pop and psychedelia in the riffs and guitar solos of Eric Clapton. Jimi Hendrix produced a form of blues-influenced psychedelic rock, which combined elements of jazz and rock and roll. From 1967 Jeff Beck brought lead guitar to new heights of technical virtuosity and moved blues rock in the direction of heavy rock with his band, the Jeff Beck Group. Dave Davies of the Kinks, Keith Richards of the Rolling Stones, Pete Townshend of the Who, Hendrix and Beck all pioneered the use of new guitar effects like phasing and distortion.
The Beatles began producing songs in the new
Face to Face (The Angels album)
Face to Face is the second studio album by Australian hard rock band, the Angels, released in June 1978. It was co-produced by the band with Mark Opitz, which peaked at No. 18 on the Kent Music Report Albums Chart. For shipment of 280,000 copies, it was accredited as 4× platinum; the international version was released in March 1980 under the band name, Angel City, as a compilation of tracks from both the Australian version of Face to Face and from their third studio album, No Exit. It included a re-recorded version of "Am I Ever Gonna See Your Face Again", issued as their debut single in March 1976 from their first album, The Angels; the album cover was designed by Peter Ledger and won the King of Pop award for'Best Album Cover Design' in 1979. In October 2010, Face to Face was listed in the book, 100 Best Australian Albums; the international version of album was reissued on CD by Rock Candy Records in 2011. Australian musicologist, Ian McFarlane, described Face to Face as a "watershed" release for both the group and Mark Opitz.
Ed Nimmervoll of Howlspace website opined that it "delivered a tough blend of metal. The band brought it home on stage behind their theatrical lead singer and gesturing maniacally, highlighting the drama in the lyrics. In every way they were one of the most exciting bands in the country, exhaustive touring brought the band a generation of loyal fans." John Floyd of AllMusic rated the international version at three out of five stars and declared, "This roaring Australian combo displays their AC/DC-cum-punk hearts on a powerful US debut." All tracks written by John Brewster, Rick Brewster, Doc Neeson. All tracks written by John Brewster, Rick Brewster, Doc Neeson. Doc Neeson – lead vocals Richard Brewster – lead guitar John Brewster – rhythm guitar Chris Bailey – bass guitar Graham "Buzz" Bidstrup – drums Producer – the Angels, Mark Opitz Cover artwork – Peter Ledger
Red Back Fever
Red Back Fever is a 1991 album by hard rock band The Angels and reached No. 14 on the ARIA Albums Chart. "Tear Me Apart" - 5:15 "Some of That Love" - 3:51 "Once Bitten Twice Shy" - 4:38 "Child in You" - 3:28 "Lyin' Awake in Bed" - 5:42 "Bedroom After Bedroom" - 3:58 "Red Back Fever" - 3:59 "Don't Need You" - 2:20 "Natural Born Woman" - 3:40 "High and Dry" - 5:53 "Hold On" - 6:12 "No More Words" - 1:42 Doc Neeson – lead vocals Rick Brewster – lead guitar Bob Spencer – rhythm guitar, backing vocals James Morley – bass guitar, backing vocals Brent Eccles – drums Angels, The – Red Back Fever. Www.allmusic.com. Accessed 1 November 2013
Liberation Music is an Australian record company and label, started in 1999 by Michael Gudinski and Warren Costello, based in Melbourne. Its stated aim is to find, nurture and to develop new talent for a world market while remaining independent in the process. Liberation has a sub-label called Liberator Music, a distributor for foreign artists and labels such as Childish Gambino, Glassnote Records, BMG Rights Management, Ipecac Recordings. Following the 1998 sale of Gudinski's Mushroom Records to Festival Records, Liberation Music was formed to continue to satisfy Michael Gudinski's desire to promote and develop Australian Music. Effective September 2008, Liberation is distributed by Universal Music Australia after leaving Warner Music Australia. In September 2017, Liberation Music re-branded as Liberation Records; the Mushroom Groups's newest imprint, Bloodlines, is now home to several artists signed to Liberation Music. On 22 August 2013, the Electronic Frontiers Foundation filed suit against Liberation Music in the United States District Court for the District of Massachusetts for "misusing copyright law".
The complaint related to repeated DMCA takedown requests, targeted at a lecture by Harvard Law School professor Lawrence Lessig, posted on YouTube. Lessig and the EFF brought the suit under the Fair Use clauses of US copyright law. EFF Intellectual Property Director Corynne McSherry said, "There's a long and sorry history of content owners abusing copyright to take down fair uses, but this one is shocking. Based on nothing more than a few clips illustrating Internet creativity, Liberation Music took down an entire lecture by one of the leading experts in the world on copyright and fair use." The lawsuit was settled out including an admission that Lessig has fair use. Liberation current label artists: Adalita British India D. D Dumbo Dan Sultan Emerson Snowe Emma Louise Gordi Husky James Crooks Josef Salvat Julia Jacklin Mansionair R. W. Grace Slum Sociable The Creases Vanessa The Temper Trap Two People Vance JoyPast label artists: Snakadaktal Sean Heathcliff World's End Press The Holidays Little Red TZU Custom Kings Joe Neptune https://liberationrecords.com.au/
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Take It to the Streets (The Angels album)
Take It to the Streets is an album from The Angels released on 31 August 2012. It reached No. 24 on the ARIA Albums Chart. "To the Streets" – 4:26 "Wounded Healer" – 3:54 "Waiting for the Sun" – 4:48 "Life Gets Better" – 4:11 "Telephone" – 6:28 "No Sleep in Hell" – 4:44 "The More You Know" – 3:45 "When the Time Comes" – 3:03 "Pump It Up" – 3:21 "There Comes a Time" – 3:01 "Small Price" – 4:02 "Getting Free" – 2:46 "Some Kinda Hell in Here" – 4:55 "Free Bird" – 3:37"No Sleep in Hell" was on the album Watch the Red. "When the Time Comes" was on the album The Howling. "Small Price" was on the album Two Minute Warning. Bass, Backing Vocals – Chris Bailey Co-producer – John Brewster, Rick Brewster Drums, Backing Vocals – Nick Norton Guitar, Backing Vocals – John Brewster Lead Guitar, Organ – Rick Brewster Recorded By – Reyne House Vocals – Dave Gleeson Disc 1 - Additional guitar solos: Sam Brewster-Jones, Harry Brewster-Jones, Nick Norton Disc 1 - Recorded at Alberts Studio, Neutral Bay, NSW, Australia Disc 2 - Recorded live at QPAC Theater, Australia, 21 January, 2012 Produced by John and Rick Brewster The Angels - Take It To The Streets The Angels - Take It To The Streets The Angels - Take It to the Streets @ Discogs
Am I Ever Gonna See Your Face Again
"Am I Ever Gonna See Your Face Again" is an Australian rock song written by Doc Neeson, John Brewster and Rick Brewster, performed by their group, the Angels. The song was recorded as a ballad in March 1976 but subsequently re-released as a rock song; the song is best known for the expletive-laden audience response, "No Way, Get Fucked, Fuck Off", to the live version, issued in March 1988. This chant has been described by The Guardian's Darryl Mason as "one of the most famous in Australian rock history"; the song reached at number 58 on the ARIA Charts and it stayed in the charts for 19 weeks. The Angels members Chris Bailey – bass guitar Buzz Throckman – drums John Brewster – rhythm guitar, backing vocals Rick Brewster – lead guitar Doc Neeson – lead vocals Neeson said that the song was written as an acoustic ballad about grief and loss; the girlfriend of Neeson's friend was killed in a motorcycle collision, the two friends were discussing life after death. The conversation inspired Neeson to write the lyrics.
References to subjects like Santa Fe and Renoir came from Neeson's own experiences. The Angels voluntarily paid an "out-of-court settlement" to Status Quo of a reported "six figure sum" to avoid any potential problems due to the numerous similarities between "Am I Ever Gonna See Your Face Again" & the Status Quo 1974 single B-side "Lonely Night". Status Quo's lyric of "'Cause I never thought I'd see or hear you again" being similar to the re-written Angels lyric. Therefore, the stories that Status Quo still get a percentage of royalties is false, it was a one-off payment; the Angels tried three times in the early 1980s to make a hit out of the song. In the mid-1980s an unexpected chant response, "No Way, Get Fucked, Fuck Off" by the audience to the question posed in the title was noticed by the group; the song had become an iconic part of Australian culture, such that the song may be played anywhere at any time in Australia with the chant sung by whatever crowds are present. Although it is the most famous audience chant in Australian rock music history, the exact origins of it are lost.
In 2008 Neeson and the Brewsters tried to discover. The band first heard it in Mount Isa, Queensland in 1983, were shocked they were being told to "Fuck off!". Neeson asked one of the crowd who said that it originated at a police sponsored [Blue Light disco. Live performances of the song and recordings played at discotheques or nightclubs customarily provoke an audience response of "no way, get fucked, fuck off" to the question posed in the song title. Neeson recalled that he first heard the response at Mount Isa in 1983. Thinking it was a criticism of the band, he asked audience members about it, they responded that the chant had its origins at a disco in Sydney where the DJ would turn down the volume to encourage the audience response. In May 2014 Rick Brewster opined, "I don't think it will be solved because too many people put their hand up and said'I started it' and we don't believe any of it. We just think it's funny, it's the bush telegraph really; the whole country was doing it and we found when we went overseas the people in America were doing it too."Neeson noted that "it's become the audience's song, it doesn't belong to the band anymore".
The audience response made for an "awkward moment" for Peter Cosgrove at an INTERFET concert in the company of Jose Ramos Horta and Bishop Belo