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Garage rock is a style of pop music, a raw and energetic variety of rock and roll that flourished in the mid-1960s most notably in the United States and Canada, but also elsewhere. At the time it had no specific name and was not recognized as a separate genre, but critical recognition in the early 1970s, and particularly the release of the 1972 compilation album, ''Nuggets'', did much to define and memorialize the style. The term derives from the perception that many groups were young amateurs who rehearsed in the family garage, though many were professional. The style, a precursor to psychedelic rock, is characterized by sometimes aggressive and unsophisticated lyrics and delivery, often using guitars distorted through a fuzzbox. Surf rock and subsequently the Beatles and the beat groups of the British Invasion motivated thousands to form bands in the US and elsewhere from 1963 through early 1968. Hundreds produced regional hits, and a handful had national chart hits. After 1968 more sophisticated forms of rock music emerged, and such records largely disappeared from the national charts. In the early 1970s, some critics began to refer to the style as "punk rock", the first form of music to bear this description; and it is sometimes called "garage punk", "protopunk", or '60s punk" to distinguish it from the more commonly known punk rock of the mid- and late-1970s. ==Characteristics== The term ''garage rock'' comes from the perception that many such performers were young and amateurish, and often rehearsed in the family garage.〔R. Shuker, ''Popular music: the key concepts'' (Routledge, 2nd edn., 2005), p. 140.〕 While some 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.〔E. J. Abbey, ''Garage Rock and Its Roots: Musical Rebels and the Drive for Individuality'' (McFarland, 2006), pp. 74–76.〕 The earliest attested use of the term "garage band" dates from March 1971, in a review by John Mendelsohn in ''Rolling Stone'';〔(John Mendelsohn, Review of ''Long Player'' by the Faces, ''Rolling Stone'', March 18, 1971 )〕 later the same year, the term was also used by Lenny Kaye in the same magazine. Performances were often amateurish, naïve or intentionally raw, with typical themes revolving around the traumas of high school life and songs about "lying girls" being particularly common.〔〔 〕 The lyrics and delivery were notably more aggressive than the more polished acts of the time, often with nasal, growled, or shouted vocals, sometimes punctuated by shrieks or screams at climactic moments of release.〔〔 Instrumentation was characterized by the use of electric guitars often distorted through a fuzzbox, teamed with bass and drums.〔〔 Organs such as the Farfisa were commonly used as well as mouth harmonicas or hand-held percussion such as tambourines.〔〔〔 〕 Occasionally, the tempo would be sped up in certain, usually instrumental, passages sometimes referred to as a "raveups."〔Bangs, Lester. ''Psychotic Reactions and Carburetor Dung.'' Anchor Books, a division of Random House, 2003, p. 73. Reprinted from 1971 article that appeared in Greg Shaw's fanzine, ''Who Put the Bomp.'' Bangs refers to how garage bands would do "raveups" influenced by British acts such as the Yardbirds and the Rolling Stones. Generally, the Yardbirds are usually credited with being the first band to do raveups. A popular example of an American Garage rock band doing a Yardbirds'-influenced "raveup" is in the song "Psychotic Reaction," in which the tempo speeds up during the instrumental passage. A "raveup" is a common term used among musicians of the 1960s era to describe a sped-up (usually instrumental) passage. The term is alluded to in the title of the website, Trans World Rave-Up, listed in the "External links" section of this article. Such sped-up passages would likely have influence on later punk and hardcore acts.〕〔Marks, Ian and McFarlane, Ian, and McIntyre, Iain. ''Wild About You: The Sixties Beat Explosion in Australia and New Zealand.'' Verse Chorus Press. Portland, London, Melbourne, 2010, p. 323. Marks, McFarlane, and McIntyre refer to "double-time rave-ups" in Pink Finks' version of "Louie Louie."〕 Nevertheless, garage rock acts were diverse in both musical ability and in style, ranging from crude two- and three-chord music (like the Seeds and the Keggs) to near-studio musician quality (including the Knickerbockers, the Remains, and the Fifth Estate). There were also regional variations with flourishing scenes, particularly in California, the base of Strawberry Alarm Clock, the Electric Prunes, the Music Machine, the Standells, and Texas, offering bands such as Sir Douglas Quintet, the 13th Floor Elevators, Sam the Sham and the Pharaohs (whose "Wooly Bully" reached number 2 on the Billboard Hot 100 and charted for almost four and a half months in 1965), and Fever Tree.〔 The north-western states of Idaho, Washington and Oregon had perhaps the most defined regional sound with bands such as the Bootmen, the Sonics and Paul Revere & the Raiders.〔N. Campbell, ''American Youth Cultures'' (Edinburgh University Press, 2nd edn., 2004), p. 213.〕 Florida had a significant number of near studio quality bands, such as the Impacts, the Tropics, the Tempests and the Outlaws. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「garage rock」の詳細全文を読む スポンサード リンク
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