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Post by John Titor on Jan 21, 2020 10:48:38 GMT 10
So for the few that remember it, Garage Rock was suppose to be the next thing, it was being hyped up in magazines as early as summer 2001.
Folk female pop was also being hyped up with artists like Vanessa Carlton and Michelle Branch. Sadly they both didn't explode like they were suppose to
be but damn sure brought us some cool music. The emergence of pop punk and emo really derailed any chance it had.
Here are a few songs that define this almost trend.
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Post by mc98 on Jan 21, 2020 11:01:10 GMT 10
So for the few that remember it, Garage Rock was suppose to be the next thing, it was being hyped up in magazines as early as summer 2001. Folk female pop was also being hyped up with artists like Vanessa Carlton and Michelle Branch. Sadly they both didn't explode like they were suppose to be but damn sure brought us some cool music. The emergence of pop punk and emo really derailed any chance it had. Here are a few songs that define this almost trend. The biggest song of the garage rock movement was The Brightside, which peaked at #10 on the Billboard charts. Isn't Michelle Branch in the same vein as Ashlee Simpson and Avril Lavigne?
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Post by John Titor on Jan 21, 2020 11:20:48 GMT 10
So for the few that remember it, Garage Rock was suppose to be the next thing, it was being hyped up in magazines as early as summer 2001. Folk female pop was also being hyped up with artists like Vanessa Carlton and Michelle Branch. Sadly they both didn't explode like they were suppose to be but damn sure brought us some cool music. The emergence of pop punk and emo really derailed any chance it had. Here are a few songs that define this almost trend. The biggest song of the garage rock movement was The Brightside, which peaked at #10 on the Billboard charts. Isn't Michelle Branch in the same vein as Ashlee Simpson and Avril Lavigne? Ashlee Simpson is more pop rock while Michelle branch and Vanessa Carlton are more Folk pop singer songwriter type, Its too bad Garage rock never really blew up
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Post by Deleted on Jan 21, 2020 22:05:54 GMT 10
I don't know if I would agree with Michelle Branch being in the same category as Vanessa Carlton. Everywhere sounds much more like Sk8r Boi than it does like A Thousand Miles. That being said, I wouldn't exactly call Vanessa Carlton "folk" either.
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Post by SharksFan99 on Jan 22, 2020 20:08:14 GMT 10
I think the thing that worked against garage rock in particular was that the way in which the genre entered into the mainstream was very contrived, to the point where the record labels were intentionally trying to manufacture a repeat of the Early '90s alt-rock explosion. It's debatable that there was ever a demand for the garage-rock scene of the early naughties in the first place. I mean, it can't even be said that garage-rock was bubbling under the surface during the Mid-Late '90s, because it just wasn't.
If anything, I see the emergence of garage-rock as being the first sign that rock's place as the dominant cultural medium was under threat. Rock was running out of steam. The record labels and music publications knew all too well that the biggest sub-genres of rock at that time, "post" post-grunge and nu-metal, did not have long shelf-lives and were getting on the noses of people. Post-grunge had been in existence for at least 7-8 years by 2001 and nu-metal was arguably just out of it's peak. Can you blame the record labels for thinking that when you had bands like Limp Bizkit, Creed and Puddle of Mudd being the "leading faces" of rock music?
I very much doubt that garage-rock would have ever become successful if it hadn't of been for the backlash against nu-metal. The Strokes were labelled as the "savors of rock 'n roll" by the press. People embraced them with open arms as they were seen as a welcome return to the good 'ol days of rock music, a stark contrast from the rap-rock and watered-down radio-rock that were ruling the airwaves at the time. The garage-rock bands didn't become successful because people were wanting a revival of garage-rock music; they became successful because they were simply better than what else was on offer.
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Post by sman12 on Jan 23, 2020 8:08:19 GMT 10
I think the thing that worked against garage rock in particular was that the way in which the genre entered into the mainstream was very contrived, to the point where the record labels were intentionally trying to manufacture a repeat of the Early '90s alt-rock explosion. It's debatable that there was ever a demand for the garage-rock scene of the early naughties in the first place. I mean, it can't even be said that garage-rock was bubbling under the surface during the Mid-Late '90s, because it just wasn't. If anything, I see the emergence of garage-rock as being the first sign that rock's place as the dominant cultural medium was under threat. Rock was running out of steam. The record labels and music publications knew all too well that the biggest sub-genres of rock at that time, "post" post-grunge and nu-metal, did not have long shelf-lives and were getting on the noses of people. Post-grunge had been in existence for at least 7-8 years by 2001 and nu-metal was arguably just out of it's peak. Can you blame the record labels for thinking that when you had bands like Limp Bizkit, Creed and Puddle of Mudd being the "leading faces" of rock music? I very much doubt that garage-rock would have ever become successful if it hadn't of been for the backlash against nu-metal. The Strokes were labelled as the "savors of rock 'n roll" by the press. People embraced them with open arms as they were seen as a welcome return to the good 'ol days of rock music, a stark contrast from the rap-rock and watered-down radio-rock that were ruling the airwaves at the time. The garage-rock bands didn't become successful because people were wanting a revival of garage-rock music; they became successful because they were simply better than what else was on offer. Wow. Thanks for your insight on this, considering that the only songs that I know of from these two genres are "A Thousand Miles" by Vanessa Carlton and "Seven Nation Army" by The White Stripes. It's sad that rock will never be the distorted and loud powerhouse that it once was. Even pop punk bands had mainstream recognition throughout the early-mid 2000s before the genre fizzled out of the limelight later on. Now all we have are EDM-remnants/Synthpop disguised as alt-rock (i.e., Imagine Dragons obviously). If Billie Eilish is now "alt-rock" from these terrestrial radio stations who still play alt-rock from years past, even though she clearly isn't, then the mainstream rock genre is as good as dead.
SharksFan99 likes this
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Post by Deleted on Jan 24, 2020 10:24:28 GMT 10
I'm glad garage rock didn't blow up. I wasn't a big fan of the genre personally.
As far as post-grunge, it's impressive how long it lingered through bands such as Nickelback and people like Daughtry. The genre didn't completely die until 2010 (I think September by Daughtry was the last big post-grunge single to get significant terrestrial radio airplay).
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Post by SharksFan99 on Jan 24, 2020 13:56:43 GMT 10
I'm glad garage rock didn't blow up. I wasn't a big fan of the genre personally. As far as post-grunge, it's impressive how long it lingered through bands such as Nickelback and people like Daughtry. The genre didn't completely die until 2010 (I think September by Daughtry was the last big post-grunge single to get significant terrestrial radio airplay). I feel much the same way really, the only band from the garage-rock scene which I have a remote interest in are The Vines. I haven't checked out all of their discography, but I've listened to enough of their songs to know that they at least broke the mold by incorporating elements of '90s alt-rock and psychedelia into their music. They weren't as derivative as what some of the other garage-rock bands were. I've always thought that The Strokes in particular are very much overrated. "Last Night" is quite often included in "greatest songs of the 21st Century" lists, which dumbfounds me. I don't see the appeal in it at all. Yep, though I've always wondered if post-grunge would have lasted as long as it did if it hadn't of been for Nickelback's huge breakthrough towards the end of 2001. I think "How You Remind Me" really gave post-grunge a boost in terms of it's longevity and it's relevancy in the mainstream. Had Nickelback not become such a big household name, the genre could very well have died out around 2003/2004 IMO.
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Post by mc98 on Jan 24, 2020 14:04:24 GMT 10
Michelle Branch and Vanessa Carlton sound pop rock to me.
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Post by mh on Jan 25, 2020 0:23:56 GMT 10
I love Garage Rock. It was a huge genre for me as a teen because by 2003 I was getting a bit tired of rap rock and was looking for something that had more of an old school vibe to it. The White Stripes are probably my favorite group of the entire '00s. I like The Strokes, but not as much as some of the groups that came along later like Franz Ferdinand, Modest Mouse and groups like that.
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Post by fusefan on Jan 30, 2020 5:13:37 GMT 10
I loved this genre in the early to mid 2000s (still do). Yeah, it didn’t totally take over rock music in the 2000s but oh well, popular or not, “overrated” or not, if it sounds good to my ears it’s good music.
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