Music of the United States
The music of the United States includes forms derived from multiple ethnic groups. The original inhabitants of the United States included hundreds of Native American tribes, as well as native Hawaiians played the first music in the area, eventually augmented by immigrants from England, Spain, Sweden and France. Africans imported as slaves provided the musical underpinnings of much of modern American music, while other influences include Spanish-native mestizos from Mexico, Cuba and Puerto Rico, Cajuns, descended from French-Canadians and Eastern European Jews.Information about the roots of modern American music can be found at American roots music. This article will discuss developments since approximately 1940, when folk-based styles like blues, jazz, gospel, Tejano, Cajun and Creole, klezmer and country music evolved into pop music.
In the 1940s, the major strands of American music combined to form rock and roll. Based most strongly off an electric guitar-based version of the Chicago blues, rock also incorporated jazz, country, folk, swing and other types of music; in particular, bebop jazz and boogie woogie blues were in vogue and greatly influenced the music's style. It had developed by 1949, and quickly became popular among blacks nationwide (see 1949 in music). Mainstream success was slow to develop, though (in spite of early success with Bill Haley & the Comets' "Rock Around the Clock"), and didn't begin in earnest until Elvis Presley ("Hound Dog"), a white man, began singing rock, R&B and rockabilly songs in a devoted black style. He quickly became the most famous and best-selling artist in American history, and a watershed point in the development of music.
Close harmony duets had grown popular in the 1940s, and were made mainstream in the mid-1950s by the Louvin Brothers. This inspired Pete Seeger's brother, Mike Seeker, who formed the New Lost City Ramblers who played traditional Appalachian folk music and helped popularize it. This became known as old-time music, and paralleled the rise of "folk singers", singer-songwriters who played updated versions of the same music. The old-time phenomenon also led to the rediscovery of musicians like Doc Watson, Dock Boggs, Roscoe Holcomb and Clarence Ashley. Some, including Watson, got their career revitalized after the 1961 Newport Folk Festival.
The 1950s also saw the popular dominance of the Nashville sound in country music, and the beginning of popular folk music with groups like The Weavers. Country's Nashville sound was slick and soulful, and a movement of rough honky tonk developed in a reaction against the mainstream orientation of Nashville. This movement was centered in Bakersfield, California with musicians like Buck Owens ("Act Naturally"), Merle Haggard ("Sing a Sad Song") and Wynn Stewart ("It's Such a Pretty World Today") helping to define the sound among the community, made up primarily of Oklahoman immigrants to California, who had fled unemployment and drought. A similarly hard-edged sound also arose in Lubbock, Texas (Lubbock sound).
By the late 1950s, a revival of Appalachian folk music was taking place across the country, and bands like The Weavers were paving the way for future mainstream stars like Bob Dylan and Joan Baez. Bluegrass was similarly revitalized and updated by artists including Tony Rice, Clarence White, Richard Green, Bill Keith and David Grisman. The Dillards, however, were the ones to break bluegrass into mainstream markets in the early 1960s.
Following World War 2, gospel began its golden age. Artists like the Five Blind Boys of Mississippi, The Swan Silvertones, Clara Ward Singers and Sensational Nightingales became stars across the country; other early artists like Sam Cooke, Dionne Warwick, Dinah Washington, Johnny Taylor, Aretha Franklin, Whitney Houston and Wilson Pickett began their career in gospel quartets during this period, only to achieve even greater fame in the 60s as the pioneers of soul music, itself a secularized, R&B-influenced form of gospel. Mahalia Jackson and The Staple Singers were undoubtedly the most successful of the golden age gospel artists.
In addition, doo wop achieved widespread popularity in the 1950s. Doo wop was a harmonically complex style of choral singing that developed in cities like Chicago, New York, and, most importantly, Baltimore. Groups like The Crows ("Gee"), The Ventures ("Walk-Don't Run"), The Orioles ("It's Too Soon to Know") and Frankie Lymon & the Teenagers ("Why Do Fools Fall in Love") had a string of hit songs that brought the genre to chart domination by 1958 (see [1958 in music]]).
Cuban mambo, chachachá and charanga bands enjoyed brief periods of popularity, and helped establish a viable Latin-American music industry, which led the way to the invention of salsa music among Cubans and Puerto Ricans in New York City in the 1970s. The 50s also saw success for Mexican ranchera divas, while a Mexican-American mariachi scene was developing on the West Coast], and Puerto Rican plena, Brazilian bossa nova and other Latin genres became popular.
Mexican-Texans had been playing conjunto music for decades by the end of World War 2, female duos created the first popular style of Mexican-American music, música norteña. Mexican romantic ballads called bolero were also popular, especially singers like the Queen of the Bolero, Chelo Silva. In the mid-1950s, when Mexican ranchera was used in Hollywood film soundtracks and the upper-class enjoyed stately orquestas Tejanas and conjunto evolved into a distinctively Mexican-American genre called Tejano. Artists of this era include Esteban Jordan, Tony de la Rosa and El Conjunto Bernal.
The 1940s saw a return to the roots of Cajun music, led by Irvy LeJeune, Nathan Abshire and other artists, alongside musicians who incorporated rock and roll, including Laurence Walker and Aldus Roger. In the late 1940s, Clifton Chenier, a Creole, began playing an updated form of la la called zydeco. Zydeco was briefly popular among some mainstream listeners during the 1950s. Artists like Boozoo Chavis, Queen Ida, Rockin' Dopsie and Rockin' Sidney have continued to bring zydeco to national audiences in the following decades. Zydeco shows major influences from rock, and artists lke Beau Jocque have combined other influences, including hip hop.
In the early to mid-1960s, soul music and R&B dominated American audiences. Girl groups (The Angels ("My Boyfriend's Back"), The Shirelles ("Dedicated to the One I Love")) and blue eyed soul (The Righteous Brothers ("You've Lost That Lovin' Feeling"), Mitch Ryder ("Devil With a Blue Dress On")) helped to popularize the music as mainstream, as well as polishing it and removing the grit of gospel. With the popularity of Elvis and other white singers (like Gene Vincent ("Be-Bop-A-Lula"), Roy Acuff ("The Wreck on the Highway"), Jerry Lee Lewis ("Great Balls of Fire") and Chet Atkins ("Mr. Sandman")), as well as black vocalists like Little Richard ("Tutti Frutti"), Chuck Berry ("Johnny B. Goode"), Fats Domino ("The Fat Man") and Chubby Checker ("The Twist"), a new generation of teens began playing in their own rock bands. The 60s also saw the arrival of Mexican-American pop, rock and soul acts that drew upon Tejano and other influences. These include Sunny Ozuna ("Talk to Me", "Reina de mi Amor"), Roberto Pulido y Los Clasicos and Latin Breed.
White rock music developed primarily in two places: southern California, where musicians like Dick Dale (Let's Go Surfing) invented surf rock, and Britain, where mod and merseybeat bands (such as The Who (The Who Sings My Generation) and The Rolling Stones) (The Rolling Stones (England's Newest Hitmakers)) began playing their own version of rock that drew more heavily upon American blues pioneers like Howlin' Wolf ("Evil"), Muddy Waters ("I Be's Troubled") and Jimmy Yancey ("The Fives") than their American counterparts, who mostly played a polished form of pop.
The early 1960s saw four centers of American musical innovation
In addition, Britain's new generation of blues rock gained popularity in parts of their homeland, especially cities like Liverpool, and cult fame in the States. The popularity of folk singers like Peter, Paul & Mary ("Puff the Magic Dragon") and Bob Dylan (The Freewheelin' Bob Dylan) influenced all of these groups as they became more closely aligned with the counterculture and drugs. The national sound was moving towards an electric, psychedelic version of rock. In 1962 (see 1962 in music), The Beatles (Please Please Me) emerged from England and popularized British rock, while The Beach Boys' success brought harmony-laden surf music to the forefront of the American scene. With country and soul musicians unable to maintain their hipness, both faded from mass consciousness. The mid-1960s saw the collapse of The Beach Boys as a result of singer and songwriter Brian Wilson's mental problems after releasing one of the most influential rock albums in history, Pet Sounds. The Beatles went on to lead the psychedelic revolution of the end of the decade, with few Americans able to challenge them, exceptions including The Mamas & the Papas ("California Dreaming") and Jimi Hendrix (Are You Experienced). The most hard-edged psychedelic bands, like Americans Jefferson Airplane (Surrealistic Pillow) and The Grateful Dead (American Beauty), achieved limited success; the Grateful Dead, the first jam band, could also be considered the first cult act.
In the late 1960s, popular music underwent a sea change. Psychedelia-inflected rock dominated black and white audiences. During this period, most of American musical styles for the next forty years began in one form or another, including heavy metal, punk rock, electronic music and hip hop. Perhaps most importantly were two developments. First was the popularization of the LP as a distinct artistic statement. Prior to the early 1960s (and later in most cases), an LP was nothing more than a collection of singles bound together with filler. As the psychedelic revolution progressed, however, lyrics grew more complex and LPs developed to enable the artists to make a more in depth statement than a single song could allow. In addition, rules as to what could be allowed in popular music were lessened -- singles lasted longer than three minutes (Bob Dylan's "Like a Rolling Stone" was the first of these); singing could be gruff, guttural and not classically beautiful and lyrics could focus on more than simple tales of youth, love songs and ballads to include politically and socially aware lyrics. The idea that popular music could and should change the way one feels and lead social change largely developed during this period, though it was certainly not unheard of before.1940s and 1950s
Country, bluegrass and folk music
In 1938, Bill Monroe formed the Blue Grass Boys (named after his native state of Kentucky, the blue grass state) and combined diverse influences into Appalachian folk music. These include Scottish, Irish and Eastern European folk, as well as blues, jazz and gospel. Monroe became the father of bluegrass music, and his band was a training ground for most of bluegrass' future stars, especially Lester Flatt and Earl Scruggs. Scruggs and Flatt popularized bluegrass as part of the Foggy Mountain Boys, which they formed in 1948. Though bluegrass never quite achieved mainstream status, it did become well-known through its use in several soundtracks, including the T.V. theme song for The Beverly Hillbillies and the movies Bonnie and Clyde and Deliverance. In the 1950s, bluegrass artists included Stanley Brothers, Osborne Brothers and Jimmy Martin's Sunny Mountain Boys. Gospel and doo wop
Latin music
Cajun and Creole music
Diversification of pop music
Invention of psychedelia
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Nonsecularized gospel was still popular, though not near the levels of the 1950s boom. Reverend James Cleveland was the most influential artist of the period; he introduced choirs to gospel with 1962's Peace Be Still, recorded with the Angelic Choir of Nutley from New Jersey. Six years later he founded the annual Gospel Music Workshop of America, which have spread across the world. Edwin Hawkins ("Oh Happy Day") was another major artist of the period. Beginning with artists like Ray Repp in 1964, a slick soft rock and gospel fusion called Christian Contemporary Music (or CCM) became popular, which helped lead the way for future rock Christian artists including light country star Amy Grant and Christian heavy metal pioneers Stryper.
A few bands popular among only a small crowd of devoted followers emerged in the late 1960s. The Nice (The Nice) and The Moody Blues (Days of Future Passed) (both British) began releasing a series of complex, classical tinged concept albums that began a sound known as progressive rock. Other British bands like Led Zeppelin (Led Zeppelin I) and Black Sabbath (Paranoid) emerged with a form of hard-edged electric blues that came to be known as heavy metal music. American bands like the Velvet Underground (White Light/White Heat), Blue Cheer (Vincebus Eruptum) and The Stooges (Raw Power) also emerged with fatalistic, artsy lyrics and a fast-driving energetic sound; this was the beginning of punk rock.
In the 1960s, the Bakersfield Sound began its rise to mainstream, led by Merle Haggard. Bands like Muleskinner and Old And In the Way invented a progressive form of bluegrass that came to be known as newgrass. Though this never achieved much mainstream success, newgrass has become a major part of the American country scene. New forms, incuding spacegrass and supergrass, arose in the 80s, and remained low-key. Other artists, including Alison Krauss, achieved some mainstream success and helped pave the way for the surprise success of the traditional old-time music soundtrack O Brother, Where Are Thou.
The rise of the Bakersfield Sound was a popular example of a roots revival in folk music, in which artists and audiences revitalize the traditional music forms of their ancestors, generally as a reaction against dilution of the original culture for mainstream acceptance. In the 1960s and 70s, roots revivals occurred across the globe. The United States saw Appalachian folk music, blues and jazz adapt to rock and roll, forming heavy metal, psychedelia and progressive rock. Other folk forms were also popularized as part of a 1960s roots revival, including Cajun and Hawaiian folk. Cajun music entered the national mainstream for the first time (mostly in the form of cover songs called swamp pop), becoming a fixture at the influential Newport Folk Festival. CoDoFiL (Council for the Development of French in Louisiana), founded in 1968, helped to lead this trend, establishing the Festivals Acadiens and Zydeco Festival, for example. Cajun artists during this period included the Balfa Brothers, D. L. Menard, Eddie LeJeune, Michael Doucet's Beausoleil and Barry Ancelet.
In the early 1970s, singer-songwriters like James Taylor ("Fire and Rain") and Carol King (Tapestry) topped the charts while prog rock, heavy metal and punk began to differentiate themselves from mainstream music. While most singer-songwriters drew on Anglo folk roots, some, like XIT (Plight of the Redman) drew on their Native American origins, following in the path of pioneers like Buffy Sainte-Marie ("Now That the Buffalo's Gone"); other Native American bands like Redbone fused Native American and rock influences. The mid-1970s saw the development of power pop, the marriage of glam and heavy metal to form hair metal and the emergence of disco. By the late 1970s, disco, an electronically-based dance music, dominated the sound of the US, aided by the breakthrough success of Saturday Night Fever. Originally associated with urban blacks and gay white males, disco spent a few years at the top of the charts just as country rock and prog rock achieved their greatest mainstream success. Country rock bands like Lynyrd Skynyrd (Second Helping) and pop-prog bands like Chicago (Chicago II) and Styx (Kilroy Was Here) dominated the portion of the market not listening to disco with long, bizarre progressive pieces and electric blues based southern rock. Country rock had developed primarily from British blues, and added an element of popular country. At the time, outlaw country artists like Willie Nelson (The Red Headed Stranger) and David Allan Coe ("You Never Even Called Me By Name") dominated the country music charts with tales of cowboys and rebels.
Heavy metal bands like Blue Oyster Cult (Agents of Fortune) began to attract some mainstream attention, while punk influenced the developing glam rock scene. Taking its cue from the energetic, dirty psychedelia of The Doors, glam musicians like David Bowie (The Rise and Fall of Ziggy Stardust and the Spiders From Mars) rose to prominence among segments of the population in the early 1970s.
Jamaican immigrants, most notably including DJ Kool Herc, moved to New York City and brought with them the practice of speaking over isolated percussion breaks from popular songs during long dance parties called block parties; this was the beginning of hip hop. Meanwhile, Cuban and Puerto Rican musicians drew on mambo and other Cuban genres to form salsa music. Early artists included Hector Lavoe and Willie Colón.
Jewish-American musicians launched a revival of klezmer music in the mid-1970s, led by Berkeley, California's The Klezmorim, whose frontman, Henry Sapoznik, formed the Archive of Recorded Sound at the Institute for Jewish Research in New York City. This led to the founding of the KlezKamp festival, where stars like Howie Lees, Max Epstein and Sid Beckerman.
The roots of world music, a fusion of rock, pop and other Western music with traditional folk from around the world, arose in the 1970s. Taj Mahal's Happy to Be Just Like I Am (1972), Joni Mitchell's The Hissing of Summer Lawns (1975) and Ry Cooder's 1976 Chicken Skin Music (with Flaco Jiménez and Gabby Pahinui) helped to launch the genre, which was solidified in 1981 with David Byrne and Brian Eno's My Life in the Bush of Ghosts.
The late 1970s also saw the coalescence of what eventually became known as punk music. Arty singers like Patti Smith (Horses) and grungy bands like The Ramones (The Ramones) emerged from New York, based out of the popular club CBGB's. Just as The Clash (The Clash) and the Sex Pistols (Nevermind the Bollocks, Here's the Sex Pistols) defined and popularized the sound of punk in the UK, a similar scene was developing throughout the US. In the early 1980s, disco died a quick death. The popular reaction against disco was swift and final, and the music had ended its reign of commercial influence by 1982 (see 1982 in music). New Wave filled in as the dominant American sound. It had developed out of arty punk bands like the Talking Heads (More Songs About Buildings and Food), and was popularized by Depeche Mode (Speak and Spell), Duran Duran (Rio) and others.Progressive, punk and heavy metal
Country and newgrass
1970s
Underground trends
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Black music in the 1980s focused on two developments. A smooth, ballad-oriented pop-soul evolved and dominated the pop charts, especially in the early part of the decade. Lionel Richie (Can't Slow Down), Michael Jackson (Thriller), Whitney Houston (Whitney Houston) and Prince (Purple Rain) exemplified this field. The other major development in black music was the rise of hip hop as a commercial force.
Hip hop began its course to mainstream popularity with occasional fringe success in the early 80s -- Kurtis Blow (Kurtis Blow) and LL Cool J (Radio) introduced the sound to white listeners, while Afrika Bambaataa & the Soulsonic Force ("Planet Rock") and Grandmaster Flash & the Furious Five ("The Message") innovated new methods in MCing and DJing. Distinct regional variations including Miami bass, LA electro hop, DC go go and Chicago hip house became popular locally and influenced later artists. Of these, bass artists like 2 Live Crew (2 Live Crew Is What We Are) became most famous for sexually explicit lyrics and controversy, while hip house has proven enormously influential on the then developing house music scene and would go on to influence much of electronica and techno.
In the 1980s, punk music began incorporating reggae, ska and other international influences, while heavy metal diversified in the wake of the success of hair metal. Thrash, death and power metal emerged. Pop bands like U2 (The Joshua Tree) and R.E.M (Murmur) also led an interest in the alternative rock scene. All around the country, pop- and hard rock-oriented bands evolving in a state of popular dismissal but critical acclaim had developed a unique sound. Bands like the Pixies (Doolittle) and Hüsker Dü (New Day Rising) made only minor waves on the charts, but fomented a serious revolution in music. A new generation of listeners hated the bombastic, corporate sterility of formulaic hair metal bands, and reacted against them.
The 1980s also saw intense diversification in salsa music, which added Latin rap, jazz and other influences. Cuban songo influenced the form, and helped lead to a period of Cuban salsa dominating the genre. Popular salsa from the United States during the 80s including salsa romantica and Miami Sound performers.
1980s gospel was marked by a slick, pop form of Contemporary Christian Music (CCM), most influentially performed by artists like Amy Grant, as well as both traditional and radical singers and choirs, including Kirk Franklin and the Sounds of Blackness. The Detroit Sound of gospel arose during the 80s and remained current in the 90s, dominated by The Winans and The Clarks.
Klezmer music took two different directions during the 1980s. Perennial favorites The Klezmatics, alongside artists like the Flying Bulgar Klezmer Band and Brave Old World, radically reinvented the genre, adding influences from around the world. Another movement, based primarily in Europe, brought klezmer back to its traditional roots.
In 1983, R. Carlos Nakai, a Navajo-Ute, released Changes, a multi-platinum album that launched a revival in the Native American flute. Combined with sounds of nature and ambient electronics, this set the stage for the modern incarnation of New Age music. Three years later, a tradition of Navajo spoken word poetry began with John Trudell's Aka Graffiti Man.
In 1981, David Byrne and Brian Eno released My Life in the Bush of Ghosts, which defined what came to be known as world music by fusing African and Arab vocals over trance-like dance beats. A year later, Peter Gabriel launched WOMAD in Britain; the festival has since become a world music showcase and launched the careers of artists like Youssou N'Dour. In 1986, Paul Simon's blockbuster Graceland made world music briefly mainstream, bringing in South African artists like Ladysmith Black Mambazo and Mahlathini & the Mahotella Queens. In 1989, David Byrne and Peter Gabriel founded record labels (Luaka Bop and RealWorld, respectively) that soon dominated the field.Hip hop
Punk rock
Other genres
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Gangsta rap in the 1980s had focused on the two coasts originally, with West Coast pioneers like Ice-T ("6 N Da Mornin'") and Too $hort (Born to Mack) and East Coast artists like Schoolly D (Saturday Night - The Album) achieving fame among blacks and mainstream success being limited to hardcore groups like N.W.A (Straight Outta Compton), politically controversial groups like Public Enemy (It Takes a Nation of Millions to Hold Us Back) and fledgling alternative hip hop groups like De La Soul (3 Feet High and Rising). East Coast rappers like Slick Rick (The Great Adventures of Slick Rick) had defined that coast's sound in the late 80s, and it had been far and away the center for hip hop until Dr. Dre's The Chronic put the West Coast on the hip hop map. Boasting a radio-friendly G funk sound, based primarily off funk samples, West Coast rap soon became the dominant sound among pop audiences with rappers like Snoop Doggy Dogg (Doggystyle) and Tupac Shakur (Me Against the World) achieving mainstream success. East Coast rappers like Notorious B.I.G (Ready to Die) and Nas (Illmatic) tended to be more well-received critically, but were consistently unable to match the West Coast in pop sales. The rivalry between the two coasts came to a head by 1996 (1996 in music), when the deaths of Notorious B.I.G. and Tupac Shakur rocked the world of hip hop. With West Coast head Suge Knight imprisoned (unrelated to the murders) and East Coast quickly becoming dominated by Puff Daddy's releases aimed at purely pop audiences, rap music splintered. A new generation of southern rappers like OutKast (ATLiens) and Goodie Mob (Soul Food) emerged from Atlanta, as well as vibrant scenes in St. Louis and New Orleans. The Fugees (The Score) also fused hip hop sounds with dub, dancehall and reggae, popular Jamaican forms, to great mainstream success. East Coast rap's reputation among critics during its popular domination by watered-down pop acts like Puff Daddy (No Way Out) and Mase (Harlem World) was saved by the Wu Tang Clan (Enter the Wu-Tang (36 Chambers)), DMX (And Then There Was X), Busta Rhymes (The Coming'\') and other rappers that used a distinctively East Coast sound without catering to mainstream markets. On the West Coast, a period of relatively poor sales for Dr. Dre and Snoop Dogg and the imprisonment of Suge Knight, led to the subsequent collapse of Death Row Records and a drought in mainstream popularity. In the late part of the decade, Eminem (The Marshall Mathers LP'') emerged as one of the country's biggest stars. The Detroit-born rapper achieved success early in his career with radio-friendly hooks and funky beats; he quickly became the first white rapper to cross over to mainstream audiences without losing his critical viability.
Power pop bands like Weezer (The Blue Album), jam bands like Phish (A Picture of Nectar) and punk-pop and skacore groups like Green Day (Dookie) and Sublime (Sublime) rose to some prominence, with late punk and ska bands achieving the most mainstream success. No Doubt (Tragic Kingdom), Rancid (...And Out Come the Wolves) and similar bands released blockbuster albums in the middle of the decade.
Soul music, languishing since the popular demise of Michael Jackson and Prince some ten years earlier, re-emerged with a return to the sounds of early 70s soul; Lauryn Hill (The Miseducation of Lauryn Hill), Erykah Badu (Baduizm) and D'Angelo (Voodoo) spearheaded this movement. In hard rock, multiple trends developed.
Thrash metal, invented in the late 80s by bands like Metallica (Kill 'Em All), achieved some mainstream success before mutating into nu metal (such as System of a Down (Toxicity)) in the middle of the decade. Rapcore bands (that mix hip hop and metal) also emerged; Limp Bizkit (Significant Other) and Korn (Peachy) were the most popular, drawing heavily upon early pioneers in the field like Pantera (A Vulgar Display of Power), Faith No More (Angel Dust) and Anthrax (Among the Living). The 1990s also saw a boom in funk metal bands like Red Hot Chili Peppers (Californication) and female singer-songwriters like Tori Amos (Boys for Pele), relying on late 80s pioneers like Tracy Chapman (Tracy Chapman) and P.J. Harvey (Rid of Me).
Another major musical style of the 1990s was pop-country groups, beginning with honky tonk crooners like Clint Black (Killin' Time), Alan Jackson (A Lot About Livin' (And a Little 'Bout Love)) and Garth Brooks (Ropin' the Wind), the sound exploded into mainstream audiences with the crossover success of Shania Twain (Come on Over), the Dixie Chicks (Fly), Faith Hill (Breathe) and other female singers in the middle of the decade.
Verdell Primeaux and Johnny Mike released Sacred Path: Healing Songs of the Native American Church, an influential album that fused Peyote Songs with electronic backwashes and other modern flourishes. In 1994, part Mohawk Robbie Robertson (of The Band) put together the soundtrack for a documentary as part of an exploration of his Native American heritage. The resulting album, Music for the Native Americans, was extremely popular and has proven itself influential, bringing Native American artists to some segments of mainstream audiences.
Since the turn of the millennium, two major developments in American popular music have occurred. The dominance of bubblegum pop like 'N Sync (No Strings Attached) and Backstreet Boys (Backstreets Back) continued from the 90s, and also grew to include Latin stars like Shakira (Laundy Service), Ricky Martin (Sound Loaded) and Christina Aguilera (Christina Aguilera). In addition to these slick sounds, a growing number of domestic and foreign garage rock bands have achieved notable success, including The Strokes (Is This It), The Hives (Veni Vidi Vicious) and the Stone Roses (Stone Roses).
Other 90s trends
2000s
Related topics
State-specific music:
References
