Alternative rock, in many ways, is an anti-genre. The musical style is varied and widespread, hinging upon themes of nonconformity and artistic independence – labels and markers are not conducive to creative freedom. Alt-rock fractures off into subgenres such as grunge, post-punk, shoegaze, and britpop. It incorporates a plethora of musical styles that have come before, bridging the music of the past with the sound of the future. Alt-rock dissolves the boundaries of genre, allowing ample room for innovation and experimentation.
While it is commonly thought that alternative rock began in the late ’80s or early ’90s, the roots of the style actually go back much further. It traces its roots all the way back to the 1960s, when psychedelic rock and the counterculture were flourishing in communities across the world. Without the experimentation and boundary-pushing of artists during this time, alternative rock as we know it would never have come to fruition. Here are seven songs from the 1960s that made the genesis of alt-rock possible.
7
“Space Oddity” (1969) – David Bowie
For a mainstream artist, David Bowie was incredibly alternative. Known as the “chameleon of rock,” he was constantly changing and evolving, bending gender and genre to his will. Bowie had his finger on the pulse of emerging music styles, and he wanted to try them all. He set a precedent for musicians to be true to themselves and nourish their individuality. Bowie prioritized creativity over career success, and managed to achieve both. His unique approach to music is directly responsible for the millions of records he has sold.
One of his most out-of-the-box tracks is “Space Oddity.” Released as a single in 1969, this song was partially inspired by Stanley Kubrick’s 1968 film 2001: A Space Odyssey. The song defies genre, falling somewhere in the realm of psychedelic folk/ progressive rock. The lyrics tell the story of fictional character Major Tom and his journey into space, resulting in his tragic demise. Through this character, Bowie explores feelings of isolation and anxiety, both of which are recurrent themes in the alt-rock of later decades.
6
“She’s Not There” (1965) – The Zombies
English rock band The Zombies broke onto the scene with their 1965 hit single “She’s Not There.” The song is about an adolescent breakup, written from the perspective of a boy who has been dumped by a beautiful –– yet allegedly disingenuous –– woman. The group was praised for their unique take on rock and roll, incorporating jazz and classical influences in new and exciting ways. Their willingness to mix and match genres made them stand out amongst the countless other rock bands emerging in England in the mid-60s.
“She’s Not There” features electric piano and folk influences as well — The Zombies did not allow themselves to be pigeonholed into a specific genre. The breathy vocals and delicate harmonies make this track hauntingly unforgettable, revolutionizing the sounds and styles of the past. Furthermore, the title and lyric “She’s Not There” investigates the idea of depersonalization – emotional numbness and loss of control over oneself and their situation. Depersonalization is a keystone in both psychedelic and alternative rock, and The Zombies were one of the first to incorporate it into popular music.
5
“Somebody to Love” (1967) – Jefferson Airplane
Jefferson Airplane was incredibly instrumental to the evolution and popularization of psychedelic rock. Formed in 1965 in San Francisco, they blossomed at the epicenter of the counterculture movement. Without the creative and societal unrest during this time, the rebellion and angst of ’90s alt-rock would never have come into vogue. Jefferson Airplane’s 1967 release Surrealistic Pillow was a very significant album for the Summer of Love and the movement, successfully bringing fringe music and culture to the mainstream.
“Somebody to Love” was featured on that album, though it was not the original version. The song was written by Darby Slick, frontwoman Grace Slick’s former brother-in-law, a couple of years prior. It was initially performed by a short-lived band called The Great Society, of which Grace was also the lead vocalist. When she joined Jefferson Airplane, she presented the song to the rest of the band. The Great Society version of the song was fairly mellow – the Jefferson Airplane rendition is a far cry from that. Packed with power, anger, and accusation, this version of the song unleashes a tidal wave of emotion upon the listener.
4
“All Along the Watchtower (1968) – Jimi Hendrix
Jimi Hendrix is the greatest guitarist in rock and roll history. He headlined the burgeoning festival circuit in the mid-to-late-60s until his untimely death in 1970. Hendrix was incredibly technically skilled and creative, creating music that the world didn’t even know was possible. He had a huge hand in bringing electric instruments into the mainstream, specifically in congruence with tone-altering tools such as fuzz distortion – a technique that plays a massive role in alternative rock.
One of his best-known songs is actually a Bob Dylan cover – but Hendrix did it much better. His version of “All Along the Watchtower” was released six months after Dylan’s, and ended up informing the way Dylan performed it going forward. Hendrix’s version was a much bigger success at the time, rising on the charts and making a huge impact on music. The two versions were very different – Jimi Hendrix transposed Dylan’s harmonica riffs to electric guitar, layering in tone-altering techniques and electric instruments to create a sinister sonic landscape. His innovation and experimentation made the song much more intense and powerful.
3
“You Really Got Me” (1964) — The Kinks
The Kinks were key players in the British Invasion of the 1960s – the fascinating occurrence of British rock and pop making its way over to the States and melding with the American counterculture. During this time, music was becoming more international, which gave artists exponentially more influences from which to draw upon. The Kinks took full advantage of this, finding inspiration in American rock and R&B. These styles influenced their breakout hit: “You Really Got Me.”
The Kinks’ lead singer Ray Davies wrote this song after catching a glimpse of a beautiful woman in a club, but before he could strike up a conversation, she had disappeared. He wrote the music for the piano –– the initial iteration was laid back and jazz-oriented. When his brother and guitarist for the band, Dave Davies, heard the song, he thought it would sound much better on the electric guitar. This added energy and power to the track, but he didn’t stop there – Dave took a razor and slashed up his amp, creating the distorted sound that can still be heard on the track. This innovation, whether accidental or purposeful, became incredibly influential to alternative rock, punk, metal, and beyond.
2
“Strawberry Fields Forever” (1967)— The Beatles
Let’s be real here: is there any genre that The Beatles didn’t influence? Their work fundamentally changed music. In the second half of their decade-long career as a band, they broke away from the conventions of popular music and began to experiment in every aspect of their craft, from lyrics to instruments to visual components. During this time, they became an entirely new band. One song that defined this transformation is “Strawberry Fields Forever.”
John Lennon wrote this song about his childhood, specifically his cherished memories of playing in the garden. It is also inspired by his experiences with hallucinogens, as is apparent in the confounding and dream-like lyrics. The track confused and delighted listeners: nostalgia and whimsy and surrealism combined in a way they had never heard before. With this song and many others, The Beatles didn’t just bend the rules – they threw the rulebook out the window. They expressed themselves freely and uniquely, maintaining their artistic independence and refusing to let big corporations dictate their art. The Beatles opened the door for experimentation on the world stage.
1
“I’m Waiting For The Man” (1967) – The Velvet Underground
The Velvet Underground achieved very little commercial success throughout the ‘60s and early ‘70s. They were very much underground (as their name implies), too avant-garde and obscure to succeed mainstream media. It was not until much later that their work got the credit that it deserves. They pushed boundaries in ways that few other bands are willing to attempt, even in the modern day. Far from radio-friendly, they attacked dark and transgressive subject matter unapologetically, which is a huge component of alternative rock music from all decades. In fact, they were perhaps the first actual alternative rock band in existence.
Their debut album, The Velvet Underground & Nico, was abrasive and sadistic and entirely unconventional. One of the darker songs on the record is “I’m Waiting For The Man,” which was written by singer/guitarist Lou Reed from the perspective of a guy looking to buy heroin in Harlem. Reed sings the lyrics almost like a spoken word poem, and the instrumentals are intentionally messy, raw, and dirty. The drums are intense and the guitar is distorted, creating an innovative (and not entirely pleasant) parallel to the experience described by the lyrics. It is songs like this that make The Velvet Underground the most important band in alternative rock history.
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