|Stylistic origins||Pop, rock|
|Cultural origins||1960s, United Kingdom and United States|
|Typical instruments||Electric guitar, bass guitar, drums, vocals, keyboards, synthesizers|
|Derivative forms||Arena rock|
Pop rock is a music genre which mixes a catchy pop style and light lyrics in its (typically) guitar-based rock songs. There are varying definitions of the term, ranging from a slower and mellower form of rock music to a subgenre of pop music. The detractors of pop rock often deride it as a slick, commercial product, less authentic than rock music.
Pop rock has been described as an "upbeat variety of rock music represented by artists such as Elton John, Paul McCartney, Rod Stewart, One Direction, Chicago, and Peter Frampton." Critic Philip Auslander argues that the distinction between pop and rock is more pronounced in the US than in the UK. He claims in the US, pop has roots in white crooners such as Perry Como, whereas rock is rooted in African-American-influenced forms such as rock and roll. Auslander points out that the concept of pop rock, which blends pop and rock is at odds with the typical conception of pop and rock as opposites. Auslander and several other scholars such as Simon Frith and Grossberg argue that pop music is often depicted as an inauthentic, cynical, "slickly commercial" and formulaic form of entertainment. In contrast, rock music is often heralded as an authentic, sincere, and anti-commercial form of music, which emphasizes songwriting by the singers and bands, instrumental virtuosity, and a "real connection with the audience".
Simon Frith's analysis of the history of popular music from the 1950s to the 1980s has been criticized by B. J. Moore-Gilbert, who argues that Frith and other scholars have over-emphasized the role of "rock" in the history of popular music by naming every new genre using the "rock" suffix. Thus when a folk-oriented style of music developed in the 1960s, Frith terms it "folk rock", and the pop-infused styles of the 1970s were called "pop rock". Moore-Gilbert claims that this approach unfairly puts rock at the apex, and makes every other influence become an add-on to the central core of rock.
As with many musical genres, what constitutes "pop rock" is subjective. As such, music critics and journalists have differing opinions on which category a band should be placed in. Billboard magazine provides one perspective on how to categorize "pop rock" groups from the 1970s to the 2000s. Other perspectives from other magazines and individual music journalists and critics are also provided.
Pop-rock soloists and groups from this era include ABBA, Three Dog Night, Elton John, Bee Gees, Fleetwood Mac, Billy Joel, The Knack and Olivia Newton-John, among others. A university course on the history of popular music claims that Three Dog Night were "one of the most popular bands of the late Sixties early Seventies; pop rock, singles-oriented sound with soul-influences".
Some of the pop-rock soloists and groups from the early 1980s include Daryl Hall and John Oates, Michael Jackson, Stevie Nicks and Phil Collins. At the start of the decade, Queen had moved away from their hard rock roots and more towards pop rock. In 1980, with the demise of disco, the "music industry floundered in 1980 looking for something to fill the void" and help to boost falling sales. For a period, "easy listening" pop was the top seller. Music critic Michael Gross called it "commercial Cotton candylovers": "Magic" by Olivia Newton-John; "Sailing" by Christopher Cross; "You've Lost That Lovin' Feelin'" by Hall & Oates, and others. The "syrupy pop-rock of Air Supply" hits such as "All Out Of Love" "best exemplified the formula for chart success" during this period. For the later part of the 1980s, Billboard lists: Huey Lewis and the News, Bryan Adams, Tina Turner, Cher, Sheena Easton, Def Leppard, Roxette, Billy Ocean, George Michael, Phil Collins and Madonna among others, as significant pop rock performers of the decade. Michael Jackson was notable in that; he was a prominent pop rock artist during the entire decade.
In the 1990s, a new genre emerged into the mainstream, combining elements of pop with punk rock. This new style was termed pop punk, and was pioneered by artists such as Green Day and The Offspring. Billboard magazine considers the pop rock performers or groups from the 1990s to include Ace Of Base. For the later part of the decade, the magazine lists, Alanis Morissette, Natalie Imbruglia, Shakira, Sixpence None the Richer, October Project, The Cranberries, No Doubt, Hanson, Everclear, 4 Non Blondes and Gin Blossoms.
Notable pop-rock soloists and groups from this era include Bryan Adams, Kris Allen, Aly & AJ, Anastacia, Daniel Bedingfield, Natasha Bedingfield, Bon Jovi, James Blunt, Michelle Branch, Colbie Caillat, Kelly Clarkson, David Cook, Sheryl Crow, Miley Cyrus, Daughtry, Gavin DeGraw, Celine Dion, Fefe Dobson, Foxy Shazam, Hilary Duff, Goo Goo Dolls, Delta Goodrem, Green Day, Natalie Imbruglia, Jonas Brothers, Avril Lavigne, Lindsay Lohan, Demi Lovato, Maroon 5, Matchbox Twenty, John Mayer, McFly, Alanis Morissette, James Morrison, Jason Mraz, Nickelback, Oasis, OneRepublic, Katy Perry, P!nk, Simple Plan, Ashlee Simpson, Take That, Rob Thomas, Train, The Veronicas, Tokio Hotel, Robbie Williams, Mayday Parade, and Westlife.
Pop-rock soloists and groups from this era include Kris Allen, Anastacia, Gary Barlow, Daniel Bedingfield, Natasha Bedingfield, James Blunt, Matt Cardle, Kelly Clarkson, David Cook, Daughtry, Gavin DeGraw, Lawson, Demi Lovato, Haim, Maroon 5, Mayday Parade, McFly, James Morrison, Nickelback, One Direction, OneRepublic, Katy Perry, Phillip Phillips, P!nk, Simple Plan, Take That, and Train. Indie Pop achieved mainstream popularity in the 2010s.
- Birrer, F.A.J. "Definitions and research orientation: do we need a definition for popular music?" in D. Horn (ed). Popular Music Perspectives, 1985. Gothenburg. pg 99-105.
- Chambers, I. Urban Rhythms, Pop Music and Popular Culture. 1985:OUP.
- Fiske, J.Understanding Popular Culture, - 1989 - Routledge
- Frith, S. The Sociology of Rock - 1978 - Constable
- Frith, S. Sound Effects: Youth, Leisure and the Politics of Rock'n'Roll - 1983 - Constable
- Hamm, C. Yesterdays: Popular Song in America - 1979 - New York
- Harker, D. One For the Money: Politics and Popular Song - 1980 - Hutchinson
- Harron, M. "Pop as Commodity," cited in S Frith - Facing The Music: Essays on Pop, Rock and Culture 1988, Mandarin. pg 173-220
- Hill, D. Designer Boys and Material Girls: Manufacturing the '80s Pop Dream. 1986 - Blandford Press
- Middleton, R. Studying Popular Music. - 1990 - OUP
- Moore, A.F. Rock: The Primary Text, - 1993 - OUP
- Shuker, R. Understanding Popular Music - 1994 - Routledge AB
- S. Jones, Pop music and the press (Temple University Press, 2002), p. 109.
- L., Starr and C. Waterman, American Popular Music (Avale, 2nd edn): http://www.us.oup.com/us/companion.websites/019530053X/studentresources/chapter11/key_terms/ Accessed on March 11, 2008.
- P. Auslander, Liveness: Performance in a Mediatized Culture, http://books.google.com/books?id=Zaaycuj7kbUC&pg=PA69&lpg=PA69&dq=pop+rock+definition&source=web&ots=DwY2QQJZap&sig=Qt88EFkWR4NpzWH0XwpkzJhNOm0
- B. J. Moore-Gilbert, The Arts in the 1970s: Cultural Closure? (Routledge, 1994), p. 240, ISBN 0-415-09906-4.
- V. Bogdanov, C. Woodstra and S. T. Erlewine, All Music Guide to Rock: the Definitive Guide to Rock, Pop, and Soul (Milwaukee, WI: Backbeat Books, 3rd edn., 2002), ISBN 0-87930-653-X, pp. 903–5.
- "The Year in Music - 1980". Eightiesclub.tripod.com. Retrieved 2013-01-01.
- LaBrack, Jill (2005-02-10). "Magnapop: Mouthfeel". Pop Matters. Retrieved 2009-06-17.