Rock music in canada

1970s

The first Canadian group to be widely known outside the country were The Band . From the moment they were formed until 1967, The Band was an instrumental accompaniment group for various singers, collaborating with Bob Dylan . The official discography of “The Band” began in 1968, and from that time on, the Canadian team did not know what the oblivion of the audience was until its breakup. Music “The Band” is a highly professional hard rock with elements of acoustic music and folklore splashes ^[1] .

Among the Canadian “heavy” groups, one can distinguish “ Bachman Turner Overdrive ”, who played “hard rock and roll”, and “ April Wine ”, who focused on simplified hard rock with heavy elements.

Undoubtedly, the largest group of Canadian rock is Rush. They were followers of " Jethro Tull ", performed "heavy art rock", but went further than their great teachers, becoming the founders of the " progressive heavy metal " style. During the general crisis of the art rock groups “Rush” virtually dominated the world of art rock , and only the emergence of a new generation of “progressive” rock affected the situation of Canadians. Unconditional innovators, “Rush”, are rightfully considered one of the most famous groups in “progressive” rock.

1980s

In Canadian rock, the 80s were marked by brilliant new work by the Rush band and their followers, the Triumph band. In 1984, the Bachman Turner Overdrive disintegrated in 1977 suddenly revived. Among the solo artists, the singer and composer Brian Adams , who worked in the 70s for Kiss and Prizm, made one of the most outstanding melodicists in commercial rock, making his successful ballads Please Forgive and Everything I Do , I Do It For You. ” ^[2] .

1990s

In the early 90s, rock music in Canada made a decisive turn. Just as performers of the 70s competed with disco , performers of the 90s competed with Canadian and American hip-hop in video and radio charts. Glam rock and stadium rock gave way to hip hop, and alternative rock and grunge became the new sound of the next generation. Canadian publications on Canadian rock and pop music, exclusive or in tandem with more general editorial content, aimed at young readers, spread very quickly in the 90s. It was a decade of incredible nationalism , at least with regard to Anglo-Canadian music. In 1971, the rules (25% of Canadian radio content increased by 30% in the 80s) finally came into full force, and by the end of the decade, radio stations were supposed to play 35% of Canadian content. This led to the explosive growth of Canadian groups on the air of Canadian radio stations. Bands such as The Headstones, The Tea Party, Matthew Good Band, Moist, Sloan, The Gandharvas, Change of Heart, Skydiggers, Eric's Trip, Limblifter, Salmonblaster, supergarage, Shyne Factory, Doughboys, Crash Test Dummies, The Lowest of the Low , 13 Engines, Odds, I Mother Earth, Big Sugar, Glueleg, Age of Electric, Rymes with Orange, Strapping Young Lad, Bif Naked, Rheostatics, The Watchmen, Moxy Früvous, Rusty, Our Lady Peace, The Philosopher Kings, Junkhouse, Wide Mouth Mason, Pure, Thrush Hermit, cub, The Killjoys, Sandbox, Treble Charger, Big Wreck, The Weakerthans, Propagandhi and The Planet Smashers. Although many of them were not very successful in the United States, they are still very popular in Canada, and much more viable than their contemporaries in other countries. ^[3] .

“ Barenaked Ladies ” caught the attention of the Canadian indie market when their album sales began to grow thanks to live performances and an extremely positive public reaction. The Yellow Tape, released in 1991, was the first indie release of all groups to achieve platinum status (100,000 copies) in Canada. Stunt's album was their biggest success, supported by One Week, which coincidentally spent one week in first place on the legendary Billboard Hot 100. The Tragically Hip, which signed a long-term contract with the MCA in 1987, but was significant unrecognized until 1989, until the album Up to Here was released. They established themselves as one of the most influential groups in Canada. They could not achieve widespread success in the United States, but it didn’t matter, because their Canadian fan base was enough to maintain a long and healthy career, even after 25 years they give concerts in large stadiums. The group is one of the local heroes of Canada. The record number of their debuts took first place in the Canadian Albums Chart, for a total of eight albums. They were inducted into the Canadian Music Hall of Fame, Canada's Hall of Fame, Royal Conservatory, and won more than a dozen Juno Award in more than thirty nominations.

Our Lady Peace from Toronto became one of the most successful Canadian rock bands of the 1990s; Clumsy's 1997 album was certified Diamond in Canada and became Platinum in the USA. They did what many Canadian rock bands could not do during this time. In 1996, VideoFACT (Canada's Talent Assistance Fund) launched PromoFACT, a funding program to help new artists release electronic press kits and websites. This helped indie rock dominate the mid-1990s, just like rock and roll, indie became the dominant force on the Canadian charts. The concept of indie rock meant development outside the mainstream, but nonetheless, indie became mainstream at the end of the decade. In the late 1990s, rock genres developed to independent directions. Each of the genres developed largely independently of the others. Perhaps the most dramatic changes have occurred in the lifestyle of girls. These were the daughters of women who fought for emancipation and equality in the 1960s. ^[4] In popular music, by the end of the decade, Canadian performers enjoyed more international and commercial success than before.

They particularly succeeded in the 90s, reached new heights of success in terms of finance and criticism, as well as in their direct impact on their respective genres: Sarah McLachlan , Celine Dion , Alanis Morissette and Shania Twain . Alanis Morissette gave the impetus to a new revolution in Canadian music, starting the era when Canadian women, such as Avril Lavigne, will rule pop charts around the world. Quebec-born singer Celine Dion is Canada's best-selling artist of all time, and when her 1997 album Let's Talk About Love was released in Canada, he broke the record for highest weekly sales compared to any other album, 230,212 copies. Alanis Morissette and Shania Twain are the only Canadian artists to have sold two million copies in Canada, having twice received diamond status. Other Canadian women musicians have achieved international success in the highly competitive world of popular music, including Joni Mitchell, Ginette Reno, Diana Dufresne, Diana Kroll, Avril Lavigne, Loreena McKennit, Amanda Marshall, Holly Cole, Chantal Krevyazuk, Diane Tell, Yann Arn Deborah Cox, Sarah Harmer, Susan Aglakerk, Melissa Auf der Maur, Emily Haines, Kitty, Beef Naked, Nelly Furtado, Colleen Rennison and Feist. ^[5] .

2000s

At the beginning of the first decade of the 21st century , post-grunge dominated, and alternative rock , pop punk , hard rock and indie rock continued to expand, both from a performing point of view and commercially. The main musical phenomenon was the emergence of a new generation of songwriters, who were a direct result of the creative ambitions of the previous generation. The biggest factor contributing to the revival of rock music in the first decade of the 21st century is the growth of paid digital downloads. The vast majority of songs purchased digitally are singles, selectively purchased from complete albums; songs that are bought one at a time based on the artist’s albums are considered singles sales, although some of them do not have an official publication to purchase. The boom of independent music at the turn of the millennium has changed the dynamics of the music industry. A CD (cheap to produce) replaced the vinyl album and cassette tapes (expensive to produce). Soon after, the Internet allowed musicians to directly distribute their music, thereby bypassing the path through the old-fashioned “record label”. Canada’s music industry has been hit hard by most of the past decade, as Canada joined 50 other countries in 2008 by updating its Copyright Act, allowing artists and other people to claim compensation for their work, regardless how it spread. In 2010, Canada introduced new copyright laws. The law, as amended, makes it illegal to hack digital distributions, but enshrines the ability of buyers to record and copy music from a CD to portable devices. Rock music reached a wide and varied sound in the 21st century thanks to such groups as Arkells, Devin Townsend, Strapping Young Lad, Billy Talent, Silverstein, Thornley, Sam Roberts, Joel Plaskett, Avril Lavigne, Finger Eleven, Simple Plan, Marianas Trench , Gob, Hot Hot Heat, The New Pornographers, Sum 41, Evans Blue, Parabelle, The Birthday Massacre, Thousand Foot Krutch, Three Days Grace, The Trews, Matt Mays & El Torpedo, Alexisonfire, Theory of a Deadman, Protest the Hero , Default, Bedouin Soundclash, Neverending White Lights, Hedley, Tokyo Police Club, Death from Above 1979, Age of Daze, Metric, Broken Social Scene, Monster Truck, The Sheepdogs, Walk off the Earth, City and Color, No Sinner and Priestess . ^[6]

Probably the most successful Canadian band of the decade is Nickelback . Their Silver Side Up album sold over six million copies (6 times platinum ) in the US and 800,000 copies (8 times platinum) in Canada. The group has won several Juno Awards, an American Music Award, and an MTV Video Music Award. Their hit single “How You Remind Me” reached the pinnacle of the Canadian Singles Chart and Billboard Hot 100, making them the second band to reach that position after The Guess Who with “American Woman” in 1970. Nickelback sold over 50 million albums worldwide to the world, making them the only Canadian rock band to do it. Also noteworthy is Avril Lavigne , one of the best-selling artists releasing albums in the United States, with over 10.25 million copies certified by the Recording Industry Association of America.

The end of the decade was marked by an amazing amount of ambitious indie rock albums. The Canadian indie rock scene has been the focus of attention nationally and internationally, in many publications such as Spin , The New York Times Magazine, Rolling Stone, Under the Radar, as well as the Canadian edition of Time magazine. Despite the fact that it is difficult for an indie band to break into Canada, since there is no nationwide rock station (radio). On the other hand, the groups may receive some support with promotion from MuchMusic and CBC Radio 3. The groups had to rely heavily on creating an audience city-by-city, as each commercial radio station made its own decisions in creating playlists. It is even more difficult to travel across the country, due to its huge size, creating regional communities that revolve around large music scenes in cities such as Winnipeg, Vancouver, Toronto, Montreal or Halifax, each of which already has a bunch of suburban city venues producing the following a wave of fresh bands. Most notable is Arcade Fire, which received many awards, including the Grammy 2011 for the album of the year, the 2011 Juno Award for the Album of the Year award, and the Brit Brit award for best international album (The Suburbs third studio album) ^{[7 ]} .

2010s

• http://www.statemaster.com/encyclopedia/Music-of-Canada
• http://vikimy.com/l-en/Rock_music_of_Canada