 | | When Elvis Costello's first record was released in 1977, his bristling cynicism and anger linked him with the punk and new wave explosion. |
 | | By demonstrating that the spirit of punk could live in traditional Irish folk music, the Pogues were one of the most radical bands of the mid-'80s. |
 | | The Smiths were the definitive British indie rock band of the '80s, marking the end of synth-driven new wave and the beginning of the guitar rock that dominated English rock into the '90s. |
 | | The Replacements initially formed in 1979, when Paul Westerberg joined a garage punk band formed by brothers Bob (guitar) and Tommy Stinson (bass) and drummer Chris Mars. |
 | | Led by the literate singer/songwriter Mike Scott, the group's sole constant member, the mercurial Waterboys formed in London in 1981. |
 | | R.E.M. marked the point when post-punk turned into alternative rock. When their first single, "Radio Free Europe," was released in 1981, it sparked a back-to-the-garage movement in the American underground. |
 | | XTC was one of the smartest -- and catchiest -- British pop bands to emerge from the punk and new wave explosion of the late '70s. |
 | | Wilco rose from the ashes of the seminal roots rock band Uncle Tupelo, which disbanded in 1994. While Jay Farrar, one of the group's two singer/songwriters, went on to form Son Volt, his ex-partner Jeff Tweedy established Wilco along with the remaining members of Tupelo's final incarnation, which included drummer Ken Coomer as well as part-time bandmates John Stirratt (bass) and Max Johnston (mandolin, banjo, fiddle, and lap steel). |
 | | The Sex Pistols may have been the first British punk rock band, but the Clash were the definitive British punk rockers. |
 | | As the lead singer of the Smiths, arguably the most important indie band in Britain during the '80s, Morrissey's theatrical crooning and literate, poetic lyrics -- filled with romantic angst, social alienation, and cutting wit -- connected powerfully with a legion of similarly sensitive, disaffected youth. |
 | | After touring in support of their 1993 masterpiece, Anodyne, the seminal alternative country band Uncle Tupelo split up over long-simmering creative differences between co-leaders Jay Farrar and Jeff Tweedy. |
 | | With the release of their 1990 debut LP, No Depression, the Belleville, IL, trio Uncle Tupelo launched more than simply their own career -- by fusing the simplicity and honesty of country music with the bracing fury of punk, they kick-started a revolution which reverberated throughout the American underground. |
 | | Robyn Hitchcock is one of England's most enduring contemporary singer/songwriters and live performers. |
 | | Combining jagged, roaring guitars and stop-start dynamics with melodic pop hooks, intertwining male-female harmonies and evocative, cryptic lyrics, the Pixies were one of the most influential American alternative rock bands of the late '80s. |
 | | The object of cultish adoration for years, singer/songwriter Lucinda Williams was universally hailed as a major talent by both critics and fellow musicians, but it took quite some time for her to parlay that respect into a measure of attention from the general public. |
 | | Echo & the Bunnymen's dark, swirling fusion of gloomy post-punk and Doors-inspired psychedelia brought the group a handful of British hits in the early '80s, while attracting a cult following in the United States. |
 | | The Jam were the most popular band to emerge from the initial wave of British punk rock in 1977; along with the Sex Pistols, the Clash, and the Buzzcocks, the Jam had the most impact on pop music. |
 | | Back in the day, before alternative rock was invented and indie rock was still shy of roots music and other folk elements, Camper Van Beethoven's merging of punk, folk, ska, and world music was truly a revelation. |
 | | Out of all the bands that emerged in the immediate aftermath of punk rock in the late '70s, few were as enduring and popular as the Cure. |
 | | Led by the gifted songwriting, impeccable playing, and honeyed harmonies of vocalists/guitarists Mark Olson and Gary Louris, the Jayhawks' shimmering blend of country, folk, and bar band rock made them one of the most widely acclaimed artists to emerge from the alternative country scene. |
 | | Guitarist/singer/songwriter Bob Mould was initially a member of Hüsker Dü, one of the most influential American bands of the '80s. |
 | | Mixing the heartfelt angst of a singer/songwriter with the cocky brashness of a garage rocker, Ryan Adams is at once one of the few artists to emerge from the alt-country scene to achieve mainstream commercial success and the one who most strongly refused to be defined by the genre, leaping from one spot to another stylistically while following his increasingly prolific muse. |
 | | Through both his lauded work fronting the Commotions and his more eclectic solo efforts, Lloyd Cole established himself as one of the most articulate and acute songwriters of the post-punk era. |
 | | The textbook American cult band of the 1980s, the Violent Femmes captured the essence of teen angst with remarkable precision; raw and jittery, the trio's music found little commercial success but nonetheless emerged as the soundtrack for the lives of troubled adolescents the world over. |
 | | At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. |
 | | For most intents and purposes, Aztec Camera is Roddy Frame, a Scottish guitarist/vocalist/songwriter. |
 | | One of Britain's more popular indie guitar pop groups of the late '80s, the Housemartins' post-Smiths guitar jangle and subtle updating of catchy, melodic British beat groups earned the Hull-based quartet a substantial critical and popular following within the U. |
 | | Michelle Shocked was born Michelle Johnston in Dallas, TX, in 1962, where she spent her early childhood traveling around army bases. |
 | | After spending the '80s as an unappreciated jangle pop guitarist with Oh-OK and Lloyd Cole, as well as a solo artist, Matthew Sweet emerged in 1991 as the leading figure of the American power pop revival. |
 | | Meshing '60s-styled guitar pop with an understated '80s dance beat, the Stone Roses defined the British guitar pop scene of the late '80s and early '90s. |
 | | Sinéad O'Connor ranked among the most distinctive and controversial pop music stars of the 1990s, the first and in many ways the most influential of the numerous female performers whose music dominated airwaves throughout the decade. |
 | | Hüsker Dü and R.E.M. were the two American post-punk bands of the '80s that changed the direction of rock & roll. |
 | | 10,000 Maniacs (named after the low-budget horror movie 2,000 Maniacs) was formed in Jamestown, New York, in 1981 by singer Natalie Merchant and guitarist John Lombardo. |
 | | Through a combination of zealous righteousness and post-punk experimentalism, U2 became one of the most popular rock & roll bands of the '80s. |
 | | Like the Velvet Underground, their most obvious influence, the chart success of the Jesus and Mary Chain was virtually nonexistent, but their artistic impact was incalculable; quite simply, the British group made the world safe for white noise, orchestrating a sound dense in squalling feedback which served as an inspiration to everyone from My Bloody Valentine to Dinosaur Jr. |
 | | As one of the first groups to be dubbed "the next Smiths," James became an institution on the British alternative music scene during the '80s and '90s with their pleasant folk-pop. |
 | | As one of the most traditional pop bands of the new wave, Squeeze provided one of the links between classic British guitar pop and post-punk. |
 | | One of the most successful and enduring Australian bands of the post-punk era, the Church began their career with music that paid explicit homage to psychedelia and 1960s folk rock, and with the passage of time they refined their own unique sound, fusing pop, art rock, progressive rock, and other flavors. |
 | | Building on the jangly guitar pop of the Smiths and the trance-like dream pop of bands like the Cocteau Twins, the Sundays cultivated a dedicated following in indie rock circles, both in their native England and in America, in the early '90s. |
 | | The The was the guise of Matt Johnson, a mercurial singer/songwriter whose music ran the gamut from dance-pop to country. |
 | | One of the earliest and most important ska revivalist groups, Birmingham's the Beat formed in 1978 (the band had to change its name to the English Beat in the U. |
 | | Combining a knack for infectious melodies with a quirky, bizarre sense of humor and a vaguely avant-garde aesthetic borrowed from the New York post-punk underground, They Might Be Giants became one of the most unlikely alternative success stories of the late '80s and early '90s. |
 | | The Psychedelic Furs, whose name was inspired by the 1966 Velvet Underground song "Venus in Furs," were formed in England in 1977 by brothers Richard Butler (vocals) and Tim Butler (bass), along with saxophone player Duncan Kilburn and guitarist Roger Morris. |
 | | Rising from the ashes of the legendary British post-punk unit Joy Division, the enigmatic New Order triumphed over tragedy to emerge as one of the most influential and acclaimed bands of the 1980s; embracing the electronic textures and disco rhythms of the underground club culture many years in advance of its contemporaries, the group's pioneering fusion of new wave aesthetics and dance music successfully bridged the gap between the two worlds, creating a distinctively thoughtful and oblique brand of synth pop appealing equally to the mind, body, and soul. |
 | | A band with as turbulent an existence as Whiskeytown was bound to implode sooner or later, but by the time they did, they had one of the largest cult followings of any alt-country band. |
 | | Although they became one of the most enduring bands in the alternative country-rock catalog, Old 97's drew inspiration from a broad range of genres, including the twangy stomp of cowpunk and the melodies of power pop. |
 | | In the 1970s, Tom Waits combined a lyrical focus on desperate, low-life characters with a persona that seemed to embody the same lifestyle, which he sang about in a raspy, gravelly voice. |
 | | In his 1999 memoir, A Cure for Gravity: A Musical Pilgrimage, Joe Jackson writes approvingly of George Gershwin as a musician who kept one foot in the popular and one in the classical realms of music. |
 | | Bob Dylan's influence on popular music is incalculable. As a songwriter, he pioneered several different schools of pop songwriting, from confessional singer/songwriter to winding, hallucinatory, stream-of-consciousness narratives. |
 | | Lyle Lovett was one of the most distinctive and original singer/songwriters to emerge during the '80s. |