Outside_Lookin_in
G45 Legend
- Joined
- Jul 1, 2014
If this topic has been posted before, just point me in the right direction and I'll move it.
As the very existence of G45central is based on the notion of "garage", I thought it might be appropriate to consider what that means.
The question of what defines garage is an interesting one. Obviously there has to be something objective to it, otherwise there wouldn't be so much common ground among those who believe they are listening to garage music, particularly '60s garage.
The Macquarie dictionary (2001) defines garage music as "rough and unsophisticated". I think this is a good attempt but is too broad as it allows far too much crap into the category; and we all agree that garage should by definition be listenable, don't we? Therefore, I would add "emotive" meaning that it should trigger a positive emotional response in the listener – maybe even passionate – something which is lacking in most commercial music which is "catchy", but emotionally empty or superficial.
This brings me to the other major aspect - to my mind, at least - of garage: it is quintessentially non-commercial. This is a far more complex phenomenon and difficult to explain, as commercial success is often just the difference between a song being promoted or not, and some garage songs have had commercial success, although usually only on a regional scale, but some have had rather wide-spread success, such as the Kinks' All Day and All of the Night. More typically, though, musical hits are sophisticated, polished, and even over-engineered; which brings us back to the Macquarie definition of garage, because this describes the exact opposite: rough and unsophisticated.
Then there’s also the question of whether garage can be sophisticated. I think it can be. The Master’s Apprentices’ Wars or Hands of Time comes to mind: I consider it musically accomplished and skillfully executed, yet it is still garage to my ears, and outstanding garage at that. I believe it is clearly garage for two reasons: the amplification/recording sound character; and the emotional content, or more specifically, the “attitude”. Perhaps the “emotion” I refer to earlier is better described as “attitude” or “teen angst”. So, attempting a dictionary length definition of garage:
A style of music which is usually lacking in sophistication or refinement, and often characterised by its strong juvenile emotional content.
Not a perfect definition, but maybe as good as you can get for something as nebulous as the concept of garage. There are some who may argue that garage is only properly applied to American sixties, but this then ignores the universal elements which obviously tie North American garage to that from other countries, whether you choose to call it freak beat, mod, Mersey beat or whatever.
As the very existence of G45central is based on the notion of "garage", I thought it might be appropriate to consider what that means.
The question of what defines garage is an interesting one. Obviously there has to be something objective to it, otherwise there wouldn't be so much common ground among those who believe they are listening to garage music, particularly '60s garage.
The Macquarie dictionary (2001) defines garage music as "rough and unsophisticated". I think this is a good attempt but is too broad as it allows far too much crap into the category; and we all agree that garage should by definition be listenable, don't we? Therefore, I would add "emotive" meaning that it should trigger a positive emotional response in the listener – maybe even passionate – something which is lacking in most commercial music which is "catchy", but emotionally empty or superficial.
This brings me to the other major aspect - to my mind, at least - of garage: it is quintessentially non-commercial. This is a far more complex phenomenon and difficult to explain, as commercial success is often just the difference between a song being promoted or not, and some garage songs have had commercial success, although usually only on a regional scale, but some have had rather wide-spread success, such as the Kinks' All Day and All of the Night. More typically, though, musical hits are sophisticated, polished, and even over-engineered; which brings us back to the Macquarie definition of garage, because this describes the exact opposite: rough and unsophisticated.
Then there’s also the question of whether garage can be sophisticated. I think it can be. The Master’s Apprentices’ Wars or Hands of Time comes to mind: I consider it musically accomplished and skillfully executed, yet it is still garage to my ears, and outstanding garage at that. I believe it is clearly garage for two reasons: the amplification/recording sound character; and the emotional content, or more specifically, the “attitude”. Perhaps the “emotion” I refer to earlier is better described as “attitude” or “teen angst”. So, attempting a dictionary length definition of garage:
A style of music which is usually lacking in sophistication or refinement, and often characterised by its strong juvenile emotional content.
Not a perfect definition, but maybe as good as you can get for something as nebulous as the concept of garage. There are some who may argue that garage is only properly applied to American sixties, but this then ignores the universal elements which obviously tie North American garage to that from other countries, whether you choose to call it freak beat, mod, Mersey beat or whatever.
