When you think of a “band”, you might think of Nirvana, Aerosmith, The Foo Fighters – but people have been playing music together for nearly as long as music has existed! Over time, the purpose and function of musical ensembles has shifted based on social movements and structures, technology, and other factors. 

Here’s a brief history of musical ensembles: 

Ancient Times (before 4th century CE) 

Ancient music was recorded in Chinese, Egyptian, Greek, Indian, Persian, Mesopotamian, and Middle Eastern societies. African music was first recorded by Egyptian musicians in the 3rd millennium BC. The Egyptians used a wide variety of musical instruments, including harps, flutes, drums, and cymbals. Music in ancient Greece and Rome often involved ensembles for religious ceremonies, entertainment, and theatrical performances. Instruments included lyres, aulos (a type of reed instrument), and various percussion instruments.

 

Medieval Period  (500 to 1400 CE) 

Much of the recorded music we have from the medieval period is religious music – since religion was one of the most pervasive forces in people’s lives during that period, and most of the record-keeping was done by members of the clergy. 

 

Members of medieval church choirs performed plainchant or plainsongs – chants that were annotated with simple sheet music in books that were up to three feet tall.

Secular music also existed during this time period. Troubadours and minstrels formed small ensembles to play in royal courts or in cities. They often played instruments like the lute, vielle (a precursor to the violin), and various wind and percussion instruments.

 

Renaissance (1400 to 1600 CE) 

The Renaissance period saw a flourishing of new musical styles and genres, as new instruments were invented and new ideas about harmony, rhythm, and notation were born. Chamber music, developed for small groups of two to eight people, originated in the 15th century. They often played music with accompanying dances. Bands as we know them originated in 15th century Germany and were made up mostly oboes and bassoons. These German musicians joined other groups in France and England before spreading to America.

“Waits” were a staple of British towns and cities from the medieval period to the end of the 18th century. They were watchmen who patrolled throughout the night, using instruments to mark the hours. They also woke people up during the dark winter months by playing under their windows and welcomed guests at the city gates. The term “band” was first used in England to refer to King Charles II’s “king’s band” of 24 violins. He reigned from 1660 to 1685.

 

1700s to 1800s

The 1700s and 1800s were marked by upheaval, including the Industrial Revolution, the American and French revolutions, the Haitian Revolution and the Irish Rebellion, and the Age of Enlightenment. Musical groups often served a practical purpose during this period. 

During the Industrial Revolution Near the end of the 18th century, a style of band music called Turkish, or Janissary music became popular. It was inspired by the Turkish occupation of Eastern Europe. Medieval Turks  have been credited with developing the first truly military bands.  Turkish band music was characterized by shrill flutes and large drums, jangling triangles, cymbals, and Turkish crescents.

During the French Revolution, large wind bands of as many of 2,000 musicians played at the revolution’s large open air festivals. Each regiment in the British Army maintained its own military band. Drummers summoned men from their farms and ranches to muster for duty. Musical instruments were the only means of commanding the men to advance, stand or retire. In England at the end of the 18th century, brass (or “silver”) bands began to replace the waits. Throughout the 1800s, groups were formed to represent towns, factories, social clubs, and religious organizations such as the Salvation Army.

In the United States, town bands performed at parades, concerts, balls, and other social events. They often played marches or polkas. Many were original compositions of the band leaders or members and were never published. Bands brought music to the public who might not have had access to orchestras. John Phillip Sousa helped bands present “serious music” by hiring top-notch musicians and writing original works for bands that included suites.

 

20th century 

During the Jazz Age of the 1920s, bands and band music underwent more changes. Jazz developed in the Black communities of New Orleans, Louisiana during the late 19th and 20th centuries. Its roots were blues and ragtime music. Bands like Kid Ory’s Original Creole Jazz Band played in cities like San Francisco and Los Angeles. The advent of music recording and radio broadcasting in 1919 made it possible for more people to hear music of all kinds, including jazz. The 1930s belonged to popular swing big bands, with band leaders like Count Basie, Duke Ellington, and Cab Calloway. 

In the 1930s and 1940s, country music became popular thanks to the romanticization of cowboy culture in films. 

 

1950s 

The 1950s saw the birth of Rock and Roll Music as electric guitars, designed to be heard over other band instruments, became popular. Chuck Berry, , Little Richard, and Buddy Holly helped pioneer the genre that broke away from the more conservative music of the past. 

 

1960s 

The 1960s saw more musical revolution. Folk music, which used more traditional acoustic instruments, became a major movement with socially-conscious lyrics. 

Detroit-based label Motown put out pop-influenced soul music including The Four Tops and The Supremes. 

British Invasion: Bands like The Beatles and The Rolling Stones arrived in America in the 1960s, shaping how pop music sounded. 

 

1970s 

Rock groups like Led Zeppelin, Pink Floyd, and Queen were popular.

 The 1970s also saw the emergence of disco music with groups like The Bee Gees, KC & The Sunshine Band, and Kool and the Gang. 

Pop bands like The Carpenters, the Jackson 5, and Hall & Oates were also popular. 

Hip hop/rap music originated in African American communities in New York City in the 1970s (Grandmaster Flash and the Furious Five, The Sugarhill Gang). 

 

1980s 

Digital recording gained in popularity in the 1980s, and synthesizers started to be used to create synth-pop and electronic music. 

Another huge change for music was the advent of MTV. MTV played music videos 24/7. Suddenly, bands rose to fame quicker and became famous for their fashion and personas as well as their music.

Hard rock bands like Guns ‘n Roses, Def Leppard, and Metallica were popular. 

Hip hop/rap music became more mainstream and part of popular culture in the mid to late 1980s, like Run DMC, Public Enemy, and Salt + Pepa. 

“New wave” artists emerged – creating a new sound using different sounds and textures, thanks to electronic synthesizers and beats. Examples are Depeche Mode, Duran Duran, Billy Idol. 

 

1990s 

The 1990s saw the emergence of grunge bands like Nirvana, Pearl Jam, and Alice in Chains. Grunge is a style of alternative rock characterized by distorted guitar and angst-filled lyrics. 

The Riot Grrrl movement of the early 1990s led to a wave of woman-led punk bands like Bikini Kill, Calamity Jane, and Babes in Toyland who sang about topics like sexism and female rage. 

The “Golden Age of Hip Hop” was happening from the mid-1980s to the mid-1990s. It was considered to be golden because of the huge innovations happening within the genre. Significant groups of the 1990s included A Tribe Called Quest, Outkast, and Wu-Tang Clan. 

Teen pop had a huge resurgence in the 1990s with groups like The Spice Girls, The Backstreet Boys, and NSYNC. 

 

2000s 

The early 2000s saw a new interest in pop rock and pop-punk, with bands like Blink-182, Newfound Glory, and Sum 41 rising to popularity. 

A new form of metal called “nu metal” incorporated electronic sounds and sometimes rap. Examples are Korn, Limp Bizkit, and Slipknot. 

The subgenre of Southern hip-hop reached the peak of its popularity in the mid-2000s with groups like The East Side Boyz (led by Lil Jon) that started the dance craze movement in hop-hop. 

Emo music, defined by confessional lyrics and raw instrumentation, became popular in the 2000s with bands like Jimmy Eat World, My Chemical Romance, and Taking Back Sunday. 

Indie rock bands like Modest Mouse, Death Cab for Cutie, and Arcade Fire put indie rock on the map in the 2000s. 

 

2010s 

The 2010s saw a huge wave in popularity for electronic music and EDM (electronic dance music), although electronic music got its start in the 1970s/1980s. Groups like Disclosure, Swedish House Mafia, and Daft Punk helped to popularize the genre. 

Folk rock saw a resurgence in popularity with bands like The Lumineers and Mumford and Sons coming onto the scene, using traditional instruments like mandolins and banjos. 

K-pop made a splash into Western markets with groups like BTS, Blackpink, and Twice hitting the U.S. airwaves. 

Sometimes an artist covers an already existing song and creates a version so iconic that it eclipses the original – think Whitney Houston’s version of Dolly Parton’s “I Will Always Love You” or Aretha Franklin’s version of “Respect” (originally by Otis Redding). 

 

Here are some songs you might not realize are covers: 

“Hurt” – Johnny Cash (originally Nine Inch Nails) 

Typically you see newer artists covering songs from artists of a slightly older generation. Johnny Cash flipped that convention on its head in 2002 when he covered “Hurt” by Nine Inch Nails (originally released in 1995) to much critical acclaim. Trent Reznor, who wrote the song, praised the cover to Alternative Press in 2004, saying “that song isn’t mine anymore”

 

“Feelin’ Alright” – Joe Cocker (originally Traffic) 

“Feelin’ Alright: was a huge hit for Joe Cocker – charting in the U.S. and Canada on its release in 1969 and again during its re-release in 1972. The song was actually written and released by English band Traffic for their eponymous 1968 album and was released as a single but failed to chart in the U.S. or the U.K. 

 

“The Man Who Sold the World” – Nirvana (originally David Bowie)

What did David Bowie think of Nirvana’s cover of his 1970 song? 

“I was simply blown away when I found that Kurt Cobain liked my work, and have always wanted to talk to him about his reasons for covering ‘The Man Who Sold the World'” and that “it was a good straight forward rendition and sounded somehow very honest,” Bowie said. “It would have been nice to have worked with him, but just talking with him would have been real cool.”

 

“Black Magic Woman” – Santana (originally Fleetwood Mac)

“Black Magic Woman” is one of Santana’s biggest hits, but it started out as a song for another huge band. The song originally appeared as a single for Fleetwood Mac in 1968 – founding band member Peter Green wrote it, inspired by his former girlfriend Sandra Elsdon, whom he nicknamed “Magic Mamma”. For Santana, the song charted at number four in the U.S. and Canada, making it the better-known version. 

“All Along the Watchtower” – Jimi Hendrix (originally Bob Dylan)

“All Along the Watchtower” is actually a Bob Dylan song, but Hendrix’s 1968 version is so iconic that it influenced the way Dylan performs his own song, to the extent that they’ve been called “covers of a cover”. 

 

“Girls Just Wanna  Have Fun” Cyndi Lauper (originally Robert Hazard) 

“Girls Just Wanna Have Fun” is synonymous with 1980s chanteuse Cyndi Lauper, but the playful song was originally written and recorded by musician Robert Hazard, who had a completely different interpretation of the song. 

 

“I Love Rock and Roll” – Joan Jett (originally Arrows) 

Joan Jett & The Blackhearts popularized “I Love Rock & Roll” – the song is the group’s highest-charting hit. It was originally written and recorded by British rock band Arrows, as a response to the Rolling Stone’s “It’s Only Rock and Roll (But I Like It).  Jett saw the band performing their song on their weekly UK TV series while she was in England touring with The Runaways.

 

“Me and Bobby McGee” – Janis Joplin (originally Roger Miller) 

 

Got a little bit of free time this weekend? Here are five fairly easy songs that you can easily learn between now and Sunday evening! 

 

“You Belong with Me” – Taylor Swift

You’ll need a capo on the fourth fret to play this “Fearless” hit. It involves some fingerpicking to nail the distinctive riff, but it’s easier than it sounds!

“Moves Like Jagger” – Maroon 5

The funky, disco-esque rhythm is the most important part of this dance floor anthem – but with only a few chords, it’s pretty easy to learn.

“Wake Me Up” – Avicii

You only need four chords to play this popular song – it’s very easy to accompany yourself singing. 

“Creep” – Radiohead 

Ready to practice those barre chords? This song only has four chords total, and is another great one to sing along to.

“Ain’t No Sunshine” – Bill Withers

This 1971 hit is an absolute classic. Learn this simple version, or you can try the slightly more challenging fingerstyle version.

Some songs have riffs that are so iconic, they’re instantly recognizable for even the most casual of music listeners. You might find yourself singing the riff, rather than the words! 

Check out this list of what we think are some of the most memorable riffs of all time. 

 

“Back in Black” – AC/DC 

 “Back in Black” was AC/DC’s tribute to their former singer, Bon Scott, who died suddenly in the same year the album was released. It was AC/DC’s first album with Scott’s replacement, Brian Johnson. 

 

Purple Haze

One of The Hendrix Experience’s best known songs, “Purple Haze” features Jimi Hendrix’s use of his signature chords and a blend of blues and Eastern modalities.

 

Sweet Child o’ Mine

Famously, Guns ‘n Roses guitarist Slash came up with the riff for “Sweet Child O’ Mine” as a joke, playing what he called “a circus melody” during a jam session warm up. Lead singer Axl Rose wrote lyrics for the song by the next day.

“Smells Like Teen Spirit” – Nirvana

Nirvana lead singer Kurt Cobain said that “Smells Like Teen Spirit” was a result of trying to write a song that sounded like The Pixies. When I heard the Pixies for the first time, I connected with that band so heavily that I should have been in that band—or at least a Pixies cover band,” Cobain told Rolling Stone in 1994. “ We used their sense of dynamics, being soft and quiet and then loud and hard.”

“Crazy Train” – Ozzy Osbourne

Guitarist Greg Leon (Motley Crue/Quiet Riot) said he helped Ozzy Osbourne’s guitarist, Randy Rhoads, come up with the riff for “Crazy Train” after showing him the riff for “Swington” by Steve Miller.  “I said: ‘Look what happens when you speed this riff up.’ We messed around, and the next thing I know he took it to a whole other level and end up writing the ‘Crazy Train’ riff”, Leon said in a 2012 biography on Rhoads.

 

“Killing in the Name” – Rage Against the Machine 

RATM guitarist Tom Morello wrote this iconic drop D riff while giving a guitar student a lesson in Drop D tuning. He told Triple J in 2009 that he briefly paused the lesson to go record it. 

“Seven Nation Army” – The White Stripes

White Stripes singer and guitarist Jack White wrote the riff that would become “Seven Nation Army” while on tour in Australia. White originally wanted to save the riff in case he ever was called on to write a song for a James Bond movie – but thinking that the chances were slim, he incorporated it into a White Stripes song instead. Five years later, he did write a song for a Bond movie (“Another Way to Die” with Alicia Keys).

“All Right Now” – Free

English band Free’s drummer, Simon Kirke, said that their hit “All Right Now” was written following a lackluster gig. “. We finished our show and walked off the stage to the sound of our own footsteps. The applause had died before I had even left the drum riser,” Kirke told a newspaper in 2008.. It was obvious that we needed a rocker to close our shows.”

 

“Beat It” – Michael Jackson

Jackson and producer Quincy Jones tapped Van Halen guitarist Eddie Van Halen to add a guitar solo for a “rock song” for Thriller. The resulting riff is not only “fire” for how cool it is – according to a 2010 BBC piece on Jones, while Van Halen was recording his solo, the sound of his guitar caused the control room’s monitor speaker to catch fire. “This must be really good!” one of the sound engineers exclaimed.

“No One Knows” – Queens of the Stone Age

According to Queen of the Stone Age founding member Josh Homme, although the song “No One Knows” came out in 2002, the song’s iconic riff was created about five years prior. “We have patience with music, a year or five years down the road it may kind of rewrite itself and become what it’s supposed to be,” Homme said in a 2005 biography of the band.

“Can’t Stop” – Red Hot Chili Peppers

RHCP guitarist John Frusciante utilizes a reggae style – strumming only on the upbeat – during the bridge of this 2002 hit.

“Alive” – Pearl Jam

The riff for Pearl Jam’s debut single predates the formation of the band. Guitarist Stone Gossard, who was then playing in a band called Mother Love Bone, wrote the music for the song, which was then called “Dollar Short”. The band unfortunately dissolved following the overdose death of Mother Love Bone frontman Andrew Wood. Gossard, bandmate Jeff Ament and guitarist Mike McCreedy recorded the song along with four other tracks on a demo in hopes of finding a singer and drummer. Vocalist Eddie Vedder, who was then working as a security guard, got a hold of the tape, recorded some vocals, and sent it back to the band in Seattle. The rest is rock history. 

“Walk This Way” – Aerosmith

“Walk This Way” was created during a soundcheck, while Aerosmith was opening for The Guess Who in Honolulu in 1974. Guitarist Joe Perry was fooling around with riffs, and singer Steven Tyler began scatting over the groove. They had the basics of a song by the time soundcheck was over. 

“Sunshine of Your Love” – Cream

Cream bassist Jack Bruce wrote the riff that would become the basis for “Sunshine of Your Love” after seeing Jimi Hendrix perform.  “I don’t think Jack [Bruce] had really taken him in before … and when he did see it that night, after the gig he went home and came up with the riff,” Cream guitarist Eric Clapton told Rolling Stone in 1988. “It was strictly a dedication to Jimi. And then we wrote a song on top of it.”