Music of Detroit - Rock and Roll - 1960s

1960s

In 1959 Hank Ballard & The Midnighters had a minor hit with their b-side song "The Twist". A cover by Philadelphia native Chubby Checker followed in 1960. His single became a smash hit, reaching No. 1 on the Billboard Hot 100 and started a national dance craze. Also in 1960, Jack Scott had his final top 10 hit with the song "What In The World's Come Over You."

The following year, legendary Michigan rocker Del Shannon had his own No. 1 hit in March 1961 with the song "Runaway". This was followed by the top 10 hits "Hats Off to Larry" in June 1961 and "Little Town Flirt" in 1962. In 1964, Detroit's one-hit wonders The Reflections had their own Top 10 hit single with "(Just Like) Romeo and Juliet".

By 1964, teen clubs around Metro Detroit such as the Fifth Dimension in Ann Arbor and the Hideout off of 8 Mile Road and Harper Road, were a hotbed for young and promising garage rock bands such as The Underdogs, The Fugitives, Unrelated Segments, Terry Knight and the Pack (which featured Don Brewer), ASTIGAFA (which featured a young Marshall Crenshaw), The Lords (featuring a young Ted Nugent), The Pleasure Seekers (which featured a young Suzi Quatro), Four of Us and the Mushrooms (which both featured Glenn Frey), Sky (which featured a young Doug Fieger), and blue eyed soul rockers the Rationals.

During the heyday of the Hideout in 1965, Doug Brown and the Omens, financed by Del Shannon, cut Bob Seger's first known official recording "TGIF"/"First Girl." Bob Seger would later form his band known as The Last Heard while Brown produced Seger's regional blockbuster albums "East Side Story," and "Heavy Music."

1965 also Mitch Ryder & the Detroit Wheels had a national top 10 hit with "Jenny Take A Ride!" and then again the following year in 1966 with "Devil With A Blue Dress On"/"Good Golly, Miss Molly." Also in 1966, Flint's Question Mark & the Mysterians (which featured Mel Schacher) had a No. 1 hit with "96 Tears." Finally, in 1967, Detroit blues-rock outfit the Woolies had a regional smash hit with the Bo Diddley song "Who Do You Love".

In the late 1960s, Metro Detroit was the epicenter for high-energy rock music with the MC5 and Iggy and the Stooges. Then in 1968, the Metro Detroit rock scene witnessed an extraordinary transformation into something that was purely raw, rough, and messy. This sound was rock & roll but was also equal parts anger, determination and attitude spawning a unique high-energy rock scene in antithesis to Motown and the more mellow bands popular on the east and west coasts. This new found high-energy rock was no truer than with the MC5 (Motor City Five) and the protopunk Iggy & the Stooges. These two bands laid the groundwork for the future punk and hard rock movements in the late 1970s. Other notable bands from this time frame included Alice Cooper, The Amboy Dukes (featuring Ted Nugent), The Bob Seger System, Frijid Pink, SRC, The Up, The Frost (featuring Dick Wagner), Popcorn Blizzard (featuring Meat Loaf), Cactus and the soulful sounds of Rare Earth and The Flaming Ember. Much of the music scene during this time was centered around the legendary Grande Ballroom and its owner Russ Gibb.

As the pure sonic force of the Detroit rock scene drove on into the close of the decade, in 1969 a magazine based in and around Detroit known as CREEM: "America's Only Rock 'n' Roll Magazine," was started by Barry Kramer and founding editor Tony Reay. CREEM is known as the first publication to coin the words "punk rock" and "heavy metal" and featured such famous editors such as Rob Tyner, Jaan Uhelszki, Patti Smith, Cameron Crowe and Lester Bangs, who is often cited as "America's Greatest Rock Critic,".

Outside of the Energy Rock scene, Detroit in the 60's also contributed to the national folk scene with southeastern Michigan native Phil Ochs, who would become important to the Greenwich Village folksters and who was the most fiery song-writer of all the folk-revivalists; Detroit was also home for a few years to the then unknown Joni Mitchell. Fortune Records also released numerous "Hillbilly" Americana folk records in this period.