British pop music

British pop music is popular music, produced commercially in the United Kingdom. It emerged in the mid-to late 1950s as a softer alternative to American rock 'n' roll. Like American pop music it has a focus on commercial recording, often orientated towards a youth market, as well as that of the Singles Chart usually through the medium of relatively short and simple love songs. While these basic elements of the genre have remained fairly constant, pop music has absorbed influences from most other forms of popular music, particularly borrowing from the development of rock music, and utilising key technological innovations to produce new variations on existing themes. From the British Invasion in the 1960s, led by The Beatles, British pop music has alternated between acts and genres with national appeal and those with international success that have had a considerable impact on the development of the wider genre and on popular music in general

Early British popular music, in the sense of commercial music enjoyed by the people, arose in the sixteenth and seventeenth centuries with the arrival of the broadside ballad, which were sold cheaply and in great numbers until the nineteenth century. Further technological, economic and social changes led to new forms of music in the nineteenth century, including parlour music and the brass band, which produced a popular and communal form of classical music. Similarly, the music hall sprang up to cater for the entertainment of new urban societies, adapting existing forms of music to produce popular songs and acts. In the 1930s the influence of American jazz and swing music led to the creation of British dance bands, who provided a social and popular music that began to dominate social occasions and the radio airwaves.

In the early 1950s sales of American records dominated British popular music. In the first full year of the charts in 1953 major artists were Perry Como, Guy Mitchell and Frankie Laine largely with orchestrated sentimental ballads, beside novelty records like "(How Much Is) That Doggie in the Window?" re-recorded by British artist Lita Roza. Some established British wartime stars like Vera Lynn were still able to chart into the mid-1950s, but successful new British acts like Jimmy Young who had two number one hits in 1955, did so with re-recorded versions of American songs "Unchained Melody" and "The Man from Laramie" or Alma Cogan with "Dreamboat". It has been estimated that in the late 1950s there were 30–50,000 skiffle groups in Britain. Sales of guitars grew rapidly and other musicians were able to perform on improvised bass and percussion in venues such as church halls and cafes, without having to aspire to musical perfection or virtuosity.

In the late 1950s, a flourishing culture of groups began to emerge, often out of the declining skiffle scene, in major urban centres in the UK like Liverpool, Manchester, Birmingham and London. This was particularly true in Liverpool, where it has been estimated that there were around 350 different bands active, often playing ballrooms, concert halls and clubs. Beat bands were heavily influenced by American bands of the era, such as Buddy Holly and the Crickets (from which group The Beatles derived their name), as well as earlier British groups such as The Shadows. After the national success of the Beatles in Britain from 1962, a number of Liverpool performers were able to follow them into the singles charts, including Gerry & The Pacemakers, The Searchers, and Cilla Black. Among the most successful beat acts from Birmingham were The Spencer Davis Group and The Moody Blues.