It's all been done before.

 It’s All Been Done Before… But Has It?

How Rock’s Hidden Gems Shaped Unexpected Genres

Rock music has always borrowed from and inspired other genres, but what if its influence stretches further than we usually acknowledge? Everyone knows how blues led to rock, how punk emerged from garage rock, and how metal grew from hard rock’s heavy riffs. But what about rock’s impact on genres we don’t usually associate with it—Hi-NRG, rap, shoegaze, or even electronic music? And how did rock’s B-sides—those often-overlooked tracks—help shape new sounds?

Let’s dig deeper into the echoes of rock music in places you might not expect.

1. Hi-NRG, Disco, and the Rock Connection

Before disco and Hi-NRG took over dance floors, rock bands were already experimenting with orchestral arrangements, layered synths, and driving beats. Electric Light Orchestra (ELO) and Queen, in particular, blurred the lines between rock and what would later evolve into high-energy dance music.

ELO’s "Twilight" (1981) – A fast-paced, synth-heavy track with a pulsating rhythm and dramatic vocals, it could sit comfortably alongside later Hi-NRG hits. Its theatrical nature foreshadowed the high-energy, almost futuristic sound of Italo-disco.

Queen’s "Dragon Attack" (B-side of Another One Bites the Dust, 1980) – With its funk-infused bassline and hypnotic groove, this song feels like a rock-disco hybrid, a precursor to dance-rock.

David Bowie’s "Stay" (1976) – The funky guitars and relentless rhythm of this Station to Station B-side make it sound like a rock band accidentally inventing dance music.

The Influence: Hi-NRG artists like Patrick Cowley and Giorgio Moroder took the layered synths and dramatic, orchestral elements of these rock experiments and transformed them into the backbone of electronic dance music.

2. Poetic Rock and the Birth of Rap

Rap and rock seem like opposites, but the early poetic storytelling of rock music laid the foundation for hip-hop’s lyrical artistry. Before the rhythmic spoken-word flow of rap took over the streets, rock artists were experimenting with poetic lyricism and even proto-rap delivery.

Lou Reed’s "Street Hassle" (1978) – A nearly spoken-word track narrating a gritty city story over a repetitive, atmospheric backdrop—this feels like a direct precursor to hip-hop’s storytelling style.

David Bowie’s "It’s No Game (Part 2)" (B-side of Scary Monsters, 1980) – Bowie half-speaks, half-sings in an aggressive, rhythmic cadence, reminiscent of early rap flows.

The Doors’ "The WASP (Texas Radio and the Big Beat)" (B-side of Love Her Madly, 1971) – Jim Morrison’s deep, poetic delivery feels like a psychedelic spoken-word performance, influencing rap’s lyrical approach.

The Influence: When artists like Grandmaster Flash and The Sugarhill Gang emerged, they weren’t just drawing from funk and disco but also from rock’s narrative depth and poetic experimentation. Run-D.M.C. later made the connection obvious, but rock’s lyrical stylings had already paved the way.

3. The Shoegaze & Dream Pop Blueprint: Hidden in Rock’s B-Sides

Shoegaze, known for its layered guitar textures and ethereal soundscapes, didn’t appear out of nowhere. It evolved from rock bands who were already experimenting with reverb, feedback, and dreamy production on B-sides and deep cuts.

The Beatles’ "Rain" (B-side of Paperback Writer, 1966) – Arguably one of the earliest shoegaze prototypes, with reversed tape effects and a slow, droning melody drenched in reverb.

Pink Floyd’s "Julia Dream" (B-side of It Would Be So Nice, 1968) – A soft, dreamlike ballad with ethereal vocals and an atmospheric quality that foreshadowed shoegaze.

The Velvet Underground’s "I Heard Her Call My Name" (B-side of White Light/White Heat, 1968) – Distorted, chaotic, and drenched in noise, this track feels like an early My Bloody Valentine recording.

The Influence: Bands like Slowdive, Cocteau Twins, and My Bloody Valentine took these psychedelic and atmospheric elements and expanded them into a genre defined by layers of sound and dreamlike textures.

4. Electronic and Industrial: Rock’s Experimental Edge

Long before electronic and industrial music became mainstream, rock bands were already playing with mechanical rhythms, electronic textures, and robotic vocal effects. Some of these experiments were tucked away on B-sides, influencing future electronic pioneers.

Kraftwerk’s "The Model" (1978, later a B-side) – Though more electronic than rock, Kraftwerk’s work was heavily influenced by rock structures and later inspired bands like Depeche Mode.

David Bowie’s "Crystal Japan" (B-side of Up the Hill Backwards, 1980) – A completely instrumental, eerie electronic track that sounds like a precursor to ambient music.

Nine Inch Nails’ "Dead Souls" (B-side of The Downward Spiral, 1994) – A cover of Joy Division’s moody, electronic-tinged song, showing how industrial rock evolved from post-punk’s experiments.

The Influence: These rock experiments paved the way for artists like Trent Reznor, The Prodigy, and even Daft Punk, who merged rock’s intensity with electronic precision.

Conclusion: The B-Side Blueprint

Rock music isn’t just a genre—it’s a source code that has been sampled, modified, and expanded into countless other styles. While the A-sides gave the world the hits, the B-sides often contained the real experimentation—the strange, overlooked tracks that became blueprints for new genres.

If rock music proves anything, it’s that nothing is truly new—only rediscovered, reinterpreted, and reborn.

Until next time, keep those B-sides spinning. Follow on social media for regular updates and sneak peeks into rock’s untold stories and hidden gems. Drop your pick in the comments and let’s talk rock.