British Rock Modernism, 1967-1977 explains how the definitive British rock performers of this epoch aimed, not at the youthful rebellion for which they are legendary, but at a highly self-conscious project of commenting on the business in which they were engaged. They did so by ironically appropriating the traditional forms of Victorian music hall. Faulk focuses on the mid to late 1960s, when British rock bands who had already achieved commercial prominence began to aspire to aesthetic distinction. The book discusses recordings such as the Beatles' Magical Mystery Tour album, the Kinks' The Village Green Preservation Society, and the Sex Pistols' Never Mind the Bollocks, Here's the Sex Pistols, and television films such as the Beatles' Magical Mystery Tour and the Rolling Stones' Rock and Roll Circus that defined rock's early high art moment. Faulk argues that these 'texts' disclose the primary strategies by which British rock groups, mostly comprised of young working and lower middle-class men, made their bid for aesthetic merit by sampling music hall sounds. The result was a symbolically charged form whose main purpose was to unsettle the hierarchy that set traditional popular culture above the new medium. Rock groups engaged with the music of the past in order both to demonstrate the comparative vitality of the new form and signify rock's new art status, compared to earlier British pop music. The book historicizes punk rock as a later development of earlier British rock, rather than a rupture. Unlike earlier groups, the Sex Pistols did not appropriate music hall form in an ironic way, but the band and their manager Malcolm McLaren were obsessed with the meaning of the past for the present in a distinctly modernist fashion.

'My favourite moment is when I finish a song, that is the moment I cherish.' - Rod Temperton The Invisible Man tells the remarkable story of how Rod Temperton worked his way up from a Grimsby fish factory to become one of the most successful songwriters of all time. Born in Cleethorpes in 1949, Temperton embarked on a career in music with the funk band Heatwave, for whom he wrote the international hits 'Boogie Nights' and 'Always and Forever', before his songwriting talent caught the attention of Michael Jackson's legendary producer, Quincy Jones. For Jackson's Off the Wall album, Temperton penned both the hit 'Rock with You' and the album's title track. Three years later, he started work on what would become the best-selling album of all time - Michael Jackson's Thriller - writing three songs, including the now legendary title track. And yet despite collaborating with some of music's biggest stars, including Donna Summer and Michael McDonald, Temperton was famously reclusive and seldom gave interviews. Having enjoyed unprecedented access to the great man for his Sony Award-winning radio documentary on Temperton, Jed Pitman presents the fully updated, definitive story of one of music's most talented individuals.

PJ Harvey's performances are premised on the core contention that she is somehow causing 'trouble'. Just how this trouble can be theorised within the context of the music video and what it means for a development of the ways we might conceptualise 'disruption' and think about music video lies at the heart of this book. Abigail Gardner mixes feminist theory and critical models from film and video scholarship as a rich means of interrogating Harvey's work and redefining her disruptive strategies. The book presents a rethinking of the masquerade that allies it to cultural memory, precipitated by Gardner's claim that Harvey's performances are conversations with the past, specifically with visualised memories of archetypes of femininity. Harvey's masquerades emerge from her conversations and renegotiations with both national and transatlantic musical, visual and lyrical heritages. It is the first academic book to present analysis of Harvey's music videos and opens up fresh avenues into exploring what is at stake in the video work of one of Britain's premier singer-songwriters. It extends the discussion on music video to consider how to make sense of the rapidly developing digital environment in which it now sits. The interdisciplinary nature of the book should attract readers from a range of subject areas including popular music studies, cultural studies, media and communication studies, and gender studies.

Founding member of Megadeth and former Metallica guitarist Dave Mustaine tells a never-before-heard story of the lifetime he has spent in rock 'n' roll. But this extraordinary tale, riddled with his own personal ups and downs, is also the inside account of two of the most influential heavy metal bands in the world. Here, for the first time ever, Dave Mustaine tells the tale of two of the biggest metal bands in history; a story yet to be told from the inside. Metallica, the pioneers of the thrash metal genre, rocketed to international fame in the 1980s, selling over 90 million records worldwide, making it the most successful band of its kind - ever. Megadeth, the second most successful thrash metal band ever, have sold more than 20 million albums worldwide, including six consecutive platinum albums. Despite their enormous success together, Dave and Metallica have bad blood by the bucket-load. In April of 1983, due in part to alcoholism and in part to personality clashes with founding members Hetfield and Ulrich, Dave was unceremoniously fired from the band, dumped at a Greyhound bus station in Rochester, NY with a single ticket back to LA. How did such an abrupt end come about? How did he pick himself back up, recover his dignity, and go on to send another band into the dizzying heights of rock stardom? The time has come to set the record straight. From the early, crazy days of Metallica to his split with the band, and to his glorious reign with Megadeth, Dave has seen and experienced life's extremities. This startlingly candid, refreshingly in-your-face memoir tells it all.

This is the first of two titles by the Manic Street Preachers' bassist and lyricist, Nicky Wire. For more than twenty years and from Blackwood, Wales to Tokyo, Japan, Nicky Wire has kept a personal visual history of the band in their various stages from Generation Terrorists through Holy Bible and right up to last year's remarkable album, Postcards from a Young Man. Edited down from over 1,000 of Wire's personal polaroid's and with accompanying text by the man himself, Death of The Polaroid promises to be a rich, visual biography of one of the most loved and iconoclastic British bands of the past two decades.

London, 1820. The British capital is a metropolis that overwhelms dwellers and visitors alike with constant exposure to all kinds of sensory stimulation. Over the next two decades, the city's tumult will reach new heights: as population expansion places different classes in dangerous proximity and ideas of political and social reform linger in the air, London begins to undergo enormous infrastructure change that will alter it forever. It is the London of this period that editors Roger Parker and Susan Rutherford pinpoint in this book, which chooses one broad musical category--voice--and engages with it through essays on music of the streets, theaters, opera houses, and concert halls; on the raising of voices in religious and sociopolitical contexts; and on the perception of voice in literary works and scientific experiments with acoustics. Emphasizing human subjects, this focus on voice allows the authors to explore the multifaceted issues that shaped London, from the anxiety surrounding the city's importance in the musical world at large to the changing vocal imaginations that permeated the epoch. Capturing the breadth of sonic stimulations and cultures available--and sometimes unavoidable--to residents at the time, London Voices, 1820-1840 sheds new light on music in Britain and the richness of London culture during this period.

She's So Fine explores the music, reception and cultural significance of 1960s girl singers and girl groups in the US and the UK. Using approaches from the fields of musicology, women's studies, film and media studies, and cultural studies, this volume is the first interdisciplinary work to link close musical readings with rigorous cultural analysis in the treatment of artists such as Martha and the Vandellas, The Crystals, The Blossoms, Brenda Lee, Dusty Springfield, Lulu, Tina Turner, and Marianne Faithfull. Currently available studies of 1960s girl groups/girl singers fall into one of three categories: industry-generated accounts of the music's production and sales, sociological commentaries, or omnibus chronologies/discographies. She's So Fine, by contrast, focuses on clearly defined themes via case studies of selected artists. Within this analytical rather than historically comprehensive framework, this book presents new research and original observations on the 60s girl group/girl singer phenomenon.

Britpop and the English Music Tradition is the first study devoted exclusively to the Britpop phenomenon and its contexts. The genre of Britpop, with its assertion of Englishness, evolved at the same time that devolution was striking deep into the hegemonic claims of English culture to represent Britain. It is usually argued that Britpop, with its strident declarations of Englishness, was a response to the dominance of grunge. The contributors in this volume take a different point of view: that Britpop celebrated Englishness at a time when British culture, with its English hegemonic core, was being challenged and dismantled. It is now timely to look back on Britpop as a cultural phenomenon of the 1990s that can be set into the political context of its time, and into the cultural context of the last fifty years - a time of fundamental revision of what it means to be British and English. The book examines issues such as the historical antecedents of Britpop, the subjectivities governing the performative conventions of Britpop, the cultural context within which Britpop unfolded, and its influence on the post-Britpop music scene in the UK. While Britpop is central to the volume, discussion of this phenomenon is used as an opportunity to examine the particularities of English popular music since the turn of the twentieth century.

How has the history of rock 'n' roll been told? Has it become formulaic? Or remained, like the music itself, open to outside influences? Who have been the genre's primary historians? What common frameworks or sets of assumptions have music history narratives shared? And, most importantly, what is the cost of failing to question such assumptions? "Stories We Could Tell:Putting Words to American Popular Music" identifies eight typical strategies used when critics and historians write about American popular music, and subjects each to forensic analysis. This posthumous book is a unique work of cultural historiography that analyses, catalogues, and contextualizes music writing in order to afford the reader new perspectives on the field of cultural production, and offer new ways of thinking about, and writing about, popular music.

In this book, Julian Hellaby presents a detailed study of English piano playing and career management as it was in the middle years of the twentieth century. Making regular comparisons with early twenty-first-century practice, the author examines career-launching mechanisms, such as auditions and competitions, and investigates available means of career sustenance, including artist management, publicity outlets, recital and concerto work, broadcasts, recordings and media reviews. Additionally, Hellaby considers whether a mid-twentieth-century school of English piano playing may be identified and, if so, whether it has lasted into the early decades of the twenty-first century. The author concludes with an appraisal of the state of English pianism in recent years and raises questions about its future. Drawing on extensive research from a wide variety of primary and secondary sources, this book is structured around case-studies of six pianists who were commencing and then developing their careers between approximately 1935 and 1970. The professional lives and playing styles of Malcolm Binns, Peter Katin, Moura Lympany, Denis Matthews, Valerie Tryon and David Wilde are examined, and telling comparisons are made between the state of affairs then and that of more recent times. Engagingly written, the book is likely to appeal to professional and amateur pianists, piano teachers, undergraduate and postgraduate music students, academics and anyone with an interest in the history of pianists, piano performance and music performance history in general.

The similarities between the chanson franAaise and the canzone d'autore have been often noted but never fully explored. Both genres are national forms which involve the figure of the singer-songwriter, both experienced their golden age of production in the post-World War II period and both are enduringly popular, still accounting for a large proportion of record sales in their respective countries. Rachel Haworth looks beyond these superficial similarities, and investigates the nature of the relationship between the two genres. Taking a multidisciplinary approach, encompassing textual analysis of song lyrics, cultural history and popular music studies, Haworth considers the different ways in which French and Italian song is thought about, written about and constructed. Through an in-depth study of the discourse surrounding chanson and the canzone d'autore, the volume analyses the development of the genres' rules and rhetoric, identifying the key themes of Authority, Authenticity and Influence. The book finally considers the legacy of major artists, looking at modern perspectives on Georges Brassens, Jacques Brel, Leo Ferre, Fabrizio De Andre and Giorgio Gaber, ultimately affording a deeper understanding of the notions of quality and value in the context of chanson franAaise and the canzone d'autore.

The Festivalization of Culture explores the links between various local and global cultures, communities, identities and lifestyle narratives as they are both constructed and experienced in the festival context. Drawing on a wide range of case studies from Australia and Europe, festivals are examined as sites for the performance and critique of lifestyle, identity and cultural politics; as vehicles for the mobilization and cementation of local and global communities; and as spatio-temporal events that inspire and determine meaning in people's lives. Investigating the manner in which festivals are no longer merely periodic, cultural, religious or historical events within communities, but rather a popular means through which citizens consume and experience culture, this book also sheds light on the increasing diversity of contemporary societies and the role played by festivals as sites of cohesion, cultural critique and social mobility. As such, this book will be of interest to those working in areas such as the sociology, consumption and commodification of culture, social and cultural geography, anthropology, cultural studies and popular music studies.

Whiskey and porn stars, hot reds and car crashes, black leather and high heels, overdoses and death. This is the life of Mötley Crüe, the heaviest drinking, hardest fighting, most oversexed and arrogant band in the world. Their unbelievable exploits are the stuff of rock 'n' roll legend. They nailed the hottest chicks, started the bloodiest fights, partied with the biggest drug dealers, and got to know the inside of every jail cell from California to Japan. They have dedicated an entire career to living life to its extreme, from the greatest fantasies to the darkest tragedies. Tommy married two international sex symbols; Vince killed a man and lost a daughter to cancer; Nikki overdosed, rose from the dead, and then OD'd again the next day; and Wick shot a woman and tried to hang his own brother. But that's just the beginning. Fueled by every drug they could get their hands on and obscene amounts of alcohol, driven by fury and headed straight for hell, Mötley Crüe raged through two decades, leaving behind a trail of debauched women, trashed hotel rooms, crashed cars, psychotic managers, and broken bones that has left the music industry cringing to this day. All these unspeakable acts, not to mention their dire consequences, are laid bare in The Dirt.

Here -- directly from Nikki, Vince, Tommy, and Mick -- is the unexpurgated version of the whole glorious, gut-wrenching story. In these pages, published for the first time anywhere, are Tommy Lee's letters to Pamela Anderson from prison: Mick's confession to having an incurable disease that is slowly killing him; Vince's experience burying his own daughter -- and the train wreck that his life became afterward; and Nikki's anguished struggle to deal with an entire life fueled by anger over his childhood abandonment, his discovery of the family he never knew he had -- and his subsequent loss of them. And all of it accompanied by scores of rare, never-before-published photographs, mug shots, and handwritten lyrics. No one is spared. Not David Lee Roth, Ozzy Osbourne, Vanity, Aerosmith, Heather Locklear, AC/DC, Lita Ford, Iron Maiden, Pamela Anderson, Guns N' Roses, Donna D'Errico, RATT, or those two girls from Dallas, Texas.

Make no mistake about it: these guys are geniuses. They invented glam metal and then left it in the dust; sold more than forty million albums from Shout at the Devil to Dr. Feelgood; toured the world dozen times and have the scars to prove it it; and maintained a rabid following in an era of throwaway pop stars. Mötley Crüe has done nothing less than tattoo the psyche of the entire MTV generation. They are the ultimate rock 'n' roll band. And if you don't believe it, read The Dirt. You don't know what decadence is...

For at least two centuries, and arguably much longer, Ireland has exerted an important influence on the development of the traditional, popular and art musics of other regions, and in particular those of Britain and the United States. During the past decade or so, the traditional musics of the so-called Celtic regions have become a focus of international interest. The phenomenal success of shows such as Riverdance (which appeared in 1995, spawned from a 1994 Eurovision Song Contest interval act) brought Irish music and dance to a global audience and played a part in the further commoditization of Irish culture, including traditional music. However, there has been until now, relatively little serious musicological study of the traditional music of Northern Ireland. Northern Ireland remains a divided community in which traditional culture, in all its manifestations, is widely understood as a marker of religious affiliation and ethnic identity. Since the outbreak of the most recent 'troubles' around 1968, the borders between the communities have often been marked by music. For example, many in the Catholic, nationalist community, regard the music of Orange flute bands and Lambeg drums as a source of intimidation. Equally, many in the Protestant community have distanced themselves from Irish music as coming from a different ethnic tradition, and some have rejected tunes, styles and even instruments because of their association with the Catholic community and the Irish Republic. Of course, during the same period many other Protestants and Catholics have continued to perform in an apolitical context and often together, what in earlier times would simply have been regarded as folk or country music. With the increasing espousal of a discrete Ulster Scots tradition since the signing of the Belfast (or 'Good Friday') Agreement in 1998, the characteristics of the traditional music performed in Northern Ireland, and the place of Protestant musicians within popular Irish culture, clearly require a more thoroughgoing analysis. David Cooper's book provides such analysis, as well as ethnographic and ethnomusicological studies of a group of traditional musicians from County Antrim. In particular, this book offers a consideration of the cultural dynamics of Northern Ireland with respect to traditional music.

By the end of 1973, Deep Purple Mk2 was no more. Ian Gillan had been replaced by David Coverdale on vocals whilst Roger Glover had been replaced by Glenn Hughes on bass and vocals. It left the nucleus of Ritchie Blackmore, Jon Lord and Ian Paice to take Deep Purple in a new direction, which eventually came to a halt with the Mk4 line-up in 1976. With Deep Purple In Rock (1970), Fireball (1971), Machine Head (1972) and Who Do We Think We Are (1973) to Mk2's credit, many fans lived in hope that one day, the band would get back together - with the music press occasionally courting the odd rumour that it would happen! Finally, in April 1984, the reunion of Deep Purple Mk2 was announced. Fans had got their wish. Or had they? With the landscape of rock and pop music having changed since the band's success in the seventies, and with each member of Deep Purple Mk2 having nurtured very different careers as individuals by that point, a reunion was never going to be plain sailing! In this this book, Laura Shenton MA LLCM DipRSL examines the merits and challenges of what it was for Deep Purple Mk2 to get back together in the eighties. Included is a critical analysis of Mk2's second round of albums: Perfect Strangers (1984), The House Of Blue Light (1987) and The Battle Rages On... (1993).

The definitive no-holds-barred biography of John Entwistle, The Who's legendary bass guitarist It is an unequivocal fact that in terms of rock bands, the Beatles, the Rolling Stones and the Who represent Year Zero; the beginning of all things, ground-breakers all. To that end, John Entwistle - the Who's beloved bassist - is also without question one of the most important and influential figures in the annals of rock. He is also among an even more rarefied few by virtue of his being such a fascinating, transfixing and gloriously oversized character. However, Entwistle has not been the subject of a major biography. Likely, this was due to no-one being able to gain close access to the subject himself: the still in many other respects enigmatic Entwistle's enduring legacy has been carefully guarded by his surviving family. With the full co-operation of the Entwistle family, The Ox will correct this oversight and in doing so, shine a long overdue light on one of the single greatest, and most impactful figures in rock history. Drawing on his own notes for an unfinished autobiography that he started before his death in 2002 (and which will be quoted from extensively), as well as his personal archives and interviews with his family and friends, The Ox will give readers a never-before-seen glimpse into the two very distinct poles of John Entwistle. On the one hand, he was the rock star incarnate, being larger than life, self-obsessed to a fault, and proudly and almost defiantly so. Extravagant with money, he famously shipped two vintage American cars across the Atlantic without having so much as a driver's license, built exponentially bigger and grandiose bars into every home he owned, and amassed an extraordinary collection of possessions, from arachnids, armor, and weaponry, to his patented Cuban-heeled boots. But beneath this fame and flutter, he was also a man of simple tastes and traditional opinions. He was a devoted father and family man who loved nothing more than to wake up to a full English breakfast, or to have a supper of fish, chips, and a pint at his local pub. After his untimely death, many of these stories were shuttered away into the memories of his family, friends, and loved ones, but now, for the first time, The Ox will introduce us to the man behind the myth-the iconic and inimitable John Entwistle.

The use of irony in music is just beginning to be defined and critiqued, although it has been used, implied and decried by composers, performers, listeners and critics for centuries. Irony in popular music is especially worthy of study because it is pervasive, even fundamental to the music, the business of making music and the politics of messaging. Contributors to this collection address a variety of musical ironies found in the 'notes themselves,' in the text or subtext, and through performance, reception and criticism. The chapters explore the linkages between irony and the comic, the tragic, the remembered, the forgotten, the co-opted, and the resistant. From the nineteenth to twenty-first centuries, through America, Europe and Asia, this provocative range of ironies course through issues of race, religion, class, the political left and right, country, punk, hip hop, folk, rock, easy listening, opera and the technologies that make possible our pop music experience. This interdisciplinary volume creates new methodologies and applies existing theories of irony to musical works that have made a cultural or political impact through the use of this most multifaceted of devices.

Is Bob Marley the only third world superstar? How did he achieve this unique status? In this captivating new study of one of the most influential musicians of the twentieth century, Jason Toynbee sheds new light on issues such as Marley's contribution as a musician and public intellectual, how he was granted access to the global media system, and what his music means in cultural and political terms.
Tracing Marley's life and work from Jamaica to the world stage, Toynbee suggests that we need to understand Marley first and foremost as a 'social author'. Trained in the co-operative yet also highly competitive musical laboratory of downtown Kingston, Marley went on to translate reggae into a successful international style. His crowning achievement was to mix postcolonial anger and hope with Jamaican textures and beats to produce the first world music.
However the period since his death has been marked by brutal and intensifying inequality in the capitalist world system. There is an urgent need, then, to reconsider the nature of his legacy. Toynbee does this in the concluding chapters, weighing Marley's impact as advocate of human emancipation against his marginalisation as a 'Natural Mystic' and pretext for disengagement from radical politics.

Covering"the musical practice of one artist recording or performing another composer's song"has always been an attribute of popular music. In 2009, the internet database Second Hand Songs estimated that there are 40,000 songs with at least one cover version. Some of the more common variations of this "appropriationist" method of musical quotation include traditional forms such as patriotic anthems, religious hymns such as Amazing Grace, Muzak's instrumental interpretations, Christmas classics, and children's songs. Novelty and comedy collections from parodists such as Weird Al Yankovic also align in the cover category, as does the "larcenous art" of sampling, and technological variations in dance remixes and mash-ups. Film and television soundtracks and advertisers increasingly rely on versions of familiar pop tunes to assist in marketing their narratives and products. The cover phenomenon in popular culture may be viewed as a postmodern manifestation in music as artists revisit, reinterpret and re-examine a significant cross section of musical styles, periods, genres, individual records, and other artists and their catalogues of works.The cover complex, with its multiple variations, issues, contexts, and re-contextualizations comprises an important and rich popular culture text. These re-recordings represent artifacts which embody artistic, social, cultural, historical, commercial, biographical, and novel meanings. Through homage, allusion, apprenticeship, and parody, among other modes, these diverse musical quotations express, preserve, and distribute popular culture, popular music and their intersecting historical narratives. Play it Again represents the first collection of critical perspectives on the many facets of cover songs in popular music.

A Moon Shaped Pool is an art rock album by British rock band Radiohead. Their ninth studio album, it includes the singles Burn the Witch and Daydreaming. Released as a download on 8 May 2016, it received critical acclaim and became the band's sixth number-one album in the UK. This official album-matching songbook contains all songs from the album arranged for piano and voice with guitar chords, and features 10 pages of artwork from Radiohead's long-time collaborator and artist Stanley Donwood.

The definition of 'heavy metal' is often a contentious issue and in this lively and accessible text Andrew Cope presents a refreshing re-evaluation of the rules that define heavy metal as a musical genre. Cope begins with an interrogation of why, during the late 1960s and early 1970s, Birmingham provided the ideal location for the evolution and early development of heavy metal and hard rock. The author considers how the influence of the London and Liverpool music scenes merged with the unique cultural climate, industry and often desolated sites of post-war Birmingham to contribute significantly to the development of two unique forms of music: heavy metal and hard rock. The author explores these two forms through an extensive examination of key tracks from the first six albums of both Black Sabbath and Led Zeppelin, in which musical, visual and lyrical aspects of each band are carefully compared and contrasted in order to highlight the distinctive innovations of those early recordings. In conclusion, a number of case studies are presented that illustrate how the unique synthesis of elements established by Black Sabbath have been perpetuated and developed through the work of such bands as Iron Maiden, Metallica, Pantera, Machine Head, Nightwish, Arch Enemy and Cradle of Filth. As a consequence, the importance of heavy metal as a genre of music was firmly established, and its longevity assured.

Created for a wide variety of musicians, 12 Medium-Easy Jazz, Blues & Funk Etudes will appeal to both aspiring players and more experienced musicians. Accessible, yet with some challenges, this music was written by world-renowned jazz composer, arranger, saxophonist, bandleader, educator, and member of the Yellowjackets, Bob Mintzer. Designed for the medium-easy difficulty level, this book includes 12 jazz, blues and funk etudes in a variety of jazz styles, tempos, and time signatures, performance notes/tips for each etude to assist in interpretation and improvisation, play-along CD with a stellar rhythm section, transcription exercise, composition exercise, and a practice page with scales/chords. All books in this series are compatible and written so they can be performed together. Study and learn melodic composition, improvisation, sight reading, motivic development, scales and chords, jazz concept, major and minor blues, jazz waltz, slow/medium/fast swing, and funky groove.

At times it appears that a whole industry exists to perpetuate the myth of origin of the Beatles. There certainly exists a popular music (or perhaps 'rock') origin myth concerning this group and the city of Liverpool and this draws in devotees, as if on a pilgrimage, to Liverpool itself. Once 'within' the city, local businesses exist primarily to escort these pilgrims around several almost iconic spaces and places associated with the group. At times it all almost seems 'spiritual'. One might argue however that, like any function myth, the music history of the Liverpool in which the Beatles grew and then departed is not fully represented. Beatles historians and businessmen-alike have seized upon myriad musical experiences and reworked them into a discourse that homogenizes not only the diverse collective articulations that initially put them into place, but also the receptive practices of those travellers willing to listen to a somewhat linear, exclusive narrative. Other Voices therefore exists as a history of the disparate and now partially hidden musical strands that contributed to Liverpool's musical countenance. It is also a critique of Beatles-related institutionalized popular music mythology. Via a critical historical investigation of several thus far partially hidden popular music activities in pre- and post-Second World War Liverpool, Michael Brocken reveals different yet intrinsic musical and socio-cultural processes from within the city of Liverpool. By addressing such 'scenes' as those involving dance bands, traditional jazz, folk music, country and western, and rhythm and blues, together with a consideration of partially hidden key places and individuals, and Liverpool's first 'real' record label, an assemblage of 'other voices' bears witness to an 'other', seldom discussed, Liverpool. By doing so, Brocken - born and raised in Liverpool - asks questions about not only the historicity of the Beatles-Liverpool narrative, but also about the absence o

Popular music is a cultural form much rooted in space and place. This book interprets the meaning of music from a spatial perspective and, in doing so it furthers our understanding of broader social relations and trends, including identity, attachment to place, cultural economies, social activism and politics. The book's editors have brought together a team of scholars to discuss the latest innovative thinking on music and its geographies, illustrated with a fascinating range of case studies from the USA, Canada, the Caribbean, Australia and Great Britain.

Peggy Glanville-Hicks (1912-1990) is an Australian composer whose full significance has only recently been appreciated. Born in Melbourne, Australia, she transcended the gendered expectations of her upbringing and went on to become a fine composer and a highly influential figure in the vibrant musical life of New York after the Second World War. Following early composition studies with Fritz Hart in Melbourne, Glanville-Hicks moved to London where she studied with Ralph Vaughan Williams, then to Paris where she was taught by the great pedagogue, Nadia Boulanger. Her migration to the USA in 1941 shaped the musical direction of her late works. After a brief neoclassical phase, she joined the small group of American composers who were using non-Western musics as their inspirational well-spring, including Colin McPhee, Alan Hovhaness, Lou Harrison and Paul Bowles. During this period she also forged an illustrious career as a music journalist and arts administrator, working tirelessly to promote new music and the careers of young composers. In the late 1950s she retreated to Greece to write 'the big works', most notably the operas which lie at the heart of her creative output. Her compositional career ended prematurely, and tragically, in 1967 following surgery the previous year for a life-threatening brain tumour. Against all medical expectations she went on to live for a further 24 years, returning to Australia in 1975 amidst a dawning recognition that one of the country's most significant composers had returned. Glanville-Hicks's career as a composer is impressive by any measure. She produced over 70 finely-crafted works, including operas, ballets, concertos, instrumental chamber pieces, songs and choral works. The story of her life has been told in the biographies. This book traces the development of her musical language from the English pastoral style of the early works, through the neoclassicism of the middle period, to the melody-rhythm concept of the late works, at the same time locating her music within the broader context of twentieth-century art music and the problems of form, structure, content and direction that followed the breakdown of tonality at the beginning of the twentieth century.