Lemmy's name was synonymous with notorious excess. His blood would have killed another human being. This is the up-to-date story of the heaviest drinking, oversexed speedfreak in the music business who tragically passed away earlier this year. Lemmy had quickly outgrown his local bands in Wales, and tripped through his early career with the Rocking Vicars, backstage touring with Jimi Hendrix, and his time with Hawkwind. In 1975 he went on to create speedmetal and form the legendary band Motoerhead. Motoerhead stand firm as conquerors of the rock world, their history spanning an insurrectionary forty years. While the Motoerhead line-up saw many changes, Lemmy was always the soul of the machine. In the words of drummer Mikkey Dee, 'Lemmy was Motoerhead.' White Line Fever has been completely updated post Lemmy's untimely death in 2016, and offers all Motoerhead fans who loved his music a sometimes hilarious, often outrageous, highly entertaining ride with the frontman of (what was) the loudest rock band in history. A truly epic finale, and tribute, to Lemmy from those who loved him best.

Traces the history of bands from every musical era, including Buddy Holly, Elvis, Black Sabbath, Nirvana, The Smiths, Oasis, New Order and Black Grape. It is part of the Family Trees series by rock journalist Pete Frame, and it contains maps, chronologies and flow charts.

The achievements of Elvis Presley and Buddy Holly have been extensively documented, but until now little if anything has been known about the many ways in which their lives were interconnected. For the first time anywhere, rock & roll expert Alan Mann takes a detailed look at each artist's early years, comparing their backgrounds and influences, chronicling all their meetings and examining the many amazing parallels in their lives, careers and tragic deaths. Contains many rare and previously unpublished photographs. A fascinating, thought-provoking insight into two of the greatest popular musical figures of the Twentieth Century.

'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.

The story of a fanatical Marc Bolan fan who took his obsession to a completely different level This is an amazing journey of one man's ambition and determination to bring to the people the sounds, the performance, the songs, the stage craft, and the imagery of his lifetime musical hero: The 1970s Glam Rock superstar Marc Bolan of T.Rex, who died in an untimely car accident on 16th September 1977 at only 29 years old. Danielz, the founder member of T.Rextasy, writes honestly and memorably from his teenage years as a Bolan fan watching T.Rex in concert. Then later striving to make it with his own original material. Recording with members of Gary Numan's band, Alex Harvey's, Ozzy Osbourne's, Iron Maiden, and others, through to his years in the most successful, credible, and endorsed live tribute band dedicated to Marc Bolan, recognised as the world's only official Marc Bolan tribute - T.REXTASY. Read about his exploits; the gigs, the countries, and the people he has met along the way: Slade, The Sweet, Ian Hunter (Mott The Hoople), Cockney Rebel, Ray Dorset (Mungo Jerry), Marc Almond (Soft Cell), Clem Burke (Blondie), Alvin Stardust, Linda Lewis, The Damned, Shakin' Stevens, and of course, T.Rex, Tony Visconti, Gloria Jones & Rolan Bolan. Danielz story is also interwoven with fascinating tales about the very man who inspired him - Marc Bolan. Throughout the book stories are regaled by those who were close to Bolan and in turn have become associated with Danielz. He also writes about his acquisition of the Bolan master tapes and the subsequent releases of previously unissued Bolan recordings. With forewords by Tony Visconti, Rolan Bolan & Marc Almond, this is an essential read for T.Rextasy and Bolan fans alike.

HONK! A Street Band Renaissance of Music and Activism explores a fast-growing and transnational movement of street bands-particularly brass and percussion ensembles-and examines how this exciting phenomenon mobilizes communities to reimagine public spaces, protest injustice, and assert their activism. Through the joy of participatory music making, HONK! bands foster active musical engagement in street protests while encouraging grassroots organization, representing a manifestation of cultural activity that exists at the intersections of community, activism, and music. This collection of twenty essays considers the parallels between the diversity of these movements and the diversity of the musical repertoire these bands play and share. In five parts, musicians, activists, and scholars voiced in various local contexts cover a range of themes and topics: History and Scope Repertoire, Pedagogy, and Performance Inclusion and Organization Festival Organization and Politics On the Front Lines of Protest The HONK! Festival of Activist Street Bands began in Somerville, Massachusetts in 2006 as an independent, non-commercial, street festival. It has since spread to four continents. HONK! A Street Band Renaissance of Music and Activism explores the phenomenon that inspires street bands and musicians to change the world and provide musical, social, and political alternatives in contemporary times. Visit the companion webiste: http://www.honkrenaissance.net/

Queen are unique among the great rock bands. It is nearly twenty years since frontman Freddie Mercury' s death brought the band to an end - yet their fanbase remains massive. They appeal equally to men and women. Their fans are just as likely to be teenagers too young to have been born when the band were still touring and making records (thanks not least to the huge success of the musical We Will Rock You). And their musical history is one of constant reinvention - from heavy metal and prog rock to disco pop, stadium anthems and even jazz influences. Now, Mark Blake, the experienced Mojo journalist who wrote Aurum' s bestselling book on Pink Floyd, has written the definitive history. Having already interviewed the surviving band members over the years, he has now tracked down dozens and dozens of new interviewees, from Queen' s first long-forgotten bass players to Freddie Mercury' s schoolmates in Isleworth, Middlesex, to trace Queen' s long career from their very first gawky performances in St Helens through their sensational stage-stealing appearance on Live Aid to the band' s collaboration with Paul Rodgers at the beginning of the century. Full of fascinating new revelations - especially about the improbable transformation of a shy Asian schoolboy called Bulsara into the outrageous-living hedonist that was Freddie Mercury - this is a book every Queen fan will want to have.

The double bass - the preferred bass instrument in popular music during the 1960s - was challenged and subsequently superseded by the advent of a new electric bass instrument. From the mid-1960s and throughout the 1970s, a melismatic and inconsistent approach towards the bass role ensued, which contributed to a major change in how the electric bass was used in performance and perceived in the sonic landscape of mainstream popular music. Investigating the performance practice of the new, melodic role of the electric bass as it appeared (and disappeared) in the 1960s and 1970s, the book turns to the number one songs of the American Billboard Hot 100 charts between 1951 and 1982 as a prime source. Through interviews with players from this era, numerous transcriptions - elaborations of twenty bass related features - are presented. These are juxtaposed with a critical study of four key players, who provide the case-studies for examining the performance practice of the melodic electric bass. This highly original book will be of interest not only to bass players, but also to popular musicologists looking for a way to instigate methodological and theoretical discussions on how to develop popular music analysis.

Listening according to mood is likely to be what most people do when they listen to music. We want to take part in, or even be part of, the emerging world of the musical work. Using the sources of musical history and philosophy, Erik Wallrup explores this extremely vague and elusive phenomenon, which is held to be fundamental to musical hearing. Wallrup unfolds the untold musical history of the German word for 'mood', Stimmung, which in the 19th century was abundant in the musical aesthetics of the German-Austrian sphere. Martin Heidegger's much-discussed philosophy of Stimmung is introduced into the field of music, allowing Wallrup to realise fully the potential of the concept. Mood in music, or, to be more precise, musical attunement, should not be seen as a peculiar kind of emotionality, but that which constitutes fundamentally the relationship between listener and music. Exploring mood, or attunement, is indispensable for a thorough understanding of the act of listening to music.

This book examines do-it-yourself (DIY) approaches to the collection, preservation, and display of popular music heritage being undertaken by volunteers in community archives, museums and halls of fame globally. DIY institutions of popular music heritage are much more than 'unofficial' versions of 'official' institutions; rather, they invoke a complex network of affect and sociality, and are sites where interested people - often enthusiasts - are able to assemble around shared goals related to the preservation of and ownership over the material histories of popular music culture. Drawing on interviews and observations with founders, volunteers and heritage workers in 23 DIY institutions in Australasia, Europe and North America, the book highlights the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music's material history. It reveals the kinds of collections being housed in these archives, how they are managed and maintained, and explores their relationship to mainstream heritage institutions. The study also considers the cultural labor of volunteers in the DIY institution, arguing that while these are places concerned with heritage management and the preservation of artefacts, they are also extensions of musical communities in the present in which activities around popular music preservation have personal, cultural, community and heritage benefits. By looking at volunteers' everyday interventions in the archiving and curating of popular music's material past, the book highlights how DIY institutions build upon national heritage strategies at the community level and have the capacity to contribute to the democratization of popular music heritage. This book will have a broad appeal to a range of scholars in the fields of popular music studies, musicology, ethnomusicology, archive studies and archival science, museum studies, critical heritage studies, cultural studies, cultural sociology and media studies.

This interdisciplinary volume explores the girl's voice and the construction of girlhood in contemporary popular music, visiting girls as musicians, activists, and performers through topics that range from female vocal development during adolescence to girls' online media culture. While girls' voices are more prominent than ever in popular music culture, the specific sonic character of the young female voice is routinely denied authority. Decades old cliches of girls as frivolous, silly, and deserving of contempt prevail in mainstream popular image and sound. Nevertheless, girls find ways to raise their voices and make themselves heard. This volume explores the contemporary girl's voice to illuminate the way ideals of girlhood are historically specific, and the way adults frame and construct girlhood to both valorize and vilify girls and women. Interrogating popular music, childhood, and gender, it analyzes the history of the all-girl band from the Runaways to the present; the changing anatomy of a girl's voice throughout adolescence; girl's participatory culture via youtube and rock camps, and representations of the girl's voice in other media like audiobooks, film, and television. Essays consider girl performers like Jackie Evancho and Lorde, and all-girl bands like Sleater Kinney, The Slits and Warpaint, as well as performative 'girlishness' in the voices of female vocalists like Joni Mitchell, Beyonce, Miley Cyrus, Taylor Swift, Kathleen Hanna, and Rebecca Black. Participating in girl studies within and beyond the field of music, this book unites scholarly perspectives from disciplines such as musicology, ethnomusicology, comparative literature, women's and gender studies, media studies, and education to investigate the importance of girls' voices in popular music, and to help unravel the complexities bound up in music and girlhood in the contemporary contexts of North America and the United Kingdom.

This book is the first to explore style and spectacle in glam popular music performance from the 1970s to the present day, and from an international perspective. Focus is given to a number of representative artists, bands, and movements, as well as national, regional, and cultural contexts from around the globe. Approaching glam music performance and style broadly, and using the glam/glitter rock genre of the early 1970s as a foundation for case studies and comparisons, the volume engages with subjects that help in defining the glam phenomenon in its many manifestations and contexts. Glam rock, in its original, term-defining inception, had its birth in the UK in 1970/71, and featured at its forefront acts such as David Bowie, T. Rex, Slade, and Roxy Music. Termed "glitter rock" in the US, stateside artists included Alice Cooper, Suzi Quatro, The New York Dolls, and Kiss. In a global context, glam is represented in many other cultures, where the influences of early glam rock can be seen clearly. In this book, glam exists at the intersections of glam rock and other styles (e.g., punk, metal, disco, goth). Its performers are characterized by their flamboyant and theatrical appearance (clothes, costumes, makeup, hairstyles), they often challenge gender stereotypes and sexuality (androgyny), and they create spectacle in popular music performance, fandom, and fashion. The essays in this collection comprise theoretically-informed contributions that address the diversity of the world's popular music via artists, bands, and movements, with special attention given to the ways glam has been influential not only as a music genre, but also in fashion, design, and other visual culture.

This book bridges a gap in existing scholarship by foregrounding the contribution of women to the nineteenth-century Lied. Building on the pioneering work of scholars in recent years, it consolidates recent research on women's achievements in the genre, and develops an alternative narrative of the Lied that embraces an understanding of the contributions of women, and of the contexts of their engagement with German song and related genres. Lieder composers including Fanny Hensel, Clara Schumann, Pauline Viardot-Garcia and Josephine Lang are considered with a stimulating variety of analytical approaches. In addition to the focus on composers associated with history and theory of the Lied, the various chapters explore the cultural and sociological background to the Lied's musical environment, as well as engaging with gender studies and discussing performance and pedagogical contexts. The range of subject matter reflects the interdisciplinary nature of current research in the field, and the energy it generates among scholars and performers. Women and the Nineteenth-Century Lied aims to widen readers' perception of the genre and help promote awareness of women's contribution to nineteenth-century musical life through critical appraisal of the cultural context of the Lied, encouraging acquaintance with the voices of women composers, and the variety of their contributions to the repertoire.

When Music Migrates uses rich material to examine the ways that music has crossed racial faultlines that have developed in the post-Second World War era as a consequence of the movement of previously colonized peoples to the countries that colonized them. This development, which can be thought of in terms of diaspora, can also be thought of as postmodern in that it reverses the modern flow which took colonizers, and sometimes settlers, from European countries to other places in the world. Stratton explores the concept of 'song careers', referring to how a song is picked up and then transformed by being revisioned by different artists and in different cultural contexts. The idea of the song career extends the descriptive term 'cover' in order to examine the transformations a song undergoes from artist to artist and cultural context to cultural context. Stratton focuses on the British faultline between the post-war African-Caribbean settlers and the white Britons. Central to the book is the question of identity. For example, how African-Caribbean people have constructed their identity in Britain can be considered through an examination of when 'Police on My Back' was written and how it has been revisioned by Lethal Bizzle in its most recent iteration. At the same time, this song, written by the Guyanese migrant Eddy Grant for his mixed-race group The Equals, crossed the racial faultline when it was picked up by the punk-rock group, The Clash. Conversely, 'Johnny Reggae', originally a pop-ska track written about a skinhead by Jonathan King and performed by a group of studio artists whom King named The Piglets, was revisioned by a Jamaican studio group called The Roosevelt Singers. After this, the character of Johnny Reggae takes on a life of his own and appears in tracks by Jamaican toasters as a Rastafarian. Johnny's identity is, then, totally transformed. It is this migration of music that will appeal not only to those studying popular music, but

Popular Music Theory and Analysis: A Research and Information Guide uncovers the wealth of scholarly works dealing with the theory and analysis of popular music. This annotated bibliography is an exhaustive catalog of music-theoretical and musicological works that is searchable by subject, genre, and song title. It will support emerging scholarship and inquiry for future research on popular music.

It is undeniable that technology has made a tangible impact on the nature of musical listening. The new media have changed our relationship with music in a myriad of ways, not least because the experience of listening can now be prolonged at will and repeated at any time and in any space. Moreover, among the more striking social phenomena ushered in by the technological revolution, one cannot fail to mention music's current status as a commodity and popular music's unprecedented global reach. In response to these new social and perceptual conditions, the act of listening has diversified into a wide range of patterns of behaviour which seem to resist any attempt at unification. Concentrated listening, the form of musical reception fostered by Western art music, now appears to be but one of the many ways in which audiences respond to organized sound. Cinema, for example, has developed specific ways of combining images and sounds; and, more recently, digital technology has redefined the standard forms of mass communication. Information is aestheticized, and music in turn is incorporated into pre-existing symbolic fields. This volume - the first in the series Musical Cultures of the Twentieth Century - offers a wide-ranging exploration of the relations between sound, technology and listening practices, considered from the complementary perspectives of art music and popular music, music theatre and multimedia, composition and performance, ethnographic and anthropological research.

Voices Found: Free Jazz and Singing contributes to a wave of voice studies scholarship with the first book-length study of free jazz voice. It pieces together a history of free jazz voice that spans from sound poetry and scat in the 1950s to the more recent wave of free jazz choirs. The author traces the developments and offers a theory, derived from interviews with many of the most important singers in the history of free jazz voice, of how listeners have experienced and evaluated the often unconventional vocal sounds these vocalists employed. This theory explains that even audiences willing to enjoy harsh sounds from saxophones or guitars often resist when voices make sounds that audiences understand as not-human. Experimental poetry and scat were combined and transformed in free jazz spaces in the 1960s and 1970s by vocalists like Yoko Ono (in solo work and her work with Ornette Coleman and John Stevens), Jeanne Lee (in her solo work and her work with Archie Shepp and Gunter Hampel), Leon Thomas (in his solo work as well as his work with Pharoah Sanders and Carlos Santana), and Phil Minton and Maggie Nicols (who devoted much of their energy to creating unaccompanied free jazz vocal music). By studying free jazz voice we can learn important lessons about what we expect from the voice and what happens when those expectations are violated. This book doesn't only trace histories of free jazz voice, it makes an attempt to understand why this story hasn't been told before, with an impressive breadth of scope in terms of the artists covered, drawing on research from the US, Canada, Wales, Scotland, France, The Netherlands, and Japan.

There were only a handful of people in the world who still really believed in Suede at the time, and five of them were in the band. Brett Anderson, Suede. Suede were Marmite at the time, and I was expecting the press to trash them. Every meeting I had with the record company, I was told they were done for. Ed Buller, Coming Up producer. How did they do that? Comeback of the century. Select magazine cover, November 1996. Here They Come with Their Make-Up On examines in exquisite detail how Suede emerged from the chaotic, ruined remnants of their career and somehow managed to conjure up their most joyously evocative and celebrated album to date. Coming Up the extraordinary record in question stumped the band s most ardent critics and hit the jackpot, with sales that eclipsed those of their first two releases combined. As the band s publicist throughout that period, Jane is uniquely placed to reveal exactly how they did it. This book is also a personal journey into the heart of an album that Jane loves if not unconditionally then as a piece of work that has ultimately survived the ravages of time and the brutish, nasty, and not-so-short nature of the media scrutiny that had threatened to confine the band to the dustbin of history. In addition, it features yet more outlandish tales from Jane s time with Suede and those around them back then, as well as new interviews with band members Brett Anderson, Richard Oakes, and Neil Codling, and Coming Up s producer, Ed Buller.

The music industry often paints a glamorous picture of its stars' lives and achievements, but what is life really like behind the gloss? How does it feel to have a No.1 record, or to live on the road for over 300 days a year? And what happens after the hits stop? The answers to these and many other questions are contained within the pages of this book, as twenty-six major American hitmakers of the Fifties and Sixties reveal their own fascinating stories. Includes previously unpublished interviews with Gary 'US' Bonds, Pat Boone, Freddy Cannon, Crickets Jerry Allison, Sonny Curtis and Joe B. Mauldin, Bo Diddley, Dion, Fats Domino, Duane Eddy, Frankie Ford, Charlie Gracie, Brian Hyland, Marv Johnson, Ben E. King, Brenda Lee, Little Eva, Chris Montez, Johnny Moore (Drifters), Gene Pitney, Johnny Preston, Tommy Roe, Del Shannon, Edwin Starr, Johnny Tillotson and Bobby Vee. Over 150 illustrations including previously unpublished recent portraits as well as vintage ads, record sleeves, label shots, sheet music covers, etc.

During their 1985 tour, two events of hatred and stupidity forever change the lives of a band’s four members. Neues Bauen, a post-hardcore Illinois group homing in on their own small fame, head on with frontman Conrad Wells sexually assaulted and guitarist Tone Seburg wounded by gunshot. The band staggers forth into the American landscape, traversing time and investigating each of their relationships with history, memory, authenticity, violence and revelling in transcendence through the act of art.

With decades passed and compelled by his wife’s failing health to track down Tone, Conrad flies to North Africa where her brother is rumoured to be hiding with a renowned artist from their past. There he instead meets various characters including his former drummer, Spence. Amongst the sprawl and shout of Morocco, the men attempt to recall what happened to them during their lost years of mental disintegration and emotional poverty.

Dance Prone is a novel of music, ritual and love. It is live, tense and corporeal. Full of closely observed details of indie-rock, of punk infused performance, the road and the players’ relationship to violence, hate and peace.

Set during both the post-punk period and the present day, Dance Prone was born out of a love of the underground and indie rock scenes of the 1980s, a fascination for their role in the cultural apparatus of memory, social decay and its reconstruction.

Radiohead and the Journey Beyond Genre traces the uses and transgressions of genre in the music of Radiohead and studies the band's varied reception in online and offline media. Radiohead's work combines traditional rock sounds with a unique and experimental approach towards genre that sets the band apart from the contemporary mainstream. A play with diverse styles and audience expectations has shaped Radiohead's musical output and opened up debates about genre amongst critics, fans, and academics alike. Interpretations speak of a music that is referential of the past but also alludes to the future. Applying both music- and discourse-analytical methods, the book discusses how genre manifests in Radiohead's work and how it is interpreted amongst different audience groups. It explores how genre and generic flexibility affect the listeners' search for musical meaning and ways of discussion. This results in the development of a theoretical framework for the study of genre in individual popular music oeuvres that explores the equal validity of widely differing forms of reception as a multidimensional network of meaning. While Radiohead's music is the product of an eclectic mixture of musical influences and styles, the book also shows how the band's experimental stance has increasingly fostered debates about Radiohead's generic novelty and independence. It asks what remains of genre in light of its past or imminent transgression. Offering new perspectives on popular music genre, transgression, and the music and reception of Radiohead, the book will appeal to academics, students, and those interested in Radiohead and matters of genre. It contributes to scholarship in musicology, popular music, media, and cultural studies.

When he died in 1975, Sandy Brown was working on an autobiography in which he had set out to describe, with the incisiveness and idiosyncratic wit which was already familiar to Listener readers of his columns on jazz and pop, the evolution of his talents against a background of Indian childhood, Edinburgh schooldays, and the rewards and frustrations of his twin careers of jazz musician and acoustic architect. Incomplete as it is, the section here provides from the inside a remarkable account of the unique combination of temperament and ability, at once composer and executant, which makes a jazz musician. It is also often extremely funny. The portrait of an outstanding artist and extraordinary man is completed here by a selection from Sandy Brown's Listener articles and the correspondence with which he enlivened the in-trays of public figures, colleagues and friends. 2009 will see the eightieth anniversary of Sandy Brown's birth, the Faber Finds reissue of this title is timed to celebrate that.

Wilcopedia is a comprehensive guide to the music of the preeminent American rock band of the twenty-first century. It offers a thorough appraisal of the entire Wilco canon, with detailed insights into every album and song the band have released, as well as side projects, collaborations, covers, and more. Since their formation in 1994, Wilco have become one of the most acclaimed and influential bands of modern times. While previous books have told their story in a biographical sense, Wilcopedia zeroes in on the music, tracing the evolution of the band s material from the studio to the concert stage, from the formative Uncle Tupelo recordings through the mould-breaking Yankee Hotel Foxtrot to latter-day gems Star Wars and Schmilco and beyond. Throughout their twenty-five year career, Wilco s founder and primary songwriter, Jeff Tweedy, has led his band through various shifts in line-up and genre that have kept fans on their toes and made their music difficult to categorize. While they are largely considered an Americana act, their music has touched on hard rock, electronica, pop, soul, punk, folk, and more. If you re looking for a thorough appraisal of the band s first quarter-century, one thing s for sure: Wilcopedia will love you, baby.

It's Gwar v.s Gwar in this multiverse spanning graphic novel from Z2 Comics! What can be more horrifying and terror-inducing than GWAR? The moment they must face the vomitous incarnations of themselves from a filthy alternate dimension! They've penetrated our world by rupturing the membrane which protected our very existence from these walking horrors. Unleashed in our universe, these dark mirror incarnations are bent on dominating and subjugating all of humanity to the will of The Master. Now... it is GWAR's throbbing, messy duty to save us all before it's too late!