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

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.

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.

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.

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.

Now a global and transnational phenomenon, hip hop culture continues to affect and be affected by the institutional, cultural, religious, social, economic and political landscape of American society and beyond. Over the past two decades, numerous disciplines have taken up hip hop culture for its intellectual weight and contributions to the cultural life and self-understanding of the United States. More recently, the academic study of religion has given hip hop culture closer and more critical attention, yet this conversation is often limited to discussions of hip hop and traditional understandings of religion and a methodological hyper-focus on lyrical and textual analyses. Religion in Hip Hop: Mapping the Terrain provides an important step in advancing and mapping this new field of Religion and Hip Hop Studies. The volume features 14 original contributions representative of this new terrain within three sections representing major thematic issues over the past two decades. The Preface is written by one of the most prolific and founding scholars of this area of study, Michael Eric Dyson, and the inclusion of and collaboration with Bernard 'Bun B' Freeman fosters a perspective internal to Hip Hop and encourages conversation between artists and academics.

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.

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/

(FAQ). If the Beatles wrote the soundtrack of the swinging '60s, then the Eagles did the same for the cynical '70s. The story of the Eagles is also the story of most artists of their time the drugs, the music, the excesses, and the piles of cash. But the Eagles took it to the limit. And in Don Henley and Glenn Frey they had two songwriters who intuitively understood and accurately portrayed the changing America they lived in. They perfected the California sound, shifted power from record company to artist, and pioneered album-oriented rock. Eagles songs of the period are as memorable as any ever written, and their most popular album, Hotel California, became a timeless record of '70s decadence. In The Eagles FAQ, music critic Andrew Vaughan brings an insider's view into the various chapters of the group's fascinating history. He shows how they blended the best folk, rock, and country sounds of the '60s into a worldwide soundtrack of the '70s while challenging the industry status quo with a new business model. The story of their rise, fall, and rebirth is all here their mega-selling smashes, their tensions and breakups, the band members' solo work, and their triumphant reunion and continued place at the top of the rock-and-roll tree.

Detroit 67 is the story of Motor City in the year that changed everything. Twelve chapters take you on a turbulent year-long journey through the drama and chaos that ripped through the city in 1967 and tore it apart in personal, political and interracial disputes. It is the story of Motown, the break-up of The Supremes and the damaging disputes at the heart of the most successful African-American music label ever. Set against a backdrop of urban riots, escalating war in Vietnam and police corruption, the book weaves its way through a year when soul music came of age and the underground counterculture flourished. LSD arrived in the city with hallucinogenic power and local guitar band MC5 - self-styled holy barbarians of rock - went to war with mainstream America. A summer of street-level rebellion turned Detroit into one of the most notorious cities on earth, known for its unique creativity, its unpredictability and self-lacerating crime rates. The year 1967 ended in social meltdown, rancour and intense legal warfare as the complex threads that held Detroit together finally unravelled. Features the true story of DETROIT, now a major motion picture.

This is an extended and updated edition of Ron Brown's biography of Nat Gonella, co-written with Digby Fairweather. This book portrays the wonderful years with Billy Cotton, Roy Fox and Lew Stone, the creation of Nat's Georgians, and his friendship with the great stars like Gracie Fields, Max Miller, Fats Waller and the legendary Louis Armstrong. "'Just a bit of a lark' is the way that Nat Gonella would have you remember his life but, for me, his story - supreme success though it is - is also a grand example of fate at her most ungenerous...his life...impinged on our lives too" - Digby Fairweather.

This is the definitive autobiography of John Lydon, one of the most recognizable icons in the annals of music history. As Johnny Rotten, he was the lead singer of the Sex Pistols - the world's most notorious band, who shot to fame in the mid-1970s with singles such as 'Anarchy in the UK' and 'God Save the Queen'. Via his music and invective he spearheaded a generation of young people across the world who were clamouring for change - and found it in the style and attitude of this most unlikely figurehead. With his next band, Public Image Ltd (PiL) Lydon expressed an equally urgent impulse in his make-up - the constant need to reinvent himself. From their beginnings in 1978 he set the template for a band that continues to challenge and thrive in the 2010s. He also found time for making innovative new dance records with the likes of Afrika Baambaata and Leftfield. Following the release of a solo record in 1997, John took a sabbatical from his music career into other media, most memorably his own Rotten TV show for VH1 and as the most outrageous contestant ever on I'm a Celebrity ... Get Me Out of Here!He then fronted the Megabugsseries and one-off nature documentaries and even turned his hand to a series of much loved TV advertisements for Country Life butter. Lydon has remained a compelling and dynamic figure - both as a musician, and, thanks to his outspoken, controversial, yet always heartfelt and honest statements, as a cultural commentator.The book is a fresh and mature look back on a life full of incident from his beginnings as a sickly child of immigrant Irish parents who grew up in post-war London, to his present status as a vibrant, alternative national hero.

'This book will delight both New Order-ites and general rock readers' Mojo A ROLLICKING, NO-HOLDS-BARRED ACCOUNT OF NEW ORDER'S ENTIRE HISTORY. Two acclaimed albums and an upcoming US tour - Joy Division had the world at their feet. Then, on the eve of that tour, the band's troubled lead singer, Ian Curtis, killed himself. The next time they got together, they were a new band. That band was New Order - their label was Factory Records, their club The Hacienda. Their distinctive sound paved the way for the dance music explosion that followed, earning them the reputation as one of the most influential bands of their generation, and changing the course of popular music. Following on from his bestselling titles The Hacienda and Unknown Pleasures, Peter Hook has written a rollicking, no-holds-barred account of the band's entire history. Substance is packed with never-before-seen detail, discographies and technical information. This is possibly the most entertaining memoir ever written by a British musician. 'There are stories here that make Ozzy Osbourne looks like Mother Teresa' Sunday Express 'A rollicking read' Record Collector 'Rock writing rarely tells us properly what a band treading water or in slow decline feels like from the inside. Hook does so memorably' Guardian 'As mammoth and downright idiotic as the band deserves ... something hilariously daft happens on nearly all of Substance's 750 pages' Classic Pop

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.

Birth School Metallica Death is the definitive story of the most significant rock band since Led Zeppelin, covering the band's formation up to their breakthrough eponymous fifth album, aka The Black Album. The intense and sometimes fraught relationship between aloof-yet-simmering singer, chief lyricist, and rhythm guitarist James Hetfield and the outspoken and ambitious drummer Lars Ulrich is the saga's emotional core. Their earliest years saw the release of three unimpeachable classics (Kill 'Em All, Ride the Lightning, and Master of Puppets), but it was the breakthrough of ...And Justice for All that rent the fabric of the mainstream, hitting the top of the charts without benefit of radio airplay or the then-crucial presence on MTV. And in 1991, with the release of The Black Album, Metallica finally hit the next level with five hit singles and their first album atop the Billboard charts. Veteran music journalists and Metallica confidants Paul Brannigan and Ian Winwood detail this meteoric rise to international fame in an epic saga of family, community, self-belief, the pursuit of dreams, and music that rocks. Told through first-hand interviews with the band and those closest to them, the story of Metallica's rise to the mainstream has never been so vividly documented.

A No Depression Most Memorable Music Book of 2022 The forceful music that rolled out of Muscle Shoals in the 1960s and 1970s shaped hits by everyone from Wilson Pickett and Aretha Franklin to the Rolling Stones and Paul Simon. Christopher M. Reali's in-depth look at the fabled musical hotbed examines the events and factors that gave the Muscle Shoals sound such a potent cultural power. Many artists trekked to FAME Studios and Muscle Shoals Sound in search of the sound of authentic southern Black music-and at times expressed shock at the mostly white studio musicians waiting to play it for them. Others hoped to draw on the hitmaking production process that defined the scene. Reali also chronicles the overlooked history of Muscle Shoals's impact on country music and describes the region's recent transformation into a tourism destination. Multifaceted and informed, Music and Mystique in Muscle Shoals reveals the people, place, and events behind one of the most legendary recording scenes in American history.

To date, there has been a significant gap in work on the social history of music in Britain from 1950 to the present day. The three volumes of Live Music in Britain address this gap and do so through a unique prism-that of live music. The key theme of the books is the changing nature of the live music industry in the UK, focused upon popular music but including all musical genres. Via this focus, the books offer new insights into a number of other areas, including the relationship between commercial and public funding of music, changing musical fashions and tastes, the impact of changing technologies, the changing balance of power within the music industries, the role of the state in regulating and promoting various musical activities within an increasingly globalised music economy, and the effects of demographic and other social changes on music culture. Drawing on new archival research, a wide range of academic and non-academic secondary sources, participant observation and a series of interviews with key personnel, the books have the potential to become landmark works within Popular Music Studies and broader cultural history. The second volume covers the period from Hyde Park to the Hacienda (1968-84).

Benny Joseph made his living as a professional photographer in Houston's black community during the crucial decades from the 1950s through the early 1980s, when the amplified pulse of rhythm and blues underscored the social changes sweeping the nation. Joseph photographed everything from parades and teen hops to impassioned speeches by civil rights leaders Martin Luther King, Jr., and Thurgood Marshall. Under contract to the pioneering black entrepreneur Don Robey, owner of the Duke and Peacock recording labels, Joseph photographed many of the popular recording artists of the day, including B.B. King, Mahalia Jackson, Buddy Ace, Clarence "Gatemouth" Brown, and Della Reese. With over 120 unique black and white photographs, this is a must have for all rhythm and blues enthusiasts, and a valuable historical resource for photography collectors. Writer, photographer, and filmmaker Alan Govenar met Joseph in 1984 when he was closing his studio in Houston's Third Ward and worked with him over the next five years, sifting through thousands of negatives to identify and contextualize his most compelling images of this remarkable era.

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.

From humble beginnings Adele has come to be a globally recognised icon. Her first album shot her to fame and the second consolidated her position as a singing/songwriting superstar with lasting, global appeal. She has already won more than 40 industry awards, including 11 Billboard Music Awards, a BRIT award, and eight Grammy awards. She has broken record after record: first artist to sell more than 3m albums in a year in the UK, first living artist to have two top five hits in both the UK singles and albums charts simultaneously since the Beatles, the first artist in history to lead the Billboard chart concurrently with three number ones, 21 is the longest running number one album by a female solo artist on the UK chart and in the US it held the top position for longer than any other album since 1993.

Greg Lake first won acclaim as lead vocalist, bass guitarist and producer when, together with Robert Fripp, he formed King Crimson. Their first album, the landmark In the Court of the Crimson King, co-produced by Greg, featured the iconic song '21st Century Schizoid Man'. King Crimson pioneered progressive rock and paved the way for many famous bands that followed, from Yes and Genesis to the Red Hot Chilli Peppers. In 1970 Greg met fellow legend Keith Emerson during a North American tour; the two shared common bonds: European musical influences and a desire to reinterpret classical works while creating a new musical genre. After being introduced to drummer Carl Palmer, they formed the first progressive rock supergroup Emerson, Lake and Palmer. To date ELP has sold over 50 million records. Lake produced Emerson, Lake & Palmer, Tarkus, Pictures at an Exhibition, Trilogy, Brain Salad Surgery, Works Vol. 1 and 2, and two different live albums. All went platinum and featured a series of hit singles, most written and all sung by Lake. The three created a unique live theatrical performance which featured Emerson attacking his keyboards with knives, Palmer playing a 2.5 ton stainless steel kit and Lake performing on a GBP6,000 Persian rug which had its own roadie. One of their very first performances was at the historic Isle of Wight Festival in 1970 and they went on to headline California Jam, one of the biggest concerts of the 1970s, attended by 350,000 people. Probably the voice of his generation, Greg fronted the greatest rock supergroup of the 1970s but never held with the 'progressive' tag that attached itself to both the music and the excess. Lucky Man not only charts the highs and lows of a career in rock music but also reflects on the death of Keith Emerson last year, living with terminal cancer and the end of life. Greg can best be summed up by his now-famous line: 'Material wealth is a very fleeting pleasure ... when you can buy anything you want and do anything you want, you soon discover that you actually don't want any of it.'

From the mid-1950s to the late 1970s, jazz was harnessed as America's "sonic weapon" to promote an image to the world of a free and democratic America. Dizzy Gillespie, Dave Brubeck, Duke Ellington and other well-known jazz musicians were sent around the world - including to an array of Communist countries - as "jazz ambassadors" in order to mitigate the negative image associated with domestic racial problems. While many non-Americans embraced the Americanism behind this jazz diplomacy without question, others criticized American domestic and foreign policies while still appreciating jazz - thus jazz, despite its popularity, also became a medium for expressing anti-Americanism. This book examines the development of jazz outside America, including across diverse historical periods and geographies - shedding light on the effectiveness of jazz as an instrument of state power within a global political context. Saito examines jazz across a wide range of regions, including America, Europe, Japan and Communist countries. His research also draws heavily upon a variety of sources, primary as well as secondary, which are accessible in these diverse countries: all had their unique and culturally specific domestic jazz scenes, but also interacted with each other in an interesting dimension of early globalization. This comparative analysis on the range of unique jazz scenes and cultures offers a detailed understanding as to how jazz has been interpreted in various ways, according to the changing contexts of politics and society around it, often providing a basis for criticizing America itself. Furthering our appreciation of the organic relationship between jazz and global politics, Saito reconsiders the uniqueness of jazz as an exclusively "American music." This book will be of interest to students and scholars of international relations, the history of popular music, and global politics.

Opening up the dialogue between popular music studies and aging studies, this book offers a major exploration of age and popular music across Europe. Using a variety of methods to illustrate how age within popular music is contingent and compelling, the volume explores how it provokes curation and devotion across a variety of sites and artists who record in several European languages, and genres including waltz music, electronica, pop, folk, rap, and the French 'chanson.' Visiting the many ways in which age is problematized, revered, and performed within Europe in relation to popular music, case studies analyze: French touring shows of popular music stars from the 1960s; Andre Rieu's annual Vrijthof concerts in the Netherlands; Kraftwerk and Bjoerk's appearances at renowned art museums as curated objects; queer approaches to popular music space and time; British folk music inheritances; pan-European strategies of stardom and career longevity; and inheritance and post-colonial hauntings of race and identity. The book works with the notion of travelling, across borders, genres, sexualities, and media, highlighting the visibility of the aging body across a variety of European sites in order to establish popular music through the lens of age as a positive methodology with which to approach popular music cultures, and to offer a counter-narrative to age as decline. This book will appeal to scholars of popular music, popular culture, media studies, cultural studies, aging studies, and cultural gerontology.