The first comprehensive reference work on popular music of the world Contributors are the world's leading popular music scholars Includes extensive bibliographies, discographies, sheet music listings and filmographies This second volume consists of some 460 entries by 130 contributors from around the world. Entries range between 250 and 5000 words, and are arranged in four parts: Part I: Performers and Performing; Part II: Musical Production and Transmission; Part III: Musical Instruments; Part IV: Musical Forms and Practice. Entries include musical examples, bibliographies, discographies and filmographies. An extensive index is also provided. Contents: Preface Part I: Performers and Performing Groups Individuals Performance Techniques Part II: Musical Production and Transmission Personnel Processes: Interpretative/Technological Technologies Part III: Musical Instruments Found Instruments Guitars Keyboard Instruments Mechanical Instruments Percussion Instruments Stringed Instruments Voice Wind Instruments Part IV: Musical Form and Practice Form Harmony Melody Rhythm The Piece Timbre Words, Images and Movement Index

Think Woodstock and the mind turns to the seminal 1969 festival that crowned a seismic decade of sex, drugs, and rock 'n' roll. But the town of Woodstock, New York, the original planned venue of the concert, is located over 60 miles from the site to which the fabled half a million flocked. Long before the landmark music festival usurped the name, Woodstock--the tiny Catskills town where Bob Dylan holed up after his infamous 1966 motorcycle accident--was already a key location in the '60s rock landscape. Drawing on numerous first-hand interviews with the remaining key players in the scene--and on the period when he lived there himself in the 1990s--Hoskyns has produced an East Coast companion to his bestselling L.A. canyon classic Hotel California. This is a richly absorbing study of a vital music scene in a revolutionary time and place.

"Ed's photos take us behind the scenes and in the middle of the action. I always felt like I was being transported to the location of the shot, and was experiencing it all first hand. The Stooges Funhouse sessions are my favorite rock photos of all time. I wanted to be those guys. Those images have stayed with me my entire life and continue to inspire me to this day !!!!!" - John Varvatos In May 1970, The Stooges were in the middle of recording their celebrated album, Fun House at Elektra Records Recording Studio in Los Angeles. That same month, they appeared at the Whisky a Go-Go on Sunset Boulevard for two incredible nights. Ed Caraeff, a new rock photographer who had burst onto the scene three years prior with his now-iconic image of Jimi Hendrix burning his guitar onstage at Monterey, happened to be in that crowd, and took a plethora of wonderful pictures. Only a few stills from that phenomenal gig were ever reproduced. Most famously, one was used on the cover of Fun House. The rest were filed away. Until now. Ed Caraeff's coverage of this monumental moment is reprinted here for the first time in book form. He not only captures the energy, madness and raw power of Iggy Pop's performance, but also the preceding minutes before the band stepped onto stage and made history. Along with images and contact sheets, original interviews shed new light on that unforgettable night. Interviewed by pop-culture historian Jennifer Otter Bickerdike, names include Jac Holzman, Head of Elektra Records during the recording of Fun House; Mikael Maglieri, son of Mario Maglieri, owner of the Whisky a Go-Go when The Stooges played in 1970; Danny Fields, a DJ/publicist credited for signing MC5 and The Stooges; and Jeff Gold, music historian and noted Iggy Pop biographer. A tribute to the band that rocked the world, Iggy & The Stooges: One Night at the Whisky, 1970 will revolutionise your view of music.

Beast: John Bonham and the Rise of Led Zeppelin is the first-ever biography of the iconic John Bonham, considered by many to be one of the greatest (if not THE greatest) rock drummer of all time. Bonham first learned to play the drums at the age of five, and despite never taking formal lessons, began drumming for local bands immediately upon graduating from secondary school. By the late 1960s, Bonham was looking for a more solid gig in order to provide his growing family with a more regular income. Meanwhile, following the dissolution of the popular blues rock band The Yardbirds, lead guitarist Jimmy Page sought the company of new bandmates to help him record an album and tour Scandinavia as the New Yardbirds. A few months later, Bonham was recruited to join the band who would eventually become known as Led Zeppelin-and before the year was out, Bonham and his three bandmates would become the richest rock band in the world. In their first year, Led Zeppelin released two albums and completed four US and four UK concert tours. As their popularity exploded, they moved from ballrooms and smaller clubs to larger auditoriums, and eventually started selling out full arenas. Throughout the 1970s, Led Zeppelin reached new heights of commercial and critical success, making them one of the most influential groups of the era, both in musical style and in their approach towards the workings of the entertainment industry. They added extravagant lasers, light shows, and mirror balls to their performances; wore flamboyant and often glittering outfits; traveled in a private jet airliner and rented out entire sections of hotels; and soon become the subject of frequently repeated stories of debauchery and destruction while on tour. In 1977, the group performed what would be their final live appearance in the US, following months of rising fervor and rioting from their fandom. And in September of 1980, Bonham-plagued by alcoholism, anxiety, and the after-effects of years of excess-was found dead by his bandmates. To this day, Bonham is posthumously described as one of the most important, well-known, and influential drummers in rock, topping best of lists describing him as an inimitable, all-time great. As Adam Budofsky, managing editor of Modern Drummer, explained, "If the king of rock 'n' roll was Elvis Presley, then the king of rock drumming was certainly John Bonham."

This book identifies and examines three years of Beyonce's career as a pop mega star using critical race, feminist, and performance studies methodologies. This book explores how the careful choreography of Beyonce's image, voice, and public persona, coupled with her intelligent use of audio and visual mediums, makes her one of the most influential entertainers of the 21st century. Keleta-Mae proposes that 2013 to 2016 was a pivotal period in Beyonce's career and looks at three artistic projects that she created during that time: her self-titled debut visual album Beyonce, her video and live performance of 'Formation', and her second visual album Lemonade. By examining the progression of Beyonce's career during this period, and the impact it had politically, culturally, and socially, the author demonstrates how Beyonce brought 21st Century feminism into the mainstream through layered explorations of female blackness. Ideal for scholars and students of performance in the social and political spheres, and of course fans of Beyonce herself, this book examines the mega superstar's transition into a creator of art that engages with Black culture and Black life with increased thoughtfulness.

This detailed exploration looks at the musical works of recording artist Billy Joel and his impact on popular culture. Billy Joel skyrocketed to popularity in 1977 with his fifth album, The Stranger, and he has been a major American artist ever since. His songs are timeless and appreciated by generations of fans. The Words and Music of Billy Joel examines this influential musician's songs in detail, exploring the meaning of the lyrics and placing Joel's artistry in a regional and cultural context. Covering work that ranges from Joel's recordings with the Lost Souls to his classical compositions, the book focuses on the dozen studio albums of popular music released between 1971 and 1993. A bibliographic essay is included, as are both a discography and a filmography. There is also a special focus on the interpretation of Joel's songs by other recording artists. Photographs A discography of Joel's recordings including albums and singles A selected discography of cover versions of Joel's songs by other recording artists A filmography A bibliography of significant books and articles about Billy Joel and his work A bibliographic essay

This book explores the relevance of David Bowie's life and music for contemporary legal and cultural theory. Focusing on the artist and artworks of David Bowie, this book brings to life, in essay form, particular theoretical ideas, creative methodologies and ethical debates that have contemporary relevance within the fields of law, social theory, ethics and art. What unites the essays presented here is that they all point to a beyond law: to the fact that law is not enough, or to be more precise, too much, too much to bear. For those who, like Bowie, see art, creativity and love as what ought to be the central organising principles of life, law will not do. In the face of its certainties, its rigidities, and its conceits, these essays, through Bowie, call forth the monster who laughs at the law, celebrate inauthenticity as a deeper truth, explore the ethical limits of art, cut up the laws of writing and embrace that which is most antithetical to law, love. This original engagement with the limits of law will appeal to those working in legal theory, ethics and law and popular culture, as well as in art and cultural studies.

The music we hear is always inhabited by voices of previous performances. Because listening is now so often accompanied by moving images, this process is more complex than ever. Music videos, television and film music, interactive video games, and social media are now part of the contemporary listening experience.
In An Eye for Music, author John Richardson navigates key areas of current thought - from music theory to film theory to cultural theory - to explore what it means that the experience of music is now cinematic, spatial, and visual as much as it is auditory. Richardson maps out the terrain of recent audiovisual production over a wide array of styles and practices, and sketches out a set of common structures that inform how we experience sound and vision. Whether examining Philip Glass or The Gorillaz, Richard Linklater's Waking Life or Michel Gondry's Be Kind Rewind, Richardson's arguments are both fascinating and provocative.

Contents:
Introduction Part One : Nursery Crymes Little Miss Dynamite; The Boy Behind The Mask; Father... I Want To Kill You: The Birth of the Lizard King; Monsters and Ogres; When Will They Ever Learn? Part Two : Little Girls Introduction; Kate Bush: The Red Shoes; Tori Amos: Lady of the Rings; Bjork: The Icelandic Elf; Little Girls Revisited Part Three: Little Boys Introduction: The Rules of the Game; Age, Identity and the Slippery Divide of the Rock/Pop Binary; Who's That Boy? Death And My Cock; 'Scuse Me While I Kiss The Sky; Myth and Reality; Boys Just Wanna Be Boys; The Young Ones; Somebody Wants To Be Wanted; I'm A Believer; Rollermania; Do What U Like? Pop Idols Postscript. Life After Death: Old Girls and Old Boys Notes Bibliography Discography

Released in 1986, Hunters and Collectors' album Human Frailty is one of the most important Australian albums of the last two decades of the twentieth century. It was pivotal in the group's career and marked the group's move into pub rock. It is unashamedly concerned with love and desire. The album challenged traditional understandings of Australian masculinity while playing music to predominantly male audiences. No other Australian group would have dared, or indeed been able, to get their audience to roar 'You don't make me feel like a woman anymore,' the culminating line off Hunan Frailty's first track, and the first single taken from the album, "Say Goodbye". The second track on the album, "Throw Your Arms Around Me" has become an Australian standard, an anthem sung drunkenly more by women than men, in pubs, at weddings and similar occasions. Human Frailty is an album that transcended the critical categories of its time.

Gender Issues in Scandinavian Music Education: From Stereotypes to Multiple Possibilities introduces much-needed updates to research and teaching philosophies that envision new ways of considering gender diversity in music education. This volume of essays by Scandinavian contributors looks beyond the dominant Anglo-American lens while confronting a universal need to resist and rethink the gender stereotypes that limit a young person's musical development. Addressing issues at all levels of music education-from primary and secondary schools to conservatories and universities- topics discussed include: the intersection of social class, sexual orientation, and teachers' beliefs; gender performance in the music classroom and its effects on genre and instrument choice; hierarchical inequalities reinforced by power and prestige structures; strategies to fulfill curricular aims for equality and justice that meet the diversity of the classroom; and much more! Representing a commitment to developing new practices in music education that subvert gender norms and challenge heteronormativity, Gender Issues in Scandinavian Music Education fills a growing need to broaden the scope of how gender and equality are situated in music education-in Scandinavia and beyond.

Elvis and Me is the unforgettable memoir of Elvis Presley. This New York Times bestseller reveals the intimate story that could only be written by the woman who lived it. It serves as a tribute to the man as well as the King of Rock n' Roll.

A new edition as part of the Faber Greatest Hits - books that have taken writing about music in new and exciting directions for the twenty-first century. Re-make/Re-model tells the little known and fascinating story of the individuals and circumstances which combined to form the groundbreaking band Roxy Music -- how the art school avant-garde of the 1960s met the sweat, luck and attitude of chart-topping pop. Written with the co-operation of all of those involved, including Bryan Ferry, Brian Eno, Andy Mackay and Phil Manzanera, this is also the definitive account of a new pop vision that would dominate the 1970s. From student digs and provincial nightclubs to emerald-green eyeshadow and fake leopard skin, Re-make/Re-model is about a band which invented an era.

One of our great essayists and journalists-the Dean of American Rock Critics, Robert Christgau-takes us on a heady tour through his life and times in this vividly atmospheric and visceral memoir that is both a love letter to a New York long past and a tribute to the transformative power of art. Lifelong New Yorker Robert Christgau has been writing about pop culture since he was twelve and getting paid for it since he was twenty-two, covering rock for Esquire in its heyday and personifying the music beat at the Village Voice for over three decades. Christgau listened to Alan Freed howl about rock 'n' roll before Elvis, settled east of Manhattan's Avenue B forty years before it was cool, witnessed Monterey and Woodstock and Chicago '68, and the first abortion speak-out. He's caught Coltrane in the East Village, Muddy Waters in Chicago, Otis Redding at the Apollo, the Dead in the Haight, Janis Joplin at the Fillmore, the Rolling Stones at the Garden, the Clash in Leeds, Grandmaster Flash in Times Square, and every punk band you can think of at CBGB. Christgau chronicled many of the key cultural shifts of the last half century and revolutionized the cultural status of the music critic in the process. Going Into the City is a look back at the upbringing that grounded him, the history that transformed him, and the music, books, and films that showed him the way. Like Alfred Kazin's A Walker in the City, E. B. White's Here Is New York, Joseph Mitchell's Up in the Old Hotel, and Patti Smith's Just Kids, it is a loving portrait of a lost New York. It's an homage to the city of Christgau's youth from Queens to the Lower East Side-a city that exists mostly in memory today. And it's a love story about the Greenwich Village girl who roamed this realm of possibility with him.

Rick Bucklers autobiography is the first from a member of The Jam, who some considered were the ultimate Mod band. Rick tells The Jam story from growing up in Woking and meeting fellow members Paul Weller and Bruce Foxton at school, through their formation in 1972 and tells of the band's early years before signing to Polydor records. He provides a year by year account of The Jam's progress whilst describing what it was like being a part of the music industry during the 70's and 80's and some of the characters who he met along the way including the Ramones, John Enwistle, Sid Vicious, Blondie, Boy George and Paul McCartney. Rick shares his own experiences and thoughts about what it was like to be in one of the UK's most successful bands who spent a great deal of time recording, performing and touring. Following The Jam's split in 1982, Rick gives a candid account of how he coped and his subsequent relationship with Paul and Bruce. All three members of The Jam stayed within the music industry and Rick takes the reader through his years in Time UK and various other bands up until forming From the Jam. A must read for any Jam fan.

Prior to new editions of legendary Man musician Deke Leonard's previous books Rhinos, Winos & Lunatics and Maybe I Should've Stayed in Bed? planned for 2020, we are happy to bring back his 3rd and 4th books in their original editions. The Twang Dynasty is a book for people who love guitars and the glorious noise they make, written by a musician who has lived and loved the music for 50 years. Deke Leonard reflects on the genre from within in a highly amusing and informative style that makes this an essential read. He shines a light on how and why some musicians changed the landscape forever, tracing the development of modern popular music from its fragmented roots in delta blues, country and early rock 'n' roll to today's guitar based rock. He mixes personal encounters with Hendrix and Clapton with analysis of well-known but equally important players, ending with a chapter on Welsh rock guitarists that have been particularly dear to his heart. The Twang Dynasty is compelling reading, making the reader want to revisit the music and embark on their own personal guitar odyssey.

From 1940 to 1990, new machines and devices radically changed listening to music. Small and large single records, new kinds of jukeboxes and loudspeaker systems not only made it possible to playback music in a different way, they also evidence a fundamental transformation of music and listening itself. Taking the media and machines through which listening took place during this period, Listening Devices develops a new history of listening.Although these devices were (and often still are) easily accessible, up to now we have no concept of them. To address this gap, this volume proposes the term "listening device." In conjunction with this concept, the book develops an original and fruitful method for exploring listening as a historical subject that has been increasingly organized in relation to technology. Case studies of four listening devices are the points of departure for the analysis, which leads the reader down unfamiliar paths, traversing the popular sound worlds of 1950s rock 'n' roll culture and the disco and club culture of the 1970s and 1980s. Despite all the characteristics specific to the different listening devices, they can nevertheless be compared because of the fundamental similarities they share: they model and manage listening, they actively mediate between the listener and the music heard, and it is this mediation that brings both listener and the music listened to into being. Ultimately, however, the intention is that the listening devices themselves should not be heard so that the music they playback can be heard. Thus, they take the history of listening to its very limits and confront it with its "other"-a history of non-listening. The book proposes "listening device" as a key concept for sound studies, popular music studies, musicology, and media studies. With this conceptual key, a new, productive understanding of past music and sound cultures of the pre-digital era can be unlocked, and, not least, of the listening culture of the digital present.

The Beatles are probably the most photographed band in history and are the subject of numerous biographical studies, but a surprising dearth of academic scholarship addresses the Fab Four. New Critical Perspectives on the Beatles offers a collection of original, previously unpublished essays that explore 'new' aspects of the Beatles. The interdisciplinary collection situates the band in its historical moment of the 1960s, but argues for artistic innovation and cultural ingenuity that account for the Beatles' lasting popularity today. Along with theoretical approaches that bridge the study of music with perspectives from non-music disciplines, the texts under investigation make this collection 'new' in terms of Beatles' scholarship. Contributors frequently address under-examined Beatles texts or present critical perspectives on familiar works to produce new insight about the Beatles and their multi-generational audiences.

With a listing of over 3,600 books about individual artists and groups, this is the most accurate and comprehensive bibliography available on Rock/Pop stars. It is the most authoritative source for English-language titles, which are listed in the main directory under an A-Z presentation of artists. For easy access, information is cross-referenced through the use of author, title, and subject indexes. A down-to-the-wire supplement completes the book in a timely fashion. Collectors will be pleased with entries for privately published and/or limited editions, of which many are very rare.

Nevermind, Achtung Baby, Use Your Illusion 1&2 - the 90s saw some classic albums produced by artists such as Nirvana, U2, Gun n' Roses and Red Hot Chili Peppers, as well as a resurgence in country music popularized by Shania Twain and Garth Brooks. Combining information from both the US and UK charts provided by the Recording Industry Association of America (RIAA) and British Phonographic Industry (BPI), 100 Best Selling Albums of the 90s features chart-topping work from Michael Jackson, Puff Daddy and Green Day. Each album entry is accompanied by the original sleeve artwork - front and back - and is packed full of facts and recording information, including a complete track listing, musician and production credits, and an authoritative commentary on the record and its place in cultural history. Soundtracks featured include the 60s and 70s hits on Forrest Gump, the Elton John/Tim Rice songs in The Lion King, and the orchestral score for Titanic (and Celine Dion's Oscar-winning My Heart Will Go On). Other stand-out albums include the Eagles' reforming to make Hell Freezes Over and Eric Clapton's Unplugged, a career revival for him in the popular 90s back-to-basics semi-acoustic series. With vinyl sales now at their highest in 25 years, 100 Best Selling Albums of the 90s is an expert celebration of popular music from Sheryl Crow to Shania Twain, from the Spice Girls to the Backstreet Boys, from Gloria Estefan to Michael Jackson to Lauryn Hill.

Follow their incredible journey from students when the band formed in Cambridge in 1965 and consisted of Syd Barrett, Nick Mason, Roger Waters, Richard Wright with Dave Gilmour joining in 1967. Syd Barrett left in 1968 but remains synonymous with the group. Pink Floyd rose to become the most commercially successful and musically influential group in the history of popular music.

* explores the creative dialogue between John Lennon and Paul McCartney * employs the author's own 'Songscape' analysis, a multi-layered approach designed to engage a recorded work on its own terms, that does not require any specialist knowledge. * discusses the move towards more intimate sound spaces made possible by the recording process itself. *draws together evidence that Lennon and McCartney's uniquely eclectic approach, which came to encompass music, recording, film, literature, theatre, and painting, can be traced back to the Liverpool College of Art.