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.

This is one of the first academically rigorous texts covering the whole topic of popular music as a major market, and its marketing and in the contemporary connected world. There are books written by popular music commentators but Music, Markets and Consumption aims to give a fully international and scholarly analysis integrating the unique popular music sector both within arts marketing and current marketing and consumption theories. It will give the student and specialist a full overview and coverage of music, marketing and cultural policy, and the emerging academic study of the sector. It will collect and analyse a range of key issues in the field including: * The increasing engagement with marketing and consumer studies theory; * The analysis of music as 'product'; * The economics, branding and commercialisation of music globally; * The impact of technology and evolution of venues on music consumption; * The consumer- fans and fandom; * The fast developing international literature. It will be a much needed new perspective for students and researchers of music and arts marketing, cultural consumption and consumption theories and those in the fields of Marketing, Arts, Music and Cultural Studies. The book will also be essential reading for those professionally involved in music marketing and cultural policy.

In the years following the 1960s Beatle fans around the world were twice-stunned: in 1970 when their beloved group disbanded and ten years later when the murder of John Lennon ended a decade of hope that somehow the Fab Four would reunite. Between those milestones were astounding highs and unfathomable lows. George Harrison's 1971 benefit for the suffering of Bangladesh showed the world the possibilities of rock's altruism while Lennon asked the world to imagine universal peace before sitting out half the decade to raise his son. Ringo Starr the most overlooked Beatle carved himself a surprising niche in film before launching a string of hit singles. And Paul McCartney widely seen as the instigator of the Fabs' breakup became one of rock's most beloved performers racking up record-breaking smashes that climaxed with a triumphant world tour in 1976.THEFab Four FAQ 2.0E picks up the story where the acclaimed EFab Four FAQE left off. Loaded with images of rare period ephemera including periodicals single sleeves and movie stills this is the first comprehensive biography of all four ex-Beatles. This book covers everything from their recording careers in the decade after the band's dissolution to the musicians they played with the bands they influenced the manifestations of latter-day Beatlemania and the constant clamor for reunion expressed by fans and a sometimes a by the four themselves.

ERingo: With a Little HelpE is the first in-depth biography of Beatles drummer Ringo Starr who kept the beat for an entire generation and who remains a rock icon over fifty years since the Beatles took the world by storm. EWith a Little HelpE traces the entire arc of Ringo's remarkable life and career from his sickly childhood to his life as The World's Most Famous drummer to his triumphs addictions and emotional battles following the breakup of the Beatles as he comes to terms with his legacy.THBorn in 1940 as Richard Starkey in the Dingle one of Liverpool's most gritty rough-and-tumble neighborhoods he rose from a hardscrabble childhood a marked by serious illnesses long hospital stays and little schooling a to emerge against all odds as a locally renowned drummer. Taking the stage name Ringo Starr his big break with the Beatles rocketed him to the pinnacle of worldwide acclaim in a remarkably short time. He was the last member of the Beatles to join the group but also the most vulnerable and his post-Beatles career was marked by chart-topping successes a jet-setting life of excess and alcohol abuse and ultimately his rebirth as one of rock's revered elder statesman.

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 scholars have long been interested in the connection between place and music. This collection brings together a number of key scholars in order to introduce readers to concepts and theories used to explore the relationships between place and music. An interdisciplinary volume, drawing from sociology, geography, ethnomusicology, media, cultural, and communication studies, this book covers a wide-range of topics germane to the production and consumption of place in popular music. Through considerations of changes in technology and the mediascape that have shaped the experience of popular music (vinyl, iPods, social media), the role of social difference and how it shapes sociomusical encounters (queer spaces, gendered and racialised spaces), as well as the construction and representations of place (musical tourism, city branding, urban mythologies), this is an up-to-the-moment overview of central discussions about place and music. The contributors explore a range of contexts, moving from the studio to the stage, the city to the suburb, the bedroom to festival, from nightclub to museum, with each entry highlighting the diverse and complex ways in which music and place are mutually constitutive.

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.

The first book ever on the classic British rock band UFO. Based around the author's many interviews with all the key players such as Phil Mogg, Pete Way & Michael Schenker. Noted author Martin Popoff takes you through the Schenker era in great detail; album-by-album, song by song along with touring anecdotes and of course, tales revolving around the wild and excessive behaviour that was very much a part of the band. Rounding if off is a full discography.

In Women Singer-Songwriters in Rock: A Populist Rebellion in the 1990s, Ronald D. Lankford Jr. argues that women singer-songwriters formed a substantial movement within popular music during the 1990s, making a significant social and aesthetic contribution that pushed feminism into mainstream American culture. Lankford examines in depth the work of several artists including Alanis Morissette, PJ Harvey, Liz Phair, Courtney Love, Tori Amos, Sarah McLachlan, and Sheryl Crow offering thorough descriptions and analyses of their music, lyrics, and album art. By looking at both the broader movement and individual performers, this book provides a comprehensive and accessible overview of the movement and its message. Lankford introduces the singer-songwriter movement and the artists and genres that paved the way for these 1990s rockers, establishing the arch of the popular movement of women in rock as it mirrored the rise of third wave feminism and sketching the cultural and political landscape that served as a backdrop to the women's singer-songwriter movement during the 1990s. Drawing from resources in books, journals, and zines, Lankford focuses on the exploration of women's issues within the music through analyses of its lyrics and album art and examines how the often hard-edged feminist content was able to filter into mainstream popular culture. To help illustrate this, the book includes a select discography of albums and singles, including their placement and number of weeks spent on various charts. A complete bibliography and index round out this important study, which is a must for fans and scholars of music, popular culture, and women's studies.

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.

In the Houses of the Holy: Led Zeppelin and the Power of Rock Music examines the important issues surrounding the music and image of one of the most innovative and successful rock bands ever. The band influence is examined both through an explication of the music and an ethnographic study of Led Zeppelin fans, who are quite candid about their likes and dislikes in the band's history. More than just a sampling of opinion, Fast uses this research to underscore her own findings on gender and sexuality, the creation of myth and the use of ritual, the appropriation of Eastern musics and the blues, the physicality of the music, and the use of the body in performance. Specific pieces, "Dazed and Confused", "Kashmir", "Stairway to Heaven", and "Whole Lotta Love" form the basis of an examination of the group's long-lasting appeal and their musical development.

'A boy sings...a beautiful thing' (www.boychoirs.org), but is it? What kinds of boy, singing what kinds of music and to whom? Martin Ashley presents a unique consideration of boys' singing that shows the high voice to be historically, culturally and physiologically more problematic even than is commonly assumed. Through Ashley's extensive conversations with young performers and analysis of their reception by 'peer audiences', the research reveals that the common supposition that 'boys don't want to sound like girls' is far from adequate in explaining the 'missing males' syndrome that can perplex choir directors. The book intertwines the study of singing with the study of identity to create a rich resource for musicians, scholars, teachers and all those concerned with young male involvement in music through singing. The conclusions of the book will challenge many attitudes and unconsidered positions through its argument that many boys actually want to sing but are discouraged by a failure of the adult world to understand the boy mind. Ashley intends the book to stand as an indictment of much complacency and myopia with regard to the young male voice. A substantial grant from the Arts and Humanities Research Council has enabled the production of a multi-media resource for schools, choirs and youth organizations called Boys Keep Singing. Based on the contents of this book, the resource shows how, once the interest of boys is captured in primary schools, their singing can be sustained and developed through the difficult but vital early secondary years of ages 11 - 14, about which this book says so much. The resource is lavishly illustrated by short films of boys singing, supported by interviews with boys and their teachers, and a wealth of of animated diagrams and cartoons. It is available to schools and organizations involved in musical education through registration at www.boys-keep-singing.com.

Traces the evolution of American popular culture over the past two centuries. In a lengthy chronology of landmark events, and ten chapters, each revolving around the lives of two individuals who are in some way emblematic of their times, this provides a window on the social, economic, and political history of US democracy from the antebellum period to the present.

Nick Cave is now widely recognized as a songwriter, musician, novelist, screenwriter, curator, critic, actor and performer. From the band, The Boys Next Door (1976-1980), to the spoken-word recording, The Secret Life of the Love Song (1998), to the recently acclaimed screenplay of The Proposition (2005) and the Grinderman project (2008), Cave's career spans thirty years and has produced a comprehensive (and sometimes controversial) body of work that has shaped contemporary alternative culture. Despite intense media interest in Cave, there have been remarkably few comprehensive appraisals of his work, its significance and its impact on understandings of popular culture. In addressing this absence, the present volume is both timely and necessary. Cultural Seeds brings together an international range of scholars and practitioners, each of whom is uniquely placed to comment on an aspect of Cave's career. The essays collected here not only generate new ways of seeing and understanding Cave's contributions to contemporary culture, but set up a dialogue between fields all-too-often separated in the academy and in the media. Topics include Cave and the Presley myth; the aberrant masculinity projected by The Birthday Party; the postcolonial Australian-ness of his humour; his interventions in film and his erotics of the sacred. These essays offer compelling insights and provocative arguments about the fluidity of contemporary artistic practice.

By the late 1980s and early 1990s, a great number of TV shows and music acts blossomed in Colombia, all of which resorted to regional identity as the narrative core for a renewed idea of national identity. Among them was "Clasicos de la provincial," an album by Colombian singer Carlos Vives and his band La Provincia (1993), which marked the beginning of a successful career that has spanned nearly three decades. Vivess work not only earned much deserved recognition in the musical industry from the beginning, but most importantly, has come to be renowned as a landmark in the cultural history of Colombia. This book is the first in-depth analysis focused on the creation and production process of Vivess work, its main musical and literary features, and its influence on other musicians and in the construction of a narrative about national identity that is still relevant today. More than fifty interviews with Vives and members of the band, musicians, journalists, radio programmers, musical producers, and other key players of the process, together with an extensive review of hundreds of documents, are the sources for this book, which earned its authors a national award in Colombia (2015).

Who are pop dandies? Why are stars like David Bowie, Jarvis Cocker, Pete Doherty and Robbie Williams so dandified? Taking up a wide range of British pop stars, Hawkins seeks to find out why so many have cast themselves in roles that often take style to absurd extremes. In this study, male pop artists are mapped against a cultural and historical background through a genealogy of personalities, such as Oscar Wilde, W.H. Auden, Andy Warhol, NoA"l Coward, Derek Jarmen, David Beckham and countless others. A critical analysis of issues and approaches to musical performance through masculinity becomes the focal point of this fascinating study. Ranging from the sixties to beyond the twentieth century, The British Pop Dandy considers the construction of the male pop icon through the spectacle of videos, live concerts and films. Why do we derive pleasure from the performing body, and how is entertainment linked to categories of gender and sexuality? The author insists that pop performances can be understood through human characteristics that relate to the particulars of dandyism, camp and glamour, and this he theorizes through the work of Charles Baudelaire. One of the political objectives of the dandy is to liberate himself through a denial of the structures that assume fixed identity. Not least, it is acts of queering in pop music that characterize entire generations of male artists in the UK. Setting out to discover what distinguishes the British pop dandy, Hawkins considers the role of music and performance in the articulation of hyperbolic display. It is argued that the recorded voice is a construction that idealizes self-representation, and absorbs the listener's attention. Particularly, camp address in singing practice is taken up in conjunction with a discussion of intimacy, which forms part of the strategy of the performer. In a range of songs and videos selected for music analysis, Hawkins points to the uniqueness of the voice as it expresses a transgressive quality that often comes across 'put-on', naive and vulnerable. To this end, vocal performativity is considered part of music's discursive disciplining through some of the greatest pop tracks, videos, concerts and films of our time. It is also argued that shifting signs of masculinity can be understood through musical process and style. While musicological in its main focus, this study is interdisciplinary and sets out to open new modes of thinking on the complex issues surrounding how masculinity, music and culture have developed in the UK.

(Book). The compelling saga of how one backwater music scene could produce such disparate mega-talents as the Ventures, Jimi Hendrix, Heart, Robert Cray, Queensryche, Sir Mix-a-Lot, Nirvana, and the legendary garage stompers, the Sonics. Includes 500-plus exclusive interviews with trailblazing DJs, sound engineers, label founders, and the luminaries of Northwest rock.

The year 1972 brought together two legends of rock 'n' roll at the peaks of their careers: Jim Marshall and the Rolling Stones. Selected by LIFE magazine to photograph the Stones' EXILE ON MAIN ST. tour, Marshall had a week of unlimited access. The results are his now-iconic images of the band, onstage in their full glory and backstage in moments of unguarded camaraderie. Marshall's ability to capture the essential spirit of an artist and the transformative power of music is matched only by the Stones' larger-than-life energy. Fifty years after these photographs were taken, they retain the power to thrill and inspire. This definitive edition presents the images as they were meant to be seen: at a larger size and in the rich, high-contrast tones Marshall favored. The original content is enhanced with never-before-seen proof sheets and two new essays by photographer and film director Anton Corbijn and Nikki Sixx of Motley Crue. This is the ultimate, immersive experience of one of the greatest moments in music history.

In 1974 the British progressive rock group Genesis released their double concept album The Lamb Lies Down on Broadway. The story was described by Genesis's then front-man Peter Gabriel as a 'moral fable' about Rael, a half-Puerto-Rican New York City street tough who is engulfed by a solid cloud into a series of strange adventures in a metaphysical realm. The album is a surreal allegory drawing its material from religious, literary and psychological themes. More than thirty years after its release, The Lamb Lies Down on Broadway still enthralls listeners, earning the distinction of being Genesis's most consistently selling back-catalogue release. Kevin Holm-Hudson analyses The Lamb within the context of Genesis's recorded output, within the progressive rock genre as a whole, and within the context of social and political changes of the mid 1970s. The Lamb marked a conscious shift in their story setting to America, and for the first time the songs were oriented to the present rather than the past or future. Significantly, while 1974 marked the peak of music industry growth and consolidation through corporate mergers, it was also the year in which America was confronted with its limits: through the first of the OPEC energy crises, the resignation of Richard Nixon, the withdrawal from Vietnam, and the effects of runaway inflation. Genesis's native Britain was also to feel the effects of the energy crisis, intensified by a period of economic slowdown that ultimately led to the rise of Thatcherism. The Lamb is set in New York City during this time of uncertainty. Within a few years the economic constraints would affect the industry as a whole and as a result progressive rock would suffer a precipitous drop in industry support. The Lamb Lies Down on Broadway thus makes a particularly rich subject for detailed study, providing compelling intersections between the musical, textual and socioeconomic aspects of an album.

Canons are central to our understanding of our culture, and yet in the last thirty years there has been much conflict and uncertainty created by the idea of the canon. In essence, the canon comprises the works and artists that are widely accepted to be the greatest in their field. Yet such an apparently simple construct embodies a complicated web of values and mechanisms. Canons are also inherently elitist; however, Carys Wyn Jones here explores the emerging reflections of values, terms and mechanisms from the canons of Western literature and classical music in the reception of rock music. Jones examines the concept of the canon as theorized by scholars in the fields of literary criticism and musicology, before moving on to search for these canonical facets in the reception of rock music, as represented by ten albums: Bob Dylan's Highway 61 Revisited, The Beach Boys' Pet Sounds, The Beatles' Revolver, The Velvet Underground's The Velvet Underground & Nico, Van Morrison's Astral Weeks, Marvin Gaye's What's Going On, The Rolling Stones' Exile on Main St., Patti Smith's Horses, The Sex Pistols' Never Mind the Bollocks: Here's the Sex Pistols, and Nirvana's Nevermind. Jones concludes that in the reception of rock music we are not only trying to organize the past but also mediate the present, and any canon of rock music must now negotiate a far more pluralized culture and possibly accept a greater degree of change than has been evident in the canons of literature and classical music in the last two centuries.

Elvis Presley wears another crown besides the King of Rock 'N' Roll--he also is the King of Collectibility. Nearly a quarter century after his death, items bearing Elvis's name and likeness are in hot demand. In this comprehensive book, renowned Elvis expert Sean O'Neal chronicles the Elvis phenomenon in more than 600 color photographs. Commercially produced memorabilia, novelties, magazines, promotional pieces, and movie paraphernalia recount Elvis's life and career. Items range from concert posters, to paint by number sets, to the Presley family bible. Every item is presented with its current market price. A special section provides tips on how to avoid counterfeit memorabilia and forged autographs. Also included is a history of Elvis Presley Enterprises, the original creator of Elvis merchandise. This fascinating reference book is the definitive guide to collecting Elvis.

The first concept album in the history of popular music, the soundtrack of the Summer of Love or 'Hippy Symphony No. 1': Sgt. Pepper's Lonely Hearts Club Band is first and foremost the album that gave rise to 'hopes of progress in pop music' (The Times, 29 May 1967). Sgt. Pepper and the Beatles commemorates the fortieth anniversary of this masterpiece of British psychedelia by addressing issues that will help put the record in perspective. These issues include: reception by rock critics and musicians, the cover, lyrics, songwriting, formal unity, the influence of non-European music and art music, connections with psychedelia and, more generally, the sociocultural context of the 1960s, production, sound engineering and musicological significance. The contributors are world renowned for their work on the Beatles: they examine Sgt. Pepper from the angle of disciplines such as musicology, ethnomusicology, history, sociology, literature, social psychology and cultural theory.

Wild Horses is a brutally powerful, unflinching account of the heroin epidemic that swept across Catalonia in the 1980s. The novel, told from a variety of points of view, tells the story of a group of friends as they buy, sell, and consume heroin and other drugs in their home town. Wild Horses is a kaleidoscope of voices, stories, song lyrics and heartbreakingly all-too-real characters. It is a true classic of modern story-telling that is both shocking and captivating at the same time.

Representations of music were employed to create a wider 'Orient' on the pages, stages and walls of nineteenth-century Britain. This book explores issues of orientalism, otherness, gender and sexuality that arise in artistic British representations of non-European musicians during this time, by utilizing recent theories of orientalism, and the subsidiary (particularly aesthetic and literary) theories both on which these theories were based and on which they have been influential. The author uses this theoretical framework of orientalism as a form of othering in order to analyse primary source materials, and in conjunction with musicological, literary and art theories, thus explores ways in which ideas of the Other were transformed over time and between different genres and artists. Part I, The Musical Stage, discusses elements of the libretti of popular musical stage works in this period, and the occasionally contradictory ways in which 'racial' Others was represented through text and music; a particular focus is the depiction of 'Oriental' women and ideas of sexuality. Through examination of this collection of libretti, the ways in which the writers of these works filter and romanticize the changing intellectual ideas of this era are explored. Part II, Works of Fiction, is a close study of the works of Sir Henry Rider Haggard, using other examples of popular fiction by his contemporary writers as contextualizing material, with the primary concern being to investigate how music is utilized in popular fiction to represent Other non-Europeans and in the creation of orientalized gender constructions. Part III, Visual Culture, is an analysis of images of music and the 'Orient' in examples of British 'high art', illustration and photography, investigating how the musical Other was visualized.