The endurance of Pink Floyd's The Dark Side of the Moon on the Billboard Top 100 Chart is legendary, and its continuing sales and ongoing radio airplay ensure its inclusion on almost every conceivable list of rock's greatest albums. This collection of essays provides indispensable studies of the monumental 1973 album from a variety of musical, cultural, literary and social perspectives. The development and change of the songs is considered closely, from the earliest recordings through to the live, filmed performance at London's Earls Court in 1994. The band became almost synonymous with audio-visual innovations, and the performances of the album at live shows were spectacular moments of mass-culture although Roger Waters himself spoke out against such mass spectacles. The band's stage performances of the album serve to illustrate the multifaceted and complicated relationship between modern culture and technology. The album is therefore placed within the context of developments in late 1960s/early 1970s popular music, with particular focus on the use of a variety of segues between tracks which give the album a multidimensional unity that is lacking in Pink Floyd's later concept albums. Beginning with 'Breathe' and culminating in 'Eclipse', a tonal and motivic coherence unifies the structure of this modern song cycle. The album is also considered in the light of modern day 'tribute' bands, with a discussion of the social groups who have the strongest response to the music being elaborated alongside the status of mediated representations and their relation to the 'real' Pink Floyd.

With 90 million of the band's records sold worldwide since 1987, Guns N' Roses prolonged rock music past its sell-by date with controversial albums and immense, often riotous, world tours. But the band's complete story has never been fully told - until now. In his sixth major rock biography, Stephen Davis - author of the legendary Hammer of the Gods - details the riveting story of a band that originated in the gutters of Sunset Strip and went on to become the biggest, baddest band on the planet. Davis brilliantly captures the birth of Guns' raw power, which - despite rape charges, drug-induced rampages and a general appetite for destruction - launched the band into the pantheon of rock gods such as Led Zeppelin and the Rolling Stones. With a wealth of detail, Davis looks at Axl's unrelenting quest to release the long-awaited, mystery-shrouded Chinese Democracy album, as well as the further adventures of some of the Gunners under the banner of the hard-rocking band Velvet Revolver. In Watch You Bleed, for the first time, millions of Guns N' Roses fans will learn the whole truth - sometimes funny, sometimes tragic - about the last of the great rock bands.

* The first book to analyse every Queen song - giving equal weight to album tracks alongside the hits . * Includes analysis of about 20 classic songs using the original 24 track master tapes. * Queen remain ever popular and active, and continue to tour despite the death of Freddie Mercury in 1991. This book examines Queen's music, album by album, track by track, in detail. Where possible, recourse to the original multi-track master tapes has provided extra insight. Those familiar hits are revisited, but those classic album cuts - like `Liar', `March of the Black Queen', `Death on Two Legs', and `Dragon Attack', `are given equal precedence. The book also examines the changes that these same four musicians went through - from heavy and pomp rock to pop as the chart hits began to flow - with a keen and unbiased eye. Whether as a fan your preference is for the albums `A Night at the Opera', `Jazz' or `Innuendo' this detailed and definitive guide will tell you all you need to know. Queen had strength in depth. These are the songs on which a legend was built.

The International Who's Who in Popular Music 2018 gives biographical information and contact details for some of the most talented and influential artists and individuals from the world of popular music. Now in its nineteenth edition, there are over 7,000 biographies charting the careers and achievements of artists in pop, rock, folk, jazz, dance, world, country music and much more. Key Features: - each entry includes full biographical information: principal career details, recordings and compositions, honours and contact information where available - each entrant is given the opportunity to update his or her information - spans the full range of the popular music industry, from rock to jazz and dance to country - provides information on established names as well as up-and-coming artists - a directory section provides details of music festivals, awards, organizations within the industry, and digital music sources - for ease of reference, the book includes an index of music group members. In one accessible volume this title offers users a vast collection of information on the most famous and influential people in the popular music industry.

London 1968: The Unstable Boys are the name on every music insider's lips and tipped to follow in the footsteps of the Beatles and the Rolling Stones. This is their chance to hit the bigtime. They don't know they're about to be obliterated by a series of tragedies and a chaotic breakup that puts paid to the band's starry-eyed dreams of stratospheric success. One day you're the dog's bollocks; the next day you're a nobody - fame is a fickle friend. London 2016: Bestselling crime writer Michael Martindale has reached breaking point. Estranged from his wife and children following the very public fallout of his disastrous affair, he is alone, with only his self-pity to keep him warm at night. Until he makes the mistake of publicly declaring his admiration for his teenage musical obsession, the Unstable Boys. When the band's twisted and feral frontman, the Boy, turns up on his doorstep, Martindale quickly learns that sometimes you should be careful what you wish for. Razor-sharp and laced with a caustic wit, The Unstable Boys is a dark comic caper with an unmistakeable musicality from legendary music journalist Nick Kent.

Consider this paradox - for many people, rock is dead, crushed by the weight of its own success and popularity, little more than a voice of mainstream commercial entertainment. But for many others, especially among the new conservative Right, rock poses a greater threat now than ever before. What is it about rock that makes it so important in contemporary political struggles?;Bringing together cultural, political and economic analyses, Lawrence Grossberg offers an interpretation of the contemporary politics of both rock and popular culture. "We Gotta Get Out of This Place" explores four histories: the changing role of rock in everyday life; the emergence of an affective and popular conservatism; the crisis of contemporary capitalism; and the apparent inability of the Left to respond to these changes. These critical developments are bound together by their concern with postmodernity, understood as both a structure of everyday life and as a sensibility of popular culture. Everyone wants to get out of this place, but only the Right seems to have found a way to benefit from where we are. Bringing together cultural, political and economic analyses, Grossberg offers an interpretation of

Popular music is not simply a series of musicians, moments, genres or recordings. Audiences matter; and the most ardent audience members are the fans. To be a fan is to feel a connection with music. The study of fandom has begun to emerge as a vital strand of academic research, one that offers a fresh perspective on the nature of music culture. Fan Identities and Practices in Context investigates fan identities and practices in different contexts and in relation to different bands and artists. Through a series of empirical case studies the book reflects a diverse array of objects and perspectives associated with this vibrant new field of study. Contributors examine how fans negotiate their identities and actively pursue their particular interests, touching on a range of issues including cultural capital, generational memory, gender, fan fiction and the use of new media. This book was originally published as two special issues of Popular Music and Society.

The Space Between the Notes examines a series of relationships central to sixties counter-culture: psychedelic coding and rock music, the Rolling Stones and Charles Manson, the Beatles and the `Summers of love', Jimi Hendrix and hallucinogenics, Pink Floyd and space rock. Sheila Whiteley combines musicology and socio-cultural analysis to illuminate this terrain, illustrating her argument with key recordings of the time: Cream's She Walks Like a Bearded Rainbow, Hendrix's Hey Joe, Pink Floyd's Set the Controls For the Heat of the Sun, The Move's I Can Hear the Grass Grow, among others.
The appropriation of progressive rock by young urban dance bands in the 1990s make this study of sixties and seventies counter-culture a timely intervention. It will inform students of popular music and culture, and spark off recognition and interest from those that lived through the period as well as a new generation that draw inspiration from its iconography and sensibilities today.

WhenYou Really Got Me exploded on Swinging London in 1964, the Kinks forever changed the course of rockn roll. Ray Davies and Joe Penhall's Olivier Award-winning Sunny Afternoon (2014) covers the bands formative years of 1964-7, when four working- class North London lads broke through to become one of the most unlikely and influential rock bands of the 1960s. Mixing the comic adventures ofDave the Rave with the touching introspection of Ray's sometimes fragile psyche, Joe Penhall's script weaves Ray Davies songs, both the hits and lesser-known works, into one of the finest jukebox musicals of the new millennium. Drawing on a wealth of background material, John Fleming examines the blend of events and songs selected, reconsidering the relationship between biography and drama to shed new light on the Kinks and the musical that tells their story.

A ROUGH TRADE BOOK OF THE YEAR "To flip through the book is to be immersed back in the glory days of Cool Britannia... and it's just as cool as you remember" GQ Remember Britpop and the '90s through hundreds of its most striking images - with many seen here for the very first time. Taken by renowned photographer Kevin Cummins, chief photographer at the NME for more than a decade, the images in this book explore the rise and fall of Cool Britannia and all that came with it. Nostalgic, anarchic and featuring contributions from icons of the Britpop era including Noel Gallagher and Brett Anderson, While We Were Getting High is a seminal portrait of a decade like no other. Artists featured include: Oasis Blur Suede Pulp Elastica Supergrass The Charlatans Gene Sleeper Kula Shaker Echobelly The Bluetones ...and many more

Music, Space and Place examines the urban and rural spaces in which music is experienced, produced and consumed. The editors of this collection have brought together new and exciting perspectives by international researchers and scholars working in the field of popular music studies. Underpinning all of the contributions is the recognition that musical processes take place within a particular space and place, where these processes are shaped both by specific musical practices and by the pressures and dynamics of political and economic circumstances. Important discourses are explored concerning national culture and identity, as well as how identity is constructed through the exchanges that occur between displaced peoples of the world's many diasporas. Music helps to articulate a shared sense of community among these dispersed people, carving out spaces of freedom which are integral to personal and group consciousness. A specific focal point is the rap and hip hop music that has contributed towards a particular sense of identity as indigenous resistance vernaculars for otherwise socially marginalized minorities in Cuba, France, Italy, New Zealand and South Africa. New research is also presented on the authorial presence in production within the domain of the commercially driven Anglo-American music industry. The issue of authorship and creativity is tackled alongside matters relating to the production of musical texts themselves, and demonstrates the gender politics in pop. Underlying Music, Space and Place, is the question of how the disciplines informing popular music studies - sociology, musicology, cultural studies, media studies and feminism - have developed within a changing intellectual climate. The book therefore covers a wide range of subject matter in relation to space and place, including community and identity, gender, race, 'vernaculars', power, performance and production.

This is a comprehensive guide to popular music literature, first published in 1986. Its main focus is on American and British works, but it includes significant works from other countries, making it truly international in scope.

First Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.

Fans constitute a very special kind of audience. They have been marginalized, ridiculed and stigmatized, yet at the same time they seem to represent the vanguard of new relationships with and within the media. 'Participatory culture' has become the new normative standard. Concepts derived from early fan studies, such as transmedial storytelling and co-creation, are now the standard fare of journalism and marketing text books alike. Indeed, usage of the word fan has become ubiquitous. The Ashgate Research Companion to Fan Cultures problematizes this exaltation of fans and offers a comprehensive examination of the current state of the field. Bringing together the latest international research, it explores the conceptualization of 'the fan' and the significance of relationships between fans and producers, with particular attention to the intersection between online spaces and offline places. The twenty-two chapters of this volume elucidate the key themes of the fan studies vernacular. As the contributing authors draw from recent empirical work around the globe, the book provides fresh insights and innovative angles on the latest developments within fan cultures, both online and offline. Because the volume is specifically set up as companion for researchers, the chapters include recommendations for the further study of fan cultures. As such, it represents an essential reference volume for researchers and scholars in the fields of cultural and media studies, communication, cultural geography and the sociology of culture.

This book, first published in 1987, was the first major survey of the links between the visual arts and pop music over the last thirty years. It brings to light the ideas, styles and people who have influenced both the look of pop and the shape of art. It examines how pop uses art movements like Dada, Futurism and Surrealism in everything from the design of album covers to the creation of a group's look, stage act and video; how art uses pop, as a subject for painting, sculpture and design; the vital role of the British art school connection; and collaborations and cross-overs - between the visual arts and groups, musicians and movements.

When rock 'n' roll began its ascendancy in the 1950s the older generation saw it as dangerous, renegade, threatening the moral stability of a nation. Young people saw it as freedom, and most importantly, as their music. The teenage revolution was here, This book, first published in 1982, traces the roots of this cultural transformation, its emergence in rock 'n' roll and other media, and shows just how violent the confrontation was by looking at contemporary newspaper reports.

As a popular music, the evolution of jazz is tied to the contemporary sociological situation. Jazz was brought from America into a very different environment in Britain and resulted in the establishment of parallel worlds of jazz by the end of the 1920s: within the realms of institutionalized culture and within the subversive underworld. Tackley (nee Parsonage) demonstrates the importance of image and racial stereotyping in shaping perceptions of jazz, and leads to the significant conclusion that the evolution of jazz in Britain was so much more than merely an extension or reflection of that in America. The book examines the cultural and musical antecedents of the genre, including minstrel shows and black musical theatre, within the context of musical life in Britain in the late nineteenth and early twentieth centuries. Tackley is particularly concerned with the public perception of jazz in Britain and provides close analysis of the early European critical writing on the subject. The processes through which an evolution took place are considered by looking at the methods of introducing jazz in Britain, through imported revue shows, sheet music, and visits by American musicians. Subsequent developments are analysed through the consideration of modernism and the Jazz Age as theoretical constructs and through the detailed study of dance music on the BBC and jazz in the underworld of London. The book concludes in the 1930s by which time the availability of records enabled the spread of 'hot' music, affecting the live repertoire in Britain. Tackley therefore sheds entirely new light on the development of jazz in Britain, and provides a deep social and cultural understanding of the early history of the genre.

The study of pre-existing film music is now a well-established part of Film Studies, covering 'classical' music and popular music. Generally, these broad musical types are studied in isolation. This anthology brings them together in twelve focused case studies by a range of scholars, including Claudia Gorbman, Jeongwon Joe, Raymond Knapp, and Timothy Warner. The first section explores art music, both instrumental and operatic; it revolves around the debate on the relation between the aural and visual tracks, and whether pre-existing music has an integrative function or not. The second section is devoted to popular music in film, and shows how very similar the functions of popular music in film are to the supposedly more 'elite' classical music and opera. Case studies in part 1: Eyes Wide Shut, Raging Bull, Brief Encounter, Detective, The Godfather Part III, three versions of the Carmen story (DeMille's, Preminger's and Rosi's), Amadeus, The Birth of a Nation, M: Eine Stadt sucht einen MArder, Needful Things, Rat Race. Case studies in part 2: various films by AlmodA(3)var, Young Frankenstein, Pulp Fiction, Trainspotting, Amelie, High Fidelity, Ghost World, Heavenly Creatures, The Virgin Suicides, and the video Timber by Coldcut.

The Music and Art of Radiohead provides compelling close readings of the English band's music, lyrics, album cover art and music videos as well as critical commentary on interviews, reviews and the documentary film Meeting People is Easy. Established and emerging academic scholars engage with Radiohead's music and art via concerns of broader implication to contemporary cultural studies. Topics range from the band's various musical and multivalent social contexts to their contested situation within a global market economy; from asking the question, 'how free is art?' to considering the band's musical influences and radical sonic explorations. Together, the essays form a comprehensive discussion of Radiohead's entire oeuvre, from Pablo Honey to Hail to the Thief, with a special focus on the critically acclaimed best-selling albums Kid A and Amnesiac.

Kurt Cobain's life and death fast became rock 'n' roll legend. The worldwide success of his band, Nirvana, defined the music scene in the early 1990s and their songs spoke to and for a generation. Music journalist Charles R. Cross, a veteran of the Seattle music scene, relates this extraordinary story of artistic brilliance and the pain that extinguished it. Heavier Than Heaven is the definitive life of one of the twentieth century's most creative and troubled music geniuses, and includes a new introduction commemorating twenty five years since Cobain's death.

'Every Sound There Is': Revolver and the Transformation of Rock and Roll assesses and celebrates the Beatles' accomplishment in their 1966 masterpiece. The essays of Every Sound There Is examine Revolver from a large number of complementary starting points that help us to understand both the album's contemporary creation and reception and the ways in which it continues to shape the creation and reception of popular music in the twenty-first century. Responding to the incredible diversity of Revolver, this gathering of international scholars focuses on the Beatles' 1966 album as one of rock and roll history's threshold moments. Bringing to bear approaches from the disciplines of musicology, cultural studies, poetics, gender studies, these essays address matters as diverse as the influence of American R&B on Revolver as well as its influence on Pink Floyd, each Beatle's contributions to the album, the musicological significance of the Beatles' harmonies and chord progressions, its status and coherence as a work of art, the technological and marketing significance of Revolver's recording and distribution, and its influence on the development of rock music.

Acoustic Blues Guitar Styles is an introduction to fingerstyle acoustic blues guitar, the style made popular by Robert Johnson, Bill Broonzy, and Mance Lipscomb. Following the success of the popular Acoustic Guitar Styles, Larry Sandberg's Acoustic Blues Guitar Styles is an instructional book geared towards the intermediate guitar player, not only to teach fingerstyle blues technique, but also to approach the music creatively and with feeling and rhythm. Part One teaches you the preliminaries, such as reading a chord chart and working out a 12-bar blues in different keys. Part Two teaches you touch, timing, and basic fingerpicking technique. Part Three teaches you how to play stylistically, with lessons on how to incorporate bends, vibrato, alternating bassnotes, and rhythmic variations into your playing. All musical exercises are presented in both standard notation and tablature, and are supported by audio tracks. Customers purchasing the eBook version of this title will be able to download the supporting audio tracks. Instructions on downloading the files can be found on the contents page.

Written for Introductory Sociology and Sociology of Popular Music courses, this book uses popular music to illustrate fundamental social institutions, theories, sociological concepts, and processes. The authors use music, a social phenomenon of great interest, to draw students in and bring life to their study of social life.

Popular musicians acquire some or all of their skills and knowledge informally, outside school or university, and with little help from trained instrumental teachers. How do they go about this process? Despite the fact that popular music has recently entered formal music education, we have as yet a limited understanding of the learning practices adopted by its musicians. Nor do we know why so many popular musicians in the past turned away from music education, or how young popular musicians today are responding to it. Drawing on a series of interviews with musicians aged between fifteen and fifty, Lucy Green explores the nature of pop musicians' informal learning practices, attitudes and values, the extent to which these altered over the last forty years, and the experiences of the musicians in formal music education. Through a comparison of the characteristics of informal pop music learning with those of more formal music education, the book offers insights into how we might re-invigorate the musical involvement of the population. Could the creation of a teaching culture that recognizes and rewards aural imitation, improvisation and experimentation, as well as commitment and passion, encourage more people to make music? Since the hardback publication of this book in 2001, the author has explored many of its themes through practical work in school classrooms. Her follow-up book, Music, Informal Learning and the School: A New Classroom Pedagogy (2008) appears in the same Ashgate series.

This book, the first full-length text on the subject, explores the everyday use of music listening while driving a car. It presents the relationship between cars and music in an effort to understand how music behaviour in the car can either enhance driver safety or place the driver at increased risk of accidents. A great deal of work has been done to investigate and reduce driver distraction and inattention, but this book is the first to focus on in-cabin aural backgrounds of music as a contributing factor to human error and traffic violations. Driving With Music begins by outlining the automobile, its relationship to society, and the juxtaposition of music with the automobile as a complete package. It then highlights concepts from the fields of music perception and cognition, and, within this framework, looks at the functional use of background music in our everyday lives. Driver music behaviours - both adaptive and maladaptive - are explored, with the focus on contradictions and ill-effects of in-car music listening.