This book details the origins of band names from 240 musical acts, focusing on the most popular groups (and a few individual performers) from the 1960s through today. Even casual music fans will recognize almost all of the acts discussed, while a few one-hit wonders are included simply because their name is so unusual (Mungo Jerry, for example) that they warrant a place in the study.Each entry focuses on the meaning and/or origin of the act's name, what they had been called previously, and any other names that were considered and rejected during the naming process. Included in the stories are facts and figures about the act's history and its place in the rock music pantheon, the year the act was formed, the original members, later members of note and the act's best known hit. The book lists bands alphabetically to give the casual reader the opportunity to open it anywhere and read at leisure, the historian the ability to easily pinpoint his or her research, or the die-hard rock fan the chance to learn from A to Z the name origins of the biggest acts in rock and pop music history.

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

From stars like Britney Spears and Mariah Carey to classic icons like Yoko Ono, female musicians have long been the target of double standards and toxic labels in the media and pop culture: liar, crazy, snake, diva, slut, b*tch. These words can hurt all of us. The popular expression "sticks and stones" is wildly wrong. And the wounds are everywhere. Lily Hirsch confronts the full range of this sexist labeling as well as the repercussions, concentrating on the experiences of Yoko Ono, Courtney Love, Britney Spears, FKA twigs, Taylor Swift, Kesha, Mariah Carey, and Ariana Grande, among many others. While men can make outrageous backstage demands, women like Carey are punished as "divas." A sign of supposed genius for men, "crazy" is a word of condemnation for many women-with legal ramifications in Spears' case. Hirsch dives into the world of these women, looking at their personal lives, relationships and breakups, music, media coverage, public reception, as well as the origins of these toxic labels and how they have caused serious damage. With this focus, the book reveals the inner workings of misogyny and invites us to think about these remarkable women on their own terms-showing us how women have fought back too, sometimes reclaiming these words and their own story through music.

(Guitar Recorded Versions). Guitar tab for 14 songs, plus photos from the MTV sessions. About a Girl * All Apologies * Come As You Are * Dumb * Jesus Doesn't Want Me for a Sunbeam * Lake of Fire * The Man Who Sold the World * Oh Me * On a Plain * Penny Royal Tea * Plateau * (New Wave) Polly * Something in the Way * Where Did You Sleep Last Night.

Increasingly, it is becoming evident that those involved in socio-musical studies must focus their investigative lens on musical practice and articulation of the self, on music and community involvement and on music as a social medium for social relationships. What motivates people to be involved in musical performance, and how do they articulate these needs and drives? What do performers gain from their involvement in musical activities? How do audience members perceive their relationship to the performer, the music and the event? These questions and many more are addressed here with the benefit of detailed empirical work, including case studies of a chamber music festival and a contemporary music summer school. Pitts investigates the value of musical participation for performers and audience members in a range of contexts, using a multi-disciplinary approach to place new empirical data in the framework of existing theory and literature. Themes examined include: the shared musical experience; the social structures of performing societies; how people identify with music; the values implicit in musical preferences; the social responsibilities of the performer; the audience view of concerts and festivals; the social power of music and educational implications and responsibilities. Pitts draws upon literature from musicology, sociology and psychology of music, ethnomusicology, music education and community music to demonstrate the diversity of enquiry about musical behaviours. The conclusions of the book are based upon empirical evidence gleaned through case studies, with the data integrated thematically throughout, to enable a greater depth of discussion than individual studies usually permit.

Acting in Musical Theatre remains the only complete course in approaching a role in a musical. It covers fundamental skills for novice actors, practical insights for professionals, and even tips to help veteran musical performers refine their craft. Educators will find the clear structure ideal for use with multiple courses and programs. Updates in this expanded and revised third edition include: A comprehensive revision of the book's companion website into a fully online "Resource Guide" that includes abundant teaching materials and syllabi for a range of short- and long-form courses, PowerPoint slide decks and printable handouts for every chapter. Updated examples, illustrations, and exercises from more recent musical styles and productions such as Hamilton, Waitress, and Dear Evan Hansen. Revision of rehearsal and performance guidelines to help students and teachers at all levels thrive. Updated and expanded reading/listening/viewing lists for specific-subject areas, to guide readers through their own studies and enhance the classroom experience. New notes in the "The Profession" chapters to reflect the latest trends in casting, self-promotion, and audition practice. Acting in Musical Theatre's chapters divide into easy-to-reference units, each containing group and solo exercises, making it the definitive textbook for students and practitioners alike.

Too Much Too Young investigates how age and gender have shaped the careers and images of pop music stars, examining the role of youth and youthfulness in pop music through a series of themed case studies. Sheila Whiteley begins by investigating the exploitation of child stars such as Brenda Lee and Michael Jackson, offering a psychoanalytic reading of the relationship between child star and oppressive manager, and looks at the current glut of boy- and girl- bands and stars in the mold of Britney Spears to examine the continuing fatal attraction of stardom for adolescents.
Whiteley then considers the star images of female singer-songwriters Kate Bush, Tori Amos, and Bjork, whose 'little girl' voices and characterization by the media suggests a girlish feminitity which is often at odds with the intentions of their musical output. She then moves on to explore the rock/pop divide as it affects the image of male performers, considering why male stars usually fall into the category of 'wild boys' such as Kurt Cobain or Jim Morrison, or 'nice boys', like Cliff Richard, The Monkees, and Wham!. Whiteley ends by asking what happens to stars who set so much store by manipulations of youthfulness when they begin to age, and points to stars like Robbie Williams, Kylie Minogue and Cher to demonstrate that it is possible to achieve iconic pop status even without dying young.

Take a day-by-day journey through every live concert of the greatest rock-n-roll band in the world-the Rolling Stones from 1962 through 1982. For over fifty years the Rolling Stones have been performing concerts and pleasing audiences around the world. From their humble beginnings playing in small clubs in 1962, the Stones developed into the global sensation we all know today. A music-lovers dream, this chronicle provides a chronological and comprehensive look at all of the shows played by the Stones between 1962 and 1982 and includes set lists, venues, concert reviews, anecdotes on the concerts and a breadth of information on notable events in the lives of the band and the individual members. As a bonus, there is a list of all of the Stones' radio recordings, some of which were performed before live audiences, and performances on television shows. In addition to the extensive facts and details, is an exhilarating display of visual images from never-before seen tickets, posters, programs, handbills and photographs.

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.'

Fun, bright, and playful, Power Pop is a sometimes adored, sometimes maligned, often misunderstood genre of music. From its heyday in the 70`s and 80`s to its resurgence in the 90`s and 00`s, Power Pop has meant many things to many people. In Go Further, editors Paul Myers and S. W. Lauden have a whole new crop of writers going deep on what certain Power Pop bands and songs mean and have meant to them. Whether they love or hate it, Go Further is a dive into the Beatles-inspired pop rock of the last five decades. Featuring Ira Robbins, Alex Segura, Mary E. Donnelly, Pat DiPuccio, John Borack, Dave Hill, Will Birch, S. W. Lauden, Jordan Oakes, Brian Vander Ark, Anne K. Ream & R. Clifton Spargo, Chip Jacobs, Bill DeMain, Thierry Cote, Doug Brod, Jim Lindberg, Balin Schneider, Mike Randle, Butch Walker, Andrea Warner, Paul Myers,and Rex Broome's

This extensively revised and expanded fifth edition of Understanding Popular Music Culture provides an accessible and comprehensive introduction to the production, distribution, consumption and meaning of popular music, and the debates that surround popular culture and popular music. Reflecting the continued proliferation of popular music studies, the new music industry in a digital age, and the emergence of new stars, this new edition has been reorganized and extensively updated throughout, making for a more coherent and sequenced coverage of the field. These updates include: two new chapters entitled 'The Real Thing': Authenticity, covers and the canon and 'Time Will Pass You By': Histories and popular memory new case studies on artists including The Rolling Stones, Lorde, One Direction and Taylor Swift further examples of musical texts, genres, and performers throughout including additional coverage of Electronic Dance Music expanded coverage on the importance of the back catalogue and the box set; reality television and the music biopic greater attention to the role and impact of the internet and digital developments in relation to production, dissemination, mediation and consumption; including the role of social network sites and streaming services each chapter now has its own set of expanded references to facilitate further investigation. Additional resources for students and teachers can also be found on the companion website (www.routledge.com/cw/shuker), which includes additional case studies, links to relevant websites and a discography of popular music metagenres.

Chuck Berry is an icon in the history of rock and roll; among the first inductees to the Rock and Roll Hall of Fame, among many other honours, he continues to be an influential - and controversial - figure in the pop music scene. Yet Berry's life has never been fully documented; his own autobiography skipped over many key events , and papered over others. Bruce Pegg has interviewed scores of Berry's friends, family, and business associates to give a truer picture of the man and the music world. Drawing on trial transcripts, documents and other rare material, Pegg has produced a complex, fascinating picture of the father of rock and roll.

Talent, energy, dedication, discipline, passion, innovation, education, drive, mind, body, spirit, vision, honor, truth, and drums make the man: Kenny Aronoff. Voted by Rolling Stone magazine as one of the greatest drummers of all time, Aronoff is arguably the most sought-after recording and touring beat master ever. Ignited by the Beatles' appearance on The Ed Sullivan Show in 1964, Aronoff's passion for drumming fervently grew and carried him from the kit in his childhood living room in the Berkshires to Bernstein at Tanglewood to Mellencamp, Etheridge, Forgerty, Smashing Pumpkins, the Rolling Stones, the Beatles-his heroes-and beyond. But none of this would have been possible without his fierce work ethic and unique approach to drumming-an integration of all parts of his being, along with meticulous attention to note-for-note detail, feel, and what the song needs. Both a leader and a team player in the mission to realize a greater good-an unforgettable recording, a riveting show-Aronoff brings it every time. His tale of what is possible with unrelenting dedication to one's bliss is an inspiration to all. In addition to his work as a world-famous recording and touring drummer, Aronoff finds time to be a dedicated teacher and has shared his expertise with students all over the world, teaching clinics for Tama and Zildjian. Featuring rare photos, testimonials from major artists and from those who know him best, a chronology of live performances, a discography, and a foreword by Neil Peart, this book is the story of one of the greatest musicians of all time.

A compelling portrait of rock's greatest guitarist at the moment of his ascendance, Stone Free is the first book to focus exclusively on the happiest and most productive period of Jimi Hendrix's life. As it begins in the fall of 1966, he's an under-sung, under-accomplished sideman struggling to survive in New York City. Nine months later, he's the toast of Swinging London, a fashion icon, and the brightest star to step off the stage at the Monterey International Pop Festival. This momentum-building, day-by-day account of this extraordinary transformation offers new details into Jimi's personality, relationships, songwriting, guitar innovations, studio sessions, and record releases. It explores the social changes sweeping the U.K., Hendrix's role in the dawning of "flower power," and the prejudice he faced while fronting the Jimi Hendrix Experience. In addition to featuring the voices of Jimi, his bandmates, and other eyewitnesses, Stone Free draws extensively from contemporary accounts published in English- and foreign-language newspapers and music magazines. This celebratory account is a must-read for Hendrix fans.

The analysis of popular music forces us to rethink the assumptions that underpin our approaches to the study of Western music. Not least, it brings to the fore an idea that many musicologists still find uncomfortable - that commercial production and consumption can be aligned with artistic authenticity. Reading pop texts takes place through dialogue on many levels, which, as Stan Hawkins argues, deals with how musical events are shaped by personal alliances between the artist and the recipient. The need for a critical approach to evaluating popular music lies at the heart of this book. Hawkins explores the relationships that exist between music, spectatorship and aesthetics through a series of case studies of pop artists from the 1980s and 1990s. Madonna, Morrissey, Annie Lennox, the Pet Shop Boys and Prince represent the diversity of cultures, identities and sexualities that characterised the start of the MTV boom. Through the interpretation of aspects of the compositional design and musical structures of songs by these pop artists, Hawkins suggests ways in which stylistic and technical elements of the music relate to identity formation and its political motivations. Settling the Pop Score examines the role of irony and empathy, the question of gender, race and sexuality, and the relevance of textual analysis to the study of popular music. Interpreting pop music within the framework of musicology, Hawkins helps us to understand the pleasure so many people derive from these songs.

'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.

What does it mean when a singing voice is detached from an originating body through recording? And how does this affect consumers of recorded song? This book examines the practice of lipsynching to pre-recorded song in both professional and vernacular contexts, covering over a century of diverse artistic practices from early cinema through to the current popularity of self-produced internet lipsynching videos. It examines the ways in which we listen to, respond to, and use recorded music, not only as a commodity to be consumed but as a culturally-sophisticated and complex means of identification, a site of projection, introjection, and habitation, and, through this, a means of personal and collective creativity.

'It's Number One - it's Top of the Pops'. It's not just the story of a long-running television programme. The story of Top of the Pops is the story of British popular music. It is a shadow history of British rock & roll, and beyond. It is the story of 'Auntie' BBC getting down with the kids. It is the story of how a 6-week show turned into a pan-global phenomenon and how for 40 years, Top of the Pops was a British institution. 'It's Number One - it's Top Of The Pops' for every generation from 1964, until the show ended in 2006, that was the sentence every young television viewer sat down to hear. At its peak, a quarter of the UK's entire population was watching. Top Of The Pops was the pivotal pop television programme over its 2,000 weekly episodes, the programme gave peak airtime to every act, from The Beatles to Beyonce - from Cream to Coldplay - from Pink Floyd to Pink! From its humble beginnings in 1964 from a disused church through to the programme's pan-global appeal in the 1990s, Top Of The Pops has become synonymous with the best in pop television. With a span of nearly half a century, there are so many highlights: The Beatles only live appearance, in 1966, promoting 'Paperback Writer' - the Who getting banned - the first colour edition in 1969 - David Bowie's breakthrough performance of 'Starman' in 1972 - Nirvana's chaotic 1991 appearance promoting 'Smells Like Teen Spirit' - the Blur versus Oasis battle - Justin Timberlake playing bass with the Flaming Lips in 2003 - Top Of The Pops II was launched in 1994, bringing the programme to a whole new audience. Around the same time, the BBC licensed the "Top Of The Pops" brand to over 90 countries, with estimated audience of 100 million. Though it ceased broadcasting in 2006, thanks to the internet, compilation CDs; repeated viewing on BBC4 - Top Of The Pops lives on. This is the first book to tell that incredible story.

The harmonica is one of the most important, yet overlooked, instruments in music. This definitive volume celebrates the history of the world's most popular musical device, its impact on various forms of music, folk, country, blues, rock, jazz and classical music. The author traces the development of the harmonica from the ancient Chinese sheng to futuristic harmonica sythesizers. Nearly seventy harmonica masters are profiled including Stevie Wonder, Little Walter, Bob Dylan, Jimmy Reed, Charlie McCoy, Sonny Terry, and John Popper. This updated edition includes an extensive new afterword, an expanded discography of the finest harmonica recordings, and a listing of the best harmonica resources on the internet.

This Companion is the first academic introduction to the 1960s/70s 'Krautrock' movement of German experimental music that has long attracted the attention of the music press and fans in Britain and abroad. It offers a structured approach to this exceptionally heterogeneous and decentralized movement, combining overviews with detailed analysis and close readings. The volume first analyzes the cultural, historical and economic contexts of Krautrock's emergence. It then features expert chapters discussing all the key bands of the era including Can, Kraftwerk, Tangerine Dream, Neu!, Faust, Ash Ra Tempel, Cluster and Amon Duul II. The volume concludes with essays that trace the varied, wide-ranging legacy of Krautrock from a variety of perspectives, exploring in particular the impact of German experimental music in the Anglosphere, including British post-punk and Detroit Techno. A final chapter examining the current bands that continue the Krautrock sound closes this comprehensive overview of the Krautrock phenomenon.

(Book). Devo may have become synonymous with the crass commercialism of '80s new wave, but many of their inspirations and guiding principles are firmly rooted in the idealism of the '60s. They took a willfully non-traditional approach to the surprisingly conservative world of rock music, seeking inspiration instead from Dada and Pop art, comic books and homemade electronics, and in the process becoming a sort of musical Zelig, crossing paths with everything from late '60s psychedelia to punk, krautrock to new wave. Their idiosyncratic philosophy may not always have been consistent, but it served as a deep well of inspiration, and led to them working with such legendary characters as art-rock pioneer Brian Eno and Beatles/Bowie engineer Ken Scott. Published to coincide with the group's 40th anniversary in 2013, Recombo DNA is the first book to evaluate in the proper context the innovations and accomplishments of this truly groundbreaking band. Beginning in 1970, with the transformative effects of the Kent State University shootings which the band-members witness firsthand and ending a decade later with Devo on the cusp of superstardom (with "Whip It"), it traces the sounds and ideas that the group absorbed and in turn brought to prominence as unlikely rock stars. For anyone who has ever wondered where "the band who fell to earth" came from, here is the answer.

The first joint biography of one of rock 'n' roll's greatest song writing teams, Hitmakers Inc. explores the private lives and public triumphs of lyricist Doc Pomus and composer Mort Shuman. Between 1958 and 1965, usually working out of Manhattan's famous Brill Building, they wrote some 500 teen anthems and timeless ballads for Elvis Presley, Ray Charles, The Drifters, Bobby Darin, Del Shannon and Andy Williams among others. Polio-stricken ex-blues shouter Pomus always attracted the press coverage, but after the duo split junior partner Shuman proved the more colourful of the two, acting in films, writing musicals, joining the post-Beatles British beat boom and eventually becoming a chart-topping singer-composer in his own right in - of all places - France. The story of Doc Pomus and Mort Shuman, writing together and individually, reveals a personal dynamic that was both warm and difficult but which at its height produced songs like 'Teenager In Love', 'Save The Last Dance For Me', 'Surrender', 'Little Sister', '(Marie's The Name) His Latest Flame' , 'This Magic Moment' and 'Lonely Avenue'.