The Clash: trendsetters, icons, revolutionaries. They were the pioneers of British punk rock and their story is steeped in mythology. Many people have an opinion about what made them who they were - this book gives the chance to read the full story, from the band themselves. This is the first official book to be created by the band. With unprecedented access to the Clash archive, this landmark publication brings together previously unseen material - including tour posters, artwork, and photos of the band at home, on stage, in the studio and on the road - with each member telling it like it was, in their own words.

For at least two centuries, and arguably much longer, Ireland has exerted an important influence on the development of the traditional, popular and art musics of other regions, and in particular those of Britain and the United States. During the past decade or so, the traditional musics of the so-called Celtic regions have become a focus of international interest. The phenomenal success of shows such as Riverdance (which appeared in 1995, spawned from a 1994 Eurovision Song Contest interval act) brought Irish music and dance to a global audience and played a part in the further commoditization of Irish culture, including traditional music. However, there has been until now, relatively little serious musicological study of the traditional music of Northern Ireland. Northern Ireland remains a divided community in which traditional culture, in all its manifestations, is widely understood as a marker of religious affiliation and ethnic identity. Since the outbreak of the most recent 'troubles' around 1968, the borders between the communities have often been marked by music. For example, many in the Catholic, nationalist community, regard the music of Orange flute bands and Lambeg drums as a source of intimidation. Equally, many in the Protestant community have distanced themselves from Irish music as coming from a different ethnic tradition, and some have rejected tunes, styles and even instruments because of their association with the Catholic community and the Irish Republic. Of course, during the same period many other Protestants and Catholics have continued to perform in an apolitical context and often together, what in earlier times would simply have been regarded as folk or country music. With the increasing espousal of a discrete Ulster Scots tradition since the signing of the Belfast (or 'Good Friday') Agreement in 1998, the characteristics of the traditional music performed in Northern Ireland, and the place of Protestant musicians within popular Irish culture, clearly require a more thoroughgoing analysis. David Cooper's book provides such analysis, as well as ethnographic and ethnomusicological studies of a group of traditional musicians from County Antrim. In particular, this book offers a consideration of the cultural dynamics of Northern Ireland with respect to traditional music.

Finding the right rhyme can be excruciating, songwriters too often choosing ridiculous words in desperation. This is an invaluable resource for any budding songwriter or even an experienced lyricist with writer's block. Featuring tips on songwriting, the book focuses on the types of rhyme and assonance (end rhymes, last syllable rhymes, double rhymes, beginning rhymes, first syllable rhymes) for a range of popular styles. Arranged phonetically and drawn from a variety of musical 'dialects', from rock and pop to folk and hip-hop, this is the quick and simple guide you need.

Is Bob Marley the only third world superstar? How did he achieve this unique status? In this captivating new study of one of the most influential musicians of the twentieth century, Jason Toynbee sheds new light on issues such as Marley's contribution as a musician and public intellectual, how he was granted access to the global media system, and what his music means in cultural and political terms.
Tracing Marley's life and work from Jamaica to the world stage, Toynbee suggests that we need to understand Marley first and foremost as a 'social author'. Trained in the co-operative yet also highly competitive musical laboratory of downtown Kingston, Marley went on to translate reggae into a successful international style. His crowning achievement was to mix postcolonial anger and hope with Jamaican textures and beats to produce the first world music.
However the period since his death has been marked by brutal and intensifying inequality in the capitalist world system. There is an urgent need, then, to reconsider the nature of his legacy. Toynbee does this in the concluding chapters, weighing Marley's impact as advocate of human emancipation against his marginalisation as a 'Natural Mystic' and pretext for disengagement from radical politics.

A collection of classic Tori Amos songs, arranged for easy piano with full lyrics and chord symbols. Includes: Bliss * Cornflake Girl * Pretty Good Year * Silent All These Years * Winter * and more.

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.

Black Sea Sketches is a portrait of some of the diverse musical cultures surrounding the Black Sea and in its hinterlands. Its six separate chapters follow a very broad trajectory from close-ups of traditional music (chapters 1-4) towards wide-angle studies of art music (chapters 5-6), and each of them opens windows to big, border-crossing themes about music and place. A wide variety of repertoires is discussed: ancient layers of polyphonic music, bardic songs, traditional music from the coasts and mountains, the sacred music of Islam and Orthodox Christianity, the art music of Europe and West Asia, and present-day popular music 'scenes'. The usual practice is for each chapter to begin with a Black Sea coastal location before reaching out into the hinterlands. The result is a collection of six relatively discrete essays on different locations and topics, but with underlying thematic continuities, and offering a wide-ranging commentary on cultural difference. Firmly grounded in ethnographic and documentary research, this is an important study for scholars and researchers of Ethnomusicology, as also of Caucasian and Russian/East European Studies.

Prince was a spiritual and musical enigma who sought to transcend race and gender through his words, music, and fashion. Raised as a Seventh-Day Adventist and later going door-to-door as a Jehovah's Witness, he expressed his faith overtly and allegorically, erotically and poetically. Theology and Prince is an edited collection on theology and the life, music, and films of Prince Rogers Nelson. Written for academics yet accessible for the layperson, this book explores Prince's ideas of the afterlife; race and social justice activism; eroticism; veganism; spiritual alter egos (with a deep dive into the dark character of "Spooky Electric"); a queer listening of the Purple Rain album; the theology of the Graffiti Bridge film (featuring interviews with co-star Ingrid Chavez and other collaborators), and a story from Texas of a Christian worship service designed around Prince's music in the wake of his passing. Those interested in theology and popular culture; scholars of social justice, racial identity, LGBTQ+ studies, and gender studies; as well as Prince "fams" will find new ways of viewing Prince's old and new works.

The definition of 'heavy metal' is often a contentious issue and in this lively and accessible text Andrew Cope presents a refreshing re-evaluation of the rules that define heavy metal as a musical genre. Cope begins with an interrogation of why, during the late 1960s and early 1970s, Birmingham provided the ideal location for the evolution and early development of heavy metal and hard rock. The author considers how the influence of the London and Liverpool music scenes merged with the unique cultural climate, industry and often desolated sites of post-war Birmingham to contribute significantly to the development of two unique forms of music: heavy metal and hard rock. The author explores these two forms through an extensive examination of key tracks from the first six albums of both Black Sabbath and Led Zeppelin, in which musical, visual and lyrical aspects of each band are carefully compared and contrasted in order to highlight the distinctive innovations of those early recordings. In conclusion, a number of case studies are presented that illustrate how the unique synthesis of elements established by Black Sabbath have been perpetuated and developed through the work of such bands as Iron Maiden, Metallica, Pantera, Machine Head, Nightwish, Arch Enemy and Cradle of Filth. As a consequence, the importance of heavy metal as a genre of music was firmly established, and its longevity assured.

Take over from Trey Cool to become the drummer for Green Day! Green Day Authentic Drums Playalong presents eight songs that span their awesome career, arranged for drums with drum charts, melody line and chord symbols, transcribed from the original recordings. This book includes a specially recorded soundalike online audio, with full performance demonstrations and backing tracks for you to play and sing along to.

Bob Dylan: All the Songs focuses on Dylan's creative process and his organic, unencumbered style of recording. It is the only book to tell the stories, many unfamiliar even to his most fervent fans, behind the more than 500 songs he has released over the span of his career. Organized chronologically by album, and updated to include all of his most recent work including the 2020 release of his 39th album, Rough and Rowdy Ways, Margotin and Guesdon detail the origins of his melodies and lyrics, his process in the recording studio, the instruments he used, and the contribution of a myriad of musicians and producers to his canon.

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

Women, Music, Culture: An Introduction, Third Edition is the first undergraduate textbook on the history and contributions of women in a variety of musical genres and professions, ideal for students in Music and Gender Studies courses. A compelling narrative, accompanied by 112 guided listening experiences, brings the world of women in music to life. The author employs a wide array of pedagogical aides, including a running glossary and a comprehensive companion website with links to Spotify playlists and supplementary videos for each chapter. The musical work of women throughout history-including that of composers, performers, conductors, technicians, and music industry personnel-is presented using both art music and popular music examples. New to this edition: An expansion from 57 to 112 listening examples conveniently available on Spotify. Additional focus on intersectionality in art and popular music. A new segment on Music and #MeToo and increased coverage of protest music. Additional coverage of global music. Substantial updates in popular music. Updated companion website materials designed to engage all learners. Visit the author's website at www.womenmusicculture.com

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.

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 book showcasing the legendary Fleetwood Mac blues session at Chicago's Chess Studios in January 1969 Taken by the only photographer present, some of these photos were originally shown on the first release of the album recorded that day: Fleetwood Mac in Chicago. Now, for the first time, all of the color and black-and-white shots from that day are presented in one collection, including many that have never before been published. Along with founding Fleetwood Mac members Peter Green, Danny Kirwan, Jeremy Spencer, Mick Fleetwood, and John McVie, the major Chicago blues musicians featured at the session, including Willie Dixon, Otis Spann, and Buddy Guy, are shown in high-quality images, created directly from the author's original negatives. Forewords by both producers present at the session, Mike Vernon MBE, and Marshall Chess, provide the setting for the music created that day. Also featured throughout the book are recollections by many of Fleetwood Mac's contemporaries, such as Kim Simmonds, Aynsley Dunbar, and Martin Barre, as well as a new interview with Buddy Guy. The resulting volume is sure to be a must-have that belongs on every fan's and collector's bookshelf.

The theme of this Research Companion is 'connectivity and the global reach of electroacoustic music and sonic arts made with technology'. The possible scope of such a companion in the field of electronic music has changed radically over the last 30 years. The definitions of the field itself are now broader - there is no clear boundary between 'electronic music' and 'sound art'. Also, what was previously an apparently simple divide between 'art' and 'popular' practices is now not easy or helpful to make, and there is a rich cluster of streams of practice with many histories, including world music traditions. This leads in turn to a steady undermining of a primarily Euro-American enterprise in the second half of the twentieth century. Telecommunications technology, most importantly the development of the internet in the final years of the century, has made materials, practices and experiences ubiquitous and apparently universally available - though some contributions to this volume reassert the influence and importance of local cultural practice. Research in this field is now increasingly multi-disciplinary. Technological developments are embedded in practices which may be musical, social, individual and collective. The contributors to this companion embrace technological, scientific, aesthetic, historical and social approaches and a host of hybrids - but, most importantly, they try to show how these join up. Thus the intention has been to allow a wide variety of new practices to have voice - unified through ideas of 'reaching out' and 'connecting together' - and in effect showing that there is emerging a different kind of 'global music'.

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.

'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.

Half a century after three teenage brothers decided to give a career in music a go, the Bee Gees are among the most successful and enduring names in popular music history. Trailblazing their way across pop music since the 1960s, Barry, Robin, and Maurice Gibb have made their songs Stayin' Alive, How Deep is Your Love, To Love Somebody, and I Started a Joke, timeless. Filled with staggering highs - especially as they became the definitive band of the disco era - The Little Guide to the Bee Gees is packed with quotes perfect for the music-lover in your life and just might help you stay alive. 'Contrary to popular belief, we have no leader. We call it a democratic dictatorship.' - Maurice Gibb 'We are brothers first, a pop group second.' - Barry Gibb 'Show business is something you have to have in you when you're born.' - Robin Gibb

There are undercurrents and peripheral taste preferences that are a defining part of our individual and collective cultural experience. Music is no exception. George Plasketes adapts the iconic "A-side/B-side" dichotomy from the 45 r.p.m. for use as a unique conceptual, critical, historical, and cultural framework for exploring and threading together a variety of popular music and media texts. The profiles and perspectives focus on the peripheries; on texts which might be considered "B-sides""overlooked, underappreciated, and unsung cases, creators, patterns and productions that have unassumingly, but significantly, marked popular culture, music and media during the past 40 years. The underappreciated yet enduring contributions of a variety of creative individuals in music, television and film are a centerpiece of this volume: actress Doris Day's son, Terry Melcher, a 1960s music producer whose imprint is on the surf, country blues, garage pop and most importantly the folk rock genre; Hans Fenger's kid chorus cover project, a musical variation of "outsider art" that became representative of the tribute wave that began in the 1990s and continues today; versatile guitarist virtuoso Ry Cooder's extensive film soundtrack work; World Music "missionary efforts" of American artists beyond Paul Simon's Graceland, including Neil Diamond's precursor with Tap Root Manuscript in the 1970s and the exotic adventures of Henry Kaiser and David Lindley in Madagascar and Norway"to name just a few examples. These B-sides represent undercurrents, but they resonate as overtones in the mainstream of music and culture, many as historical hinges. Collectively, these B-sides are an A-side antidote of outskirt observations, individual snapshots of artists, artifacts and rituals, genres and generations, producers and musical productions in television, film and video. They constitute an important connect-the-dots cultural chronicle with a multi-layered context"social, legal, historic, economic, technological, generational, aesthetic"for interpreting the interrelations between creators and institutions, the music market place, the production of culture and important connections between the peripheral and the popular.

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.

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

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.