'A must for fans and rock buffs' The Sun 'Fascinating read' Powerplay Judas Priest formed in Birmingham in 1969. With its distinctive twin-guitar sound, studs-and-leather image, and international sales of over 50 million records, Judas Priest became the archetypal heavy metal band in the 1980s. Iconic tracks like 'Breaking the Law', 'Living after Midnight', and 'You've Got Another Thing Coming' helped the band achieve extraordinary success, but no one from the band has stepped out to tell their or the band's story until now. As the band approaches its golden anniversary, fans will at last be able to delve backstage into the decades of shocking, hilarious, and haunting stories that surround the heavy metal institution. In Heavy Duty, guitarist K.K. Downing discusses the complex personality conflicts, the business screw-ups, the acrimonious relationship with fellow heavy metal band Iron Maiden, as well as how Judas Priest found itself at the epicentre of a storm of parental outrage that targeted heavy metal in the '80s. He also describes his role in cementing the band's trademark black leather and studs image that would not only become synonymous with the entire genre, but would also give singer Rob Halford a viable outlet by which to express his sexuality. Lastly, he recounts the life-changing moment when he looked at his bandmates on stage during a 2009 concert and thought, 'This is the last show'. Whatever the topic, whoever's involved, K.K. doesn't hold back. From the band at the very beginning until his retirement in 2011 (and even still as a member of the band's board of directors), Downing has seen it all and is now finally at a place in his life where he can also let it all go. Even if you're a lifelong fan, if you think you know the full story of Judas Priest, well, you've got another thing coming.

From humble beginnings Adele has come to be a globally recognised icon. Her first album shot her to fame and the second consolidated her position as a singing/songwriting superstar with lasting, global appeal. She has already won more than 40 industry awards, including 11 Billboard Music Awards, a BRIT award, and eight Grammy awards. She has broken record after record: first artist to sell more than 3m albums in a year in the UK, first living artist to have two top five hits in both the UK singles and albums charts simultaneously since the Beatles, the first artist in history to lead the Billboard chart concurrently with three number ones, 21 is the longest running number one album by a female solo artist on the UK chart and in the US it held the top position for longer than any other album since 1993.

Voices Found: Free Jazz and Singing contributes to a wave of voice studies scholarship with the first book-length study of free jazz voice. It pieces together a history of free jazz voice that spans from sound poetry and scat in the 1950s to the more recent wave of free jazz choirs. The author traces the developments and offers a theory, derived from interviews with many of the most important singers in the history of free jazz voice, of how listeners have experienced and evaluated the often unconventional vocal sounds these vocalists employed. This theory explains that even audiences willing to enjoy harsh sounds from saxophones or guitars often resist when voices make sounds that audiences understand as not-human. Experimental poetry and scat were combined and transformed in free jazz spaces in the 1960s and 1970s by vocalists like Yoko Ono (in solo work and her work with Ornette Coleman and John Stevens), Jeanne Lee (in her solo work and her work with Archie Shepp and Gunter Hampel), Leon Thomas (in his solo work as well as his work with Pharoah Sanders and Carlos Santana), and Phil Minton and Maggie Nicols (who devoted much of their energy to creating unaccompanied free jazz vocal music). By studying free jazz voice we can learn important lessons about what we expect from the voice and what happens when those expectations are violated. This book doesn't only trace histories of free jazz voice, it makes an attempt to understand why this story hasn't been told before, with an impressive breadth of scope in terms of the artists covered, drawing on research from the US, Canada, Wales, Scotland, France, The Netherlands, and Japan.

'Honest and moving' Independent on Sunday Freddie Mercury was a rock superstar like no other. Recently the focus of the Academy Award-winning film Bohemian Rhapsody, he generated over GBP1 billion worth of sales in a career spanning two decades. But for all his riches, Mercury could not buy the thing he sought most: the love of one particular man. Jim Hutton was a modest gentleman's barber when the two met in 1983. After many fiery false starts, they became lasting lovers. From the moment they lived together, wherever Mercury went, Hutton went too. And whoever Mercury met, Hutton met too - from Phil Collins to Elton John, David Bowie to the other members of Queen. They laughed together, fought together and, in Mercury's final years, they often cried together. Freddie Mercury was forty-five when he died from AIDS in Hutton's arms. No one can tell the story of the last few years of Mercury's private life - the ecstasies and the agonies - more accurately or honestly than Jim Hutton.

The voice of Amália Rodrigues (1920-1999), the “Queen of Fado� and Portugal’s most celebrated diva, was extraordinary for its interpretive power, soul wrenching timbre, and international reach. Amalia à l’Olympia (1957) is an album made from recordings of her first performances at the fabled Olympia Music Hall in Paris in 1956. This album, which was issued for multiple national markets (including: France; USA; Japan; Britain; the Netherlands) catapulted Amália Rodrigues into the international limelight. During its time, this album held the potential for international listeners, outside of Portugal, to represent Portugal, while also standing in for cosmopolitanism, the glamorous city of Paris, and to present a sonorous voyage in sound. This book introduces readers to the voice of Amália Rodrigues and to the genre of the Portuguese fado, offering a primer in how to listen to both. It unpacks this iconic album and the voice, sound, style, and celebrity of Amália Rodrigues. It situates this album within a historical context marked by cold war Atlanticist diplomacy, Portugal’s dictatorial regime, and the emergence of new forms of media, travel, and tourism.In so doing, it examines processes that shaped the internationalization of peripheral popular musics and the making of female vocal stardom in the mid-20th century.

The double bass - the preferred bass instrument in popular music during the 1960s - was challenged and subsequently superseded by the advent of a new electric bass instrument. From the mid-1960s and throughout the 1970s, a melismatic and inconsistent approach towards the bass role ensued, which contributed to a major change in how the electric bass was used in performance and perceived in the sonic landscape of mainstream popular music. Investigating the performance practice of the new, melodic role of the electric bass as it appeared (and disappeared) in the 1960s and 1970s, the book turns to the number one songs of the American Billboard Hot 100 charts between 1951 and 1982 as a prime source. Through interviews with players from this era, numerous transcriptions - elaborations of twenty bass related features - are presented. These are juxtaposed with a critical study of four key players, who provide the case-studies for examining the performance practice of the melodic electric bass. This highly original book will be of interest not only to bass players, but also to popular musicologists looking for a way to instigate methodological and theoretical discussions on how to develop popular music analysis.

This book examines do-it-yourself (DIY) approaches to the collection, preservation, and display of popular music heritage being undertaken by volunteers in community archives, museums and halls of fame globally. DIY institutions of popular music heritage are much more than 'unofficial' versions of 'official' institutions; rather, they invoke a complex network of affect and sociality, and are sites where interested people - often enthusiasts - are able to assemble around shared goals related to the preservation of and ownership over the material histories of popular music culture. Drawing on interviews and observations with founders, volunteers and heritage workers in 23 DIY institutions in Australasia, Europe and North America, the book highlights the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music's material history. It reveals the kinds of collections being housed in these archives, how they are managed and maintained, and explores their relationship to mainstream heritage institutions. The study also considers the cultural labor of volunteers in the DIY institution, arguing that while these are places concerned with heritage management and the preservation of artefacts, they are also extensions of musical communities in the present in which activities around popular music preservation have personal, cultural, community and heritage benefits. By looking at volunteers' everyday interventions in the archiving and curating of popular music's material past, the book highlights how DIY institutions build upon national heritage strategies at the community level and have the capacity to contribute to the democratization of popular music heritage. This book will have a broad appeal to a range of scholars in the fields of popular music studies, musicology, ethnomusicology, archive studies and archival science, museum studies, critical heritage studies, cultural studies, cultural sociology and media studies.

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From youth violence, to the impact of high stakes educational testing, to editorial hand wringing over the moral failures of hip-hop culture, young people of color are often portrayed as gang affiliated, "troubled," and ultimately, dangerous. The Hip-Hop Generation Fights Back examines how youth activism has emerged to address the persistent inequalities that affect urban youth of color. Andreana Clay provides a detailed account of the strategies that youth activists use to frame their social justice agendas and organize in their local communities.

Based on two years of fieldwork with youth affiliated with two non-profit organizations in Oakland, California, The Hip-Hop Generation Fights Back shows how youth integrate the history of social movement activism of the 1960s, popular culture strategies like hip-hop and spoken word, as well as their experiences in the contemporary urban landscape, to mobilize their peers. Ultimately, Clay's comparison of the two youth organizations and their participants expands our understandings of youth culture, social movements, popular culture, and race and ethnic relations.

This book explores the trend of retro and nostalgia within contemporary popular music culture. Using empirical evidence obtained from a case study of fans' engagement with older music, the book argues that retro culture is the result of an inseparable mix of cultural and technological changes, namely, the rise of a new generation and cultural mood along with the encouragement of new technologies. Retro culture has become a hot topic in recent years but this is the first time the subject has been explored from an academic perspective and from the fans' perspective. As such, this book promises to provide concrete answers about why retro culture dominates in contemporary society. For the first time ever, this book provides an empirically grounded theory of popular music, retro culture and its intergenerational audience in the twenty-first century. It will appeal to advanced students of popular music studies, cultural studies, media studies, sociology and music.

The Bloomsbury Handbook of Popular Music Policy is the first thorough analysis of how policy frames the behavior of audiences, industries, and governments in the production and consumption of popular music. Covering a range of industrial and national contexts, this collection assesses how music policy has become an important arm of government, and a contentious arena of global debate across areas of cultural trade, intellectual property, and mediacultural content. It brings together a diverse range of researchers to reveal how histories of music policy development continue to inform contemporary policy and industry practice. The Handbook maps individual nation case studies with detailed assessment of music industry sectors. Drawing on international experts, the volume offers insight into global debates about popular music within broader social, economic, and geopolitical contexts.

We arrived in a fleet of white stretch limos at a clearing in a wood near Woking. Here the K Foundation was exhibiting a million pounds in cash, while Bill Drummond and Jimmy Cauty circled the perimeter in two orange Saracen armoured vehicles, blasting out Abba's 'Money Money Money' . . .

Mick Houghton worked with some of the greatest, most influential and downright dysfunctional cult groups of the post-punk era and beyond - Ramones, Talking Heads, The Jesus and Mary Chain, The Undertones, Felt and Sonic Youth among them.

But the three acts Mick is most closely identified with are Echo & the Bunnymen, Julian Cope, and the KLF. As confidant and co-conspirator, he navigated the minefield of rivalries and contrasting fortunes which make Fried & Justified such a candid, amusing and insightful picture of an exciting and inspirational period for music.

The playback of recordings is the primary means of experiencing music in contemporary society, and in recent years 'classical' musicologists and popular music theorists have begun to examine the ways in which the production of recordings affects not just the sound of the final product but also musical aesthetics more generally. Record production can, indeed, be treated as part of the creative process of composition. At the same time, training in the use of these forms of technology has moved from an apprentice-based system into university education. Musical education and music research are thus intersecting to produce a new academic field: the history and analysis of the production of recorded music. This book is designed as a general introductory reader, a text book for undergraduate degree courses studying the creative processes involved in the production of recorded music. The aim is to introduce students to the variety of approaches and methodologies that are currently being employed by scholars in this field. The book is divided into three sections covering historical approaches, theoretical approaches and case studies and practice. There are also three interludes of commentary on the academic contributions from leading record producers and other industry professionals. This collection gives students and scholars a broad overview of the way in which academics from the analytical and practice-based areas of the university system can be brought together with industry professionals to explore the ways in which this new academic field should progress.

Popular Music Theory and Analysis: A Research and Information Guide uncovers the wealth of scholarly works dealing with the theory and analysis of popular music. This annotated bibliography is an exhaustive catalog of music-theoretical and musicological works that is searchable by subject, genre, and song title. It will support emerging scholarship and inquiry for future research on popular music.

A must-have book for any fan of the Beatles. This book shows how the Fab Four were heavily influenced by music from America and many of their concerts were built around classic songs that had their roots in American R&B, soul, and rock 'n' roll.

A chance encounter at a summer party on Martha's Vineyard blossomed into an improbable but enduring friendship. Carly Simon and Jacqueline Kennedy Onassis made an unlikely pair - Carly, a free and artistic spirit still reeling from her recent divorce, searching for meaning, new love, and an anchor; and Jackie, one of the most celebrated, meticulous, unknowable women in American history. Nonetheless, over the next decade their lives merged in inextricable and complex ways, and they forged a connection deeper than either could ever have foreseen. The time they spent together - lingering lunches and creative collaborations, nights out on the town and mundane movie dates - brought a welcome lightness and comfort to their days, but their conversations often veered into more profound territory as they helped each other navigate the shifting waters of life lived, publicly, in the wake of great love and great loss. An intimate, vulnerable, and insightful portrait of the bond that grew between two iconic and starkly different American women, Carly Simon's Touched by the Sun is a chronicle, in loving detail, of the late friendship she and Jackie shared. It is a meditation on the ways someone can unexpectedly enter our lives and change its course, as well as a celebration of kinship in all its many forms.

Radiohead and the Journey Beyond Genre traces the uses and transgressions of genre in the music of Radiohead and studies the band's varied reception in online and offline media. Radiohead's work combines traditional rock sounds with a unique and experimental approach towards genre that sets the band apart from the contemporary mainstream. A play with diverse styles and audience expectations has shaped Radiohead's musical output and opened up debates about genre amongst critics, fans, and academics alike. Interpretations speak of a music that is referential of the past but also alludes to the future. Applying both music- and discourse-analytical methods, the book discusses how genre manifests in Radiohead's work and how it is interpreted amongst different audience groups. It explores how genre and generic flexibility affect the listeners' search for musical meaning and ways of discussion. This results in the development of a theoretical framework for the study of genre in individual popular music oeuvres that explores the equal validity of widely differing forms of reception as a multidimensional network of meaning. While Radiohead's music is the product of an eclectic mixture of musical influences and styles, the book also shows how the band's experimental stance has increasingly fostered debates about Radiohead's generic novelty and independence. It asks what remains of genre in light of its past or imminent transgression. Offering new perspectives on popular music genre, transgression, and the music and reception of Radiohead, the book will appeal to academics, students, and those interested in Radiohead and matters of genre. It contributes to scholarship in musicology, popular music, media, and cultural studies.

'[An] astute reckoning with modern celebrity' - The Times 'A wild read' - The Guardian 'A well-researched, measured account' - The Sun Part biography, part social history, Being Britney pieces together a collage of stories, interviews, legends and fan experiences to construct a definitive portrait of one of the biggest stars in recent history. In her unique narrative, acclaimed music author Jennifer Otter Bickerdike provides a sympathetic yet objective re-examination of Britney's trajectory from girl next door to woman trapped by fame. Being Britney is the compelling account of a talented, troubled and talked-about modern icon, whose life, work and individual significance will be recognised for many decades to come. 'After years of being framed as a victim, Britney deserves to be celebrated as the fighter, inspiration and enigma she truly is.' - Jennifer Otter Bickerdike

In today's culture, popular music is a vital site where ideas about gender and sexuality are imagined and disseminated. Popular Music and the Politics of Hope: Queer and Feminist Interventions explores what that means with a wide-ranging collection of chapters that consider the many ways in which contemporary pop music performances of gender and sexuality are politically engaged and even radical. With analyses rooted in feminist and queer thought, contributors explore music from different genres and locations, including Beyonce's Lemonade, A Tribe Called Red's We Are the Halluci Nation, and celebrations of Vera Lynn's 100th Birthday. At a bleak moment in global politics, this collection focuses on the concept of critical hope: the chapters consider making and consuming popular music as activities that encourage individuals to imagine and work toward a better, more just world. Addressing race, class, aging, disability, and colonialism along with gender and sexuality, the authors articulate the diverse ways popular music can contribute to the collective political projects of queerness and feminism. With voices from senior and emerging scholars, this volume offers a snapshot of today's queer and feminist scholarship on popular music that is an essential read for students and scholars of music and cultural studies.

Boy Bands and the Performance of Pop Masculinity provides a history of the boy band from the Beatles to One Direction, placing the modern male pop group within the wider context of twentieth- and twenty-first-century popular music and culture. Offering the first extended look at pop masculinity as exhibited by boy bands, this volume links the evolving expressions of gender and sexuality in the boy band to wider economic and social changes that have resulted in new ways of representing what it is to be a man. The popularity of boy bands is unquestionable, and their contributions to popular music are significant, yet they have attracted relatively little study. This book fills that gap with chapters exploring the challenges of defining the boy band phenomenon, its origins and history from the 1940s to the present, the role of management and marketing, the performance of gender and sexuality, and the nature of fandom and fan agency. Throughout, the author illuminates the ways in which identity politics influence the production and consumption of pop music and shows how the mainstream pop of boy bands can both reinforce and subvert gender and class hierarchies.

Pop music and rock music are often treated as separate genres but the distinction has always been blurred. Motti Regev argues that pop-rock is best understood as a single musical form defined by the use of electric and electronic instruments, amplification and related techniques. The history of pop-rock extends from the emergence of rock'n'roll in the 1950s to a variety of contemporary fashions and trends rock, punk, soul, funk, techno, hip hop, indie, metal, pop and many more. This book offers a highly original account of the emergence of pop-rock music as a global phenomenon in which Anglo-American and many other national and ethnic variants interact in complex ways. Pop-rock is analysed as a prime instance of 'aesthetic cosmopolitanism' that is, the gradual formation, in late modernity, of world culture as a single interconnected entity in which different social groupings around the world increasingly share common ground in their aesthetic perceptions, expressive forms and cultural practices. Drawing on a wide array of examples, this path-breaking book will be of great interest to students and scholars in cultural sociology, media and cultural studies as well as the study of popular music.

To date, there has been a significant gap in work on the social history of music in Britain from 1950 to the present day. The three volumes of Live Music in Britain address this gap and do so through a unique prism-that of live music. The key theme of the books is the changing nature of the live music industry in the UK, focused upon popular music but including all musical genres. Via this focus, the books offer new insights into a number of other areas, including the relationship between commercial and public funding of music, changing musical fashions and tastes, the impact of changing technologies, the changing balance of power within the music industries, the role of the state in regulating and promoting various musical activities within an increasingly globalised music economy, and the effects of demographic and other social changes on music culture. Drawing on new archival research, a wide range of academic and non-academic secondary sources, participant observation and a series of interviews with key personnel, the books have the potential to become landmark works within Popular Music Studies and broader cultural history. The second volume covers the period from Hyde Park to the Hacienda (1968-84).

The field of popular music production is overwhelmingly male dominated. Here, Paula Wolfe discusses gendered notions of creativity and examines the significant under-representation of women in studio production. Wolfe brings an invaluable perspective as both a working artist-producer and as a scholar, thereby offering a new body of research based on interviews and first-hand observation. Wolfe demonstrates that patriarchal frameworks continue to form the backbone of the music industry establishment but that women's work in the creation and control of sound presents a potent challenge to gender stereotyping, marginalisation and containment of women's achievements that is still in evidence in music marketing practices and media representation in the digital era.

With a voice that Pitchfork has called "as scratchy as a three-day beard yet as supple and pliable as moccasin leather," former Screaming Trees and Queens of the Stone Age vocalist Mark Lanegan draws frequent comparisons to wounded masters of doom like Tom Waits, Nick Cave, and Leonard Cohen. But Lanegan's talents aren't limited to his vocal skills. His lyrics are on par with the best of them, exploring with Blakeian insight the stark and scorched emotional terrain that exists somewhere beyond sadness, addiction, trauma, and spiritual longing. Now, for the first time ever, the reclusive singer presents a comprehensive look at his lyrics, the stories behind them, and the making of his albums as well as photos, insights, and ephemera from a long career in rock 'n' roll, I Am the Wolf gives fans a rare and candid glimpse into the inner workings of a living-and singular-rock legend.

Pop Music Production delves into academic depths around the culture, the business, the songwriting, and most importantly, the pop music production process. Phil Harding balances autobiographical discussion of events and relationships with academic analysis to offer poignant points on the value of pure popular music, particularly in relation to BoyBands and how creative pop production and songwriting teams function. Included here are practical resources, such as recording studio equipment lists, producer business deal examples and a 12-step mixing technique, where Harding expands upon previously released material to explain how 'Stay Another Day' by East 17 changed his approach to mixing forever. However, it is important to note that Harding almost downplays his involvement in his career. At no point is he center stage; he humbly discusses his position within the greater scheme of events. Pop Music Production offers cutting-edge analysis of a genre rarely afforded academic attention. This book is aimed at lecturers and students in the subject fields of Music Production, Audio Engineering, Music Technology, Popular Songwriting Studies and Popular Music Culture. It is suitable for all levels of study from FE students through to PhD researchers. Pop Music Production is also designed as a follow-up to Harding's first book PWL from the Factory Floor (2010, Cherry Red Books), a memoir of his time working with 1980s pop production and songwriting powerhouse, Stock Aitken Waterman, at PWL Studios.