In The 10 Rules of Rock and Roll, Robert Forster takes readers on an exhilarating trip through the past and present of popular music – from Bob Dylan, AC/DC and Nana Mouskouri through to Cat Power, Franz Ferdinand and … Delta Goodrem.
To accompany Forster’s acclaimed writing for The Monthly, there are some stunning new pieces – ‘The 10 Rules’ and ‘The 10 Bands I Wish I’d Been In’ and an appreciation of Guy Clark – as well as a reflection on The Velvet Underground, a short story about Normie Rowe and a moving tribute to fellow Go-Between Grant McLennan.
Funny and illuminating, The 10 Rules of Rock and Roll shows a great critic at work.
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.
--Their debut album, "Korn" went platinum and has sold millions
--"Life is Peachy" debuted at number three on the Billboard charts
--Korn's latest album, "Follow the Leader" has sold over two million copies and remained on the Billboard charts for over twenty-eight weeks.
Elina Furman's in-depth look at the band's meager beginings to their breakthrough success with "Follow the Leader," their current multi-platinum album is a fan's ultimate guide.
It's a story of jazz pilgrims and blues blowers, Teddy Boys and beatnik girls, coffee-bar bohemians and refugees from the McCarthyite witch-hunts. Billy traces how the guitar came to the forefront of music in the UK and led directly to the British Invasion of the US charts in the 1960s.
Emerging from the trad-jazz clubs of the early '50s, skiffle was adopted by kids who growing up during the dreary, post-war rationing years. These were Britain's first teenagers, looking for a music of their own in a pop culture dominated by crooners and mediated by a stuffy BBC. Lonnie Donegan hit the charts in 1956 with a version of 'Rock Island Line' and soon sales of guitars rocketed from 5,000 to 250,000 a year.
Like punk rock that would flourish two decades later, skiffle was a do-it-yourself music. All you needed were three guitar chords and you could form a group, with mates playing tea-chest bass and washboard as a rhythm section.
The chapters are a collection of research findings produced for the International Communications and Youth Cultures Consortium (ICYC), an informal group of international scholars in many disciplines who are committed to understanding the economic and social factors that influence cultures and youth. Their point of view in this work is their individual country and the tensions that arise from the development of international communication systems. Each view is from inside the country; external influences are not subjects of study in themselves but are viewed as part of a complex scene along with other variables operating in various national situations.
'As sharp a study of British pop as we'll get ... Rimmer's point is that if the new pop stars' success makes it seem 'like punk never happened', they emerged, in fact, as a direct result of punk attitudes... Rimmer tells this story in his raciest Smash Hits manner, with wit, insider info and scandal.' Simon Frith, City Limits
'Rimmer is among the most entertaining writers ever to pen a rock book.' Dave Marsh, Rock and Roll Confidential
The glamour of costume, greasepaint and cross-dressing was put to good use by New Romantic groups like Spandau Ballet, Duran Duran, Soft Cell, Culture Club and the Human League, while the world also looked to Britain for the most exciting pop acts such as the multi-million-selling Wham!, Frankie Goes To Hollywood, Eurythmics and the Pet Shop Boys. Mainstream dance music was at its peak, spearheaded by Stock, Aitken and Waterman, and their stable of artists, including Kylie Minogue, Jason Donovan and Rick Astley, were all chart-topping names.
From the USA came the artist of the decade, Michael Jackson, while Madonna and Whitney Houston provided the 'Girl Power' of the '80s. The decade also saw the philanthropic side of the music industry as the stars responded to famine in Ethiopia with the charity records 'Do They Know It's Christmas?' and 'We Are The World'.
The'80s catered for all musical tastes, no matter how bizarre, and was far more eclectic than any other decade. From bubble-gum pop with Bucks Fizz to the stadium rock of Simple Minds,'80s Chart-Toppers brings a comprehensive year-by-year, month-by-month guide to the hottest sounds of the decade.
Richard King, author of How Soon is Now, blends memoir and elegiac music writing on the likes of Captain Beefheart, CAN and Julian Cope, to create a book that recalls the debauched glory days of the independent record shop. Chaotic, amateurish and extravagantly dysfunctional, this is a book full of rare personalities and rum stories. It is a book about landscape, place and the personal; the first piece of writing to treat the environment of the record shop as a natural resource with its own peculiar rhythms and anecdotal histories.
While there were over 1500 girl groups recorded in the '60s--including key hitmakers like the Ronettes, the Supremes, and the Shirelles - studies of girl-group music that address race, gender, class, and sexuality have only just begun to appear. Warwick is the first writer to address '60s girl group music from the perspective of its most significant audience--teenage girls--drawing on current research in psychology and sociology to explore the important place of this repertoire in the emotional development of young girls of the baby boom generation.
Girl Groups, Girl Culture stands as a landmark study of this important pop music and cultural phenomenon. It promises to be a classic work in American musicology and cultural studies.
Every Chart-Topper Tells a Story: The Sixties takes a look at the number-one hit singles of the decade in Britain from artists such as The Rolling Stones, The Beatles, Elvis Presley, Dusty Springfield, Ken Dodd, Cilla Black, The Supremes, Cliff Richard and Helen Shapiro, and is a valuable and entertaining source of information for all those interested in the sixties' music scene.