Due to unsuccessful auditions, they decided to play with a MIDI sequencer to do the bass parts quite difficult to do live - and started writing their first original material. Soon, however, they dissolved and the band went into a two years hiatus. InLibertini was replaced by Nicki Defala and recorded their first album. Two years later, inoriginal Gnats drummer Mark Conese joined the group again and in came new bassist Wayne Zito. In he was joined by Thorsten Reinhardt.
A re-release, 20 bit remastered with added bonus tracks, of "Liquid Mirror" was scheduled for spring This track appears towards the end of the CD, which may be a bit too long in my opinion.
CD Swedish female singer and keyboardist that started her career as a jazz pianist in the early s. She abandoned jazz after discovering the Hammond organ and founded a rock group called Meritones with whom she recorded an LP during the late s.
Soon after the Meritones dissolved, while Merit continued on her own. Her solo material drew heavily on traditional Swedish folk music, coupled with largely instrumental progressive rock. His biography and discography is closely related to that of his band Tribal Tech. LP Relativity CD, ? Then return and pick out the good pieces here. But I presume that he has had a good time recording the disc. In summer ofhe dropped out to work solo.
The music on his only. In early Hennig assembled a new line-up for Ihre Kinder, ending his short solo-career. Although at first the combination of musicians seems a little odd, there is some logic to the choice.
The line-up consists of Tim Bowness on vocals and guitar, Stephen Bennet on keys and guitars, Fudge Smith on drums, Peter Chilvers on bass, stick, guitar and keys, Michael Bearpark on guitar and Myke Clifford on sax and flute. I can imagine some of you will never have heard of most of these bands, but Fudge is mostly known for his work with Pendragon and Steve Hackett whilst Tim is of course one of the main figures in No-Man. And some of the fantastic climaxes in some tracks can even be associated with Godspeed You Black Emperor!.
A very exciting record screaming for a follow-up! The result can be heard on two albums recorded by Transatlantic. Another example of putting some guys in one room and let them make some prog music is Henry Fool. Listening to it, it only shows that every combination is different. The album has some fine moments but they also did some things that not really is my kind of prog - no Transatlantic but certainlly worth listening.
He was responsible for penning a number of multi-million selling albums and singles as well as giving Uriah Heep their distinctive keyboard sound. After his time in Uriah Heep, he played for some time in the Southern rock band Blackfoot. An average rock album, tasteful but nothing special.
Not that this should be of any importance, since progressive rock never relied on sex appeal anyway. Hensley organ and Lawton vocals are accompanied by a bunch of to me unknown but capable musicians and play a pleasant set of songs, nicely mixing uptempo rockers with balladish stuff.
Fine classic, melodic hard rock with some proggy touches. The band plays pretty good, but to me Hensley is the star of the show who switches without any problems between keyboards, the Hammond and various guitars, while doing most lead vocals. I get the impression that Wetton is more present as a decoration of the show.
As said, a pleasant show with one minor note: the stage act of Dave Kilminster. I never before saw him live, but he looks like a complete jerk to me. The CD is housed in a cover that might fit an average power metal band with a castle, moody. The music, however, is a bit lighter with pleasant melodic rock with proggy touches. Although one may compare it to the mid-period from the early s of course. Most of the pieces have gotten a nice and for my taste very pleasing arrangement turning them into an either jazz-rock e.
A nice surprise this LP! Heon has been a member of unknown bands like Shades, Stop, Nations and Anxiety before coming with a solo album. On this aptly titled CD Heon certainly succeeds in the exploration of his instrument. Heon makes no concessions on this CD, which sounds raw and introvert. His capability to get every sound out of his instrument as far as he likes to go results in a variety of techniques, such as variable pitch, synth effects and riff loops. What I found the most remarkable after listening, that this CD may sound too self-indulgent for most listeners.
Together with an incoherent structure, this CD contains many interesting directions, but never seems to be fully convincing. They were founded in in Barcelona. The form and music of Here And Now immediately reminded me of some of the more raw-sounding Gong material and how the Ozric Tentacles started to play free festivals in the early 80s.
This band must have been an influence on the Ozrics, but the Ozrics were so keen to speed the music a bit up, as Here And Now sounds too slow at some moments. Their music is said to be comparable to French group Heldon. The ELP cover sounds rather faithful in the piano version, while the Rush cover is downright surprising. In most of the songs the focal point is Macan s play on the vibraphone and the marimba, accompanied by a strong and tight rhythm-section.
The way Macan changes this rather bombastic piece into a mellow song with vibraphone and marimba leads along a short part with Micromoog and ARP stringensemble tells everything about his musical ideas: this man makes music the way he wants it!
A very special effect is the flute-sounding soprano-recorder, used in several tracks. In my opinion this kind of music a bit in the vein of jazz would be a sensation on the worldwide very popular annual Northsea Jazz Festival in my hometown The Hague! It sounds amazing and impressive but if you re not into classical piano I wonder if it appeals to you.
Nice discussion: is the rather unusual music more progressive than most progrock bands today? The overall sound is melodic, simply arranged and very well played.
But the production sounds a bit dull to my ears. Influences from old Canterbury stuff can be heard clearly early Soft Machine, Caravan but also avant-garde, Eastern music sitars! These musicians know how to impress their audience, with carefully crafted and structured music. Quite a nice listening, mainly for proggies who are looking further than the usual crossover stuff!
Very powerful sounding, and despite the omnipresence of mallets very much oriented on ELP I think. Ever wanted to know how an adventurous ELP sounds with a vibes player? Check this out! The musicians were a bunch of long haired Italians who lived in Germany and released their album there, which is why they are often listed as part of the Krautrock scene, but also musically the link to Krautrock is obvious. CD mini-CD British folk-rock band named after the wading bird.
He was a former member of Incredible String Band. The group was sort of a spin off from Jazz Is Dead. The gentlemen play all-instrumental music on this disc which is much like that of Dixie Dregs - a mixture of jazz-rock and swampy Southern rock. In "Justice" T. Lavitz takes turns on organ and piano and this is one of the highlights of the CD in my opinion.
What else should I mention? He was active in electroni, experimental and new wave during the late s and early s. He is known by connaisseurs for his work with groups like Aussenminister, Input and Model 81, but also as a collaborator with Conrad Schnitzler as Con-Hertz and doing solo work. When he left Jane during the s, he became a multiinstrumentalist, playing guitars, keyboards, bass, drums and effects on his solo-debut. Many years later, Hess made another album with technodance music.
His CD was very aptly titled because it was a guitar-only disc, recorded in and The music is not quite what I expected. I was prepared to listen to some Soft Machine-like experimental jazz-rock, but instead I was offered a very pleasant and tranquil disc with a soundscape-like foundation of Hewins over which Elton Dean plays his modest, quiet jazz saxophone parts.
The music is divided into three long tracks on the CD, but in fact it listens like one ongoing piece of music. Very pleasant indeed. They did a demo and then debuted with a live album in Jean, Pierre. Their LP contains mainly long tracks. He did an album together with keyboard player Nick Magnus on whose albums he also guests.
The two met during touring with Steve Hackett. The CD had guest Chris Juergensen on lead guitar on one track. Maybe The HSD fun name, by the way put a bit more relaxed playfulness in their work than the blast-youaway- yet-not-drown-you-in-any-way -virtuosity of LTE. The band was formed at Hiidenlinna community in The record was mostly home made with an eight-track recording machine.
In they did their first proper album for the Silence label. It came out in August An average of over 8 minutes per track. The whole album is like a flow, very tribal.
Also the instruments seem to be all in balance, no instrument dominates the sound. The music almost sounds natural. Fans from Ozric Tentacles, Hawkwind, Gong and related bands surely need to check out this band. At the same time people that normally do not like so much psychedelic music may enjoy this band.
It is music for heart and mind. And for the feet. LP Mexican cosmic space rock group who made one 25 minute mini-LP. Hill had played with a beat group called The Answers earlier in the s and released two singles on Columbia with this group. Inhe joined American psychedelic rockers The Misunderstood. A few years later he joined forces with former Warm Sounds singer Denny Gerrard, who was now a producer.
Nevertheless, the band would only last for two albums and fall apart. Both early LPs became highly wanted and collectable items. After the split, Pavli went to work as a session musician. Tony Hill went to do solo work and carried on under the name of High Tide during the s. First: the enormous power that is unleashed by the band right from the first seconds later on, they show that they can hold back as well, and there are even classical influences. Second: the vocals that sound exactly like Jim Morrison of The Doors, and also the music has some touches of this band here and there, yet much more progressive sounding.
To describe High Wheel s music isn t really easy, but one thing is for sure: it is definitely progressive rock! There are no obvious influences to be heard, some structures remind me of Yes or Floyd, and off course now and then there appears the "Tull-flute", but overall the music is very original and above all full of variation in style, emotions, mood and tempo.
The band play both long songs, like "High wheel in the sky" which lasts, divided in two parts, over 34 minutes, and short songs. These short songs are off course more accessible but never commercial or boring.
Just listen to "Conjuction of upper spheres". This is one of the best examples of a very sophisticated rocksong with lost of changes and variation. One remarkable thing are High Wheels vocals. Usually vocals are the weak spot of progrock bands, especially when they are from Germany. But not in this case. The vocals are almost completely free of any annoying accent. Also remarkable are the very well performed harmony vocals, which become one of High Wheels "trademarks" while listening to their music.
High Wheel is definitely one of the best new bands in the progressive scene and a great promise for things to come. The vocals have become even better and the music has gained refinement. Great band. Its amazing to hear them do perfect harmony vocals like this.
Overall: impressive. Actually, Highdelberg was very much a Genrich-solo-LP, since he wrote the music and also was co-producer. LP, 19?? CD British band. CD Dutch melodic rock band. Around they released a demo which contained covers as half of the material. In another demo followed, on CD this time. On this CD were five songs, recorded on seven tracks since the 8 th track of the recorder was broken. The album contained mainly song oriented progressive psychedelic rock.
CD Hillage is a true space guitar legend. DVD, British musician and mulit-instrumentalist, playing electronic symphonic music. Audibly a solo project with a bit programmed sound at times, but really enjoyable.
It is all not too complex and very easy to listen to, but it has sometimes the same building up and tension of the old Tangerine Dream - something I do like very much. A shame of some weak parts, especially at the end of the CD. CD Musician from Iceland. Besides this, he also did several solo-albums. In the s, he started the Thinkman-project together with his girl friend Jeanette Obstoj lyrics. CD,remastered, including 2 bonus tracks An intriguing sophisticated pop album that stands firmly with one leg in prog territory.
Not an easy one, but nothing far out either. Strong s sound, of course. Very original music. CD compilation Flutist Chris Hinze started in the s in the Dutch jazz circuit on piano, but also studied flute at the Den Haag conservatory. Also he played as a keyboardist for Euson.
In he studied at the Berklee College of Music in Boston. The next year he formed the Chris Hinze Combination - a band with ever-changing line-ups, that nearly every year recorded an album. In Chris Hinze also received an award as soloist at the Montreux Jazzfestival.
After his debut, Chris Hinze released a flood of albums with very diverse artists and explorations in many different musical style like classical music, jazz, rock, reggae, ethnic music and new age. From the rather sinister ish cover picture a marshcorpse I had expected some more dissonant and exciting music.
Hardly any rock at all. Instead we get really pleasant instrumental new age-soft fusionproggish-pop stuff. CD This Japanese musician was the guitarist of symphonic hard rock group Novela. The album contains various drum solos recorded during the s. Another period of silence appeared when Tracy suffered from breast cancer and then recovered. A good intelligent hard rocking album, definitely better than the average progmetal CD.
An additional good impression is given by the booklet with drawings accompanying the lyrics. The group released one cassette. CD This folk-rock musician was one of the leading members of Dulcimer. People who like good make that very good bass work should listen to this anyway.
During the early s, he left this group after internal problems and decided to embark on a solo career, which fairly quickly brought two albums. Just before he was to go on tour to support his second LP, however, he had an accident at home and broke both wrists making it impossible to tour.
A relative period of silence followed. For some time, there was talk of Hodgson being a possible replacement of Jon Anderson in Yes during the early s. Most tracks are instrumentals with - of course - a major role for the violin but not too dominant and one track with eerie female vocals. Enjoyable, but I would have loved a bit more tension. The others are Coleridge, Blake and Novalis, but as a poet he is the most important and he was worshipped and admired during the 19 th Century.
Here he met his friends, Hegel and Schelling among them. When he died on 7 Junehe had spent almost 40 years of his life in isolation. When, in Novemberthe brothers Christian and Jochen Joachim von Grumbkow LP) to use the name of this poet for their new group they got LP) with Nanny de Ruig, the daughter of a Dutch general, and several other musicians, they already had acquired had a lot of experience with some other groups.
Since they played music of the Beatles with the Beatkids and around they started fooling around with blues with the Action Issue Blues Band. Besides that the brothers played classical music, on trumpet and cello respectively and since they were influenced by the work of Neil Young, Stephen Stills, Fairport Convention, Pentangle and mainly the music of Traffic.
In August of the same year they were contracted by Ohr-Musik. The music on this record can t be described as symphonic rock, but it sounds more like a form of folk-rock with a strong scent of incense, not unlike the music of John Martyn and Christian von Grumbkow said about it: "I would call our music symphonic folk-pop, or classical influenced folk-rock, because our main lead-instruments in this period were, violin, cello and flute. Other lyrics were more critical on society.
Strange enough these lyrics were not included on the cover. The record was received very well and after a short period of time this new approach of rockmusic became legendary.
Also the group was broadcasted on national television. During this year the sound of the group changed. The arrangements grew more complex, "the mainly acoustic played guitar-parts and romantic string-duets are complemented with firm organ- and violin-solo s" Christian von Grumbkow.
The lyrics were getting politically more engaged and got a more literary character. The work of German poets like Berthold Brecht was used. At the end of Nanny de Ruig, who had meanwhile married Christian, disappeared from the stage, because she was pregnant and wanted to spend more time with the children.
This meant a serious loss, because the music was strongly written for her voice. The folk-elements disappeared and improvisation became the keyword. The group worked on a concept-album, and the German lyrics as well as a part of the music were completed, "but in a certain way the whole project broke down.
We didn t have the energy to complete the whole thing" Christian von Grumbkow. This was preceded by a long period of juridical procedures and which was one of the reasons for taking so much time before a new record was released.
It should then be made for Rolf-Ulrich Kaiser but the group rejected this idea. Besides this, the members still didn t know which direction to go with their music.
Both the lyrics in German and English and the title were rejected and finally it turned into a record with lyrics in English and partly German songtitles. Christoph Noppeney, who on the first record played violin, viola, piano and flute, became the most important singer of the group and limited himself to playing the viola which is a bit larger than the violin and is tuned a fifth lower and the acoustic guitar.
The group was helped by Zeus B. The record, with a cover design by Christian von Grumbkow, was received well by critics. Further he wrote: "The production really shows here, every instrument has its place, doesn t crowd or clutter, the classical training of Nops Noppeney is very apparent. By now the band abandoned singing in German, English lyrics had been adopted, not merely thoughts translated in English, but entities of their own, a bit dreamy and intelligent, with a sense of humor.
The music had become more electric and although there were still folk-influences present, jazz-rockelements are also finding their place in the music. The brothers hailed from Berlin, but moved to Munich, where they formed a schoolband in Two years later they moved to Cologne and there they also played in all kind of amateur groups. Because Hans didn t want to do his compulsory military service, he registered in Berlin.
Inhabitants of this place didn t have to serve in the army. To anticipate the discovery he didn t live in this city, he used another name, something he only gave up after a few years. Nowadays he is calling himself Hans Maahn again and he plays amongst others with Gianna Nannini. It may very well be their best record ever. Peter Moser wrote: "It is divided into two guiding themes, a Clown side and a Cloud side, though the album is not really a concept album.
The band seems even tighter than on previous recordings. It is chiefly Jochen s showcase, keyboard dominated and some nice vocals, as well as fine viola playing by Nops. In one flowing motion, a gypsy violin heralds its arrival as you are suddenly surrounded by cheering people, the excitement mounts, you feel like a child again.
The master of ceremonies announces the show, clowns and dancing bears fill the centre ring, activities everywhere, so much to see, to do, is it real? If you listen carefully you will see the illusion for yourself. You are lying in the soft spring grass by a clear, swiftly running brook.
At peace with yourself, you just lie there on your back staring upward to the passing clouds. Slowly the ripples of water become gentle synthi weavings, joined by guitars, bass and flute. The music transports you to the clouds and suddenly takes you off on a fancy free flight, what have you got to lose? By now it has become apparent that Hoelderlin as successfully made the transition from folk-rock to full fledged rock jazz without losing their distinctive style.
In just a little over 12 minutes the band showcases their individual talents. It begins rather solemn, then takes on an airey quality that characterizes this whole side as it slowly progresses and builds into a veritable symphony. Altogether a fine production, very well conceived and recorded. According to Christian von Grumbkow there was much improvisation on the record, which contains "complex rockmusic with a leaning towards the orchestral and surrealistic".
The beautiful cover, an aquarel of Christian von Grumbkow, shows both sides and was made when the concept of the record was confirmed. Between and Christian studied with Rudolf Schoofs at the Werkkunstschule in Wuppertal and between and he did a guest study at the Rietveld Academy in Amsterdam. From to he teached drawing, painting and printing techniques at the Folkwangschule and the Gesamthochschule in Essen. The photographs of the groups members, which can be seen on the backside of the cover are made by Peter de Ruig, Nanny s brother, who is currently still working as a photographer in The Hague.
The record was received well and brought the group a breakthrough. They toured frequently and extensively and next to the Scorpions they have logged more live gigs than any other German band.
According to the article of Peter Moser their European reviews suggest that they are even better live than on record. In January and February the group toured again and did some performances in Sweden. The public exists mainly of students, who could appreciate the long jazzy improvisations on guitar, viola and cello. The tour was very successful, musically as well as according to the reactions of the public, but home again "we were physical and mentally completely exhausted" Christian von Grumbkow.
Christian can t combine his jobs as artist and teacher, with playing in the group and he decided to quit and limit himself to writing lyrics and being the manager and contact person. Thus the band had to look for a new guitarist.
Christian remained with the group at repetitions and in the recording-studio and next to this he gave lectures amongst other things about the relation between politics and music, and seminars about rockmusic for teachers.
A tough time began for the group, which still worked in a very democratic way: "Our sound-engineer earns the same as the musicians and me and he also has the same participationpossibilities. Even the four roadies. When they have any ideas, these are always discussed by everybody" according to Christian von Grumbkow. Also he said that "The new guitarist was a difficult person, who, being a Spanishman, had troubles with the cold and policecontrols caused by the problems with the terroristorganization Baader Meinhof group in Germany.
He went his own way and was very demanding, but not very co-operative". This album was recorded between the beginning of June and the end of August and the music has been compared with those of groups like Soft Machine, Caravan. The cover was again designed by Christian von Grumbkow: "The bird on the cover is meant as a symbol for the dream, fantasy and creativity and the woman symbolises mankind.
From the hair of the woman grows the bird, like the powerful subconscious. The consciousness in fact is just the tip of the iceberg, whilst the subconsciousness is the much bigger part under water.
In the fall, the group toured again and put quite a visual performance on stage, with projections on a screen which seized the full width of the stage and was four and a half meters in height.
Encouraged by a sold-out venue, the group performed a fantastic concert. This double-album, which was released in early contained two new songs, and formed the conclusion of a period. The songs written by Pablo Weeber weren t reprensative enough and they are not on the record. Besides this he left the group at the end ofbecause of disagreements and differences in attitude about the music. Pablo was replaced by Tommy Lohr on the records his name is spelled L Ohr who had studied at the Darmstadt college of music and played for six years in the surroundings of Frankfurt for American soldiers, this way gathering lots of experience.
The rest of the group was enthusiastic and within three days he learned the repertoire. In March he joined the group on a tour which brought them also to the folk-rock-festival of Schwenningen. At the same time, Christian exposed his paintings in Remscheid and half of them was sold. In late Christoph Noppeney changed the bow for a scalpel and started studying medicine. Michael Bruchman left as well. Again the readers of Sounds chose the group as the most underestimated.
Of this album Christoph Noppeney, who had never done much writing on the other records, wrote the music of six of the eight songs. In one song he also took over lead vocals.
The symphonic elements are gone and because the viola of Christoph Noppeney is missing, Hoelderlin lost a vital element. The music had become more contemporary and sounds more direct. The style of the cover is very different from the other albumcovers as well. The photographs were also shown on the before mentioned posters. In the November-issue of Fachblatt Music Magazin they were featured with a 14 page photo-report, which showed that the singer was a real enrichment, especially visually.
He moved like Peter Gabriel on the stage, with costumes and all, this way illustrating the music in a great way, without ever imitating the former Genesis-singer. Although the songs on the record were much shorter than before, the group gave it all on stage. They gave 40 concerts and the tour was a huge success. In the Munich Olympiapark they group drew an audience of 8. The last 30 concerts were completely sold-out. Fans were regularly storming the stage and the critics were praising.
They wrote about a strong mix of melodic rock and an imaginative show, virtuoso solos and optical gags. On the 18th of November the group could be seen in the rocknight in Bochum. The critics wrote about an uninspired product, without any concept, a description which is, if one compares the album with previous records, not completely beside the thruth. Nevertheless this record gave the listener some nice songs with German lyrics again.
Unfortunately this also was the end for Hoelderlin. Due to the last product, the record companies seemed to have lost all interest in the group and consequently they split up. The music of Kowalski can in no way be compared with any work of Hoelderlin.
Eduard Schicke returned to Oldenburg and became the owner of a dancing and started giving percussion-demonstrations. Christoph Noppeney now works as a paediatrician and still makes music classical and covers of Hendrix, Clapton, Gabriel and The Stones, just for fun.
Michael Bruchmann owns a shop for. Christian von Grumbkow still works as a teacher and painter. In he celebrated his 50 th birthday with an exposition in Wuppertal. His brother Joachim worked as an architect and co-orporated with Christian until he died in The name of Hoelderlin lives on in Hoelderlin Express, a German folk-group.
Oddly the music evokes mainly parallels to some of the Italian symphonic rock groups but the vocals are entirely different, of course. Other comparisons popping up at moments include Jethro Tull at their most symphonic and not bluesya bit of Supertramp and a slight flair of Genesis. At least it does add some uniqueness to the sound. Interesting: the also slightly experimental long track "Death-watch-beetle". The double live album is their finest work and showcases the band at their pinnacle.
The music was recorded in the Wuppertaler Opernhaus in October All 9 melodic tracks have their own climate and features fluid accellarations, nice interludes, pleasant keyboards string-ensemble, electric piano, organ and clavinet and great interplay between electric guitar and violin. Many solos are supported by the wonderful and distinctive sound of the string-ensemble, a compelling combination!
Gone are the folky touches, instead the orientation is more mainstream, electronic, here and there are even very slight traces of fusion detectable. Rather slick sympho-pop, but I like it. At times Hoelderlin even seems to flirt with the Neue Deutsche Welle. What a waste of talent regarding the previous work. Some nice tunes though, but as a whole disappointing. At least, kind of. Musically, the band remains in symphonic waters, but a bit different than I recall them.
First of all are there both male and female vocals. Then we do find some influences like medieval and folky elements, but also modern dance rhythms. A competent return. The band was formed in December by Rogge, Lang, Krauss and Mayr all seasoned musicians with experience in other groups. For these recordings percussionist Ralf Gottschald was invited to join, and shortly after the sessions he became a proper member. The group toured extensively throughout Europe to promote the album.
InHoenig moved to the USA nevertheless, to write soundtracks. Most soundtrack work is unreleased, however. Over the years he had a number of. He also played with Association P. This new band was without African musicians, but with wind instruments. The idea for this new group was conceived at the Pili Pili anniversary tour, musically based on previous work with Pork Pie etc.
His album was recorded in Florence with Jacqueline Darby and Simo Valzania during the summer of and winter of A fantastic blend of medieaval music, folk, prog and some jazz that electric piano! The LP is said to be extremely rare with an edition of only copies. Guest on the album was Flocki Weber on percussion. Interestingly, they recorded their only album in Brazil. Reissued om CD. HOJAS - -?? Reactions were positive, so they started looking for other band members.
In Januarykeyboardist Ken Archer and bassist Jerry Lalancette joined, completing the first of many line-ups. The first few months of this line-up were spend writing songs and preparing for playing live.
Shortly after this gig, Archer left the band, despite positive reactions of audience and press. He later resurfaced with band After The Fall.
After some months of searching, he was replaced by Mark Tannenbaum, with whom they recorded a homonymous mini-LP, released in November through a small local label in a limited edition of copies. Again, reactions towards the entirely instrumental, somewhat Camellike, music were favourable.
Also there was some airplay and many gigs were done, so Holding Pattern became relatively wellknown in the New England area. Even a video was made for the release. During the following years, many line-up changes took place, leaving Spada as the only remaining original member. Rumours are that Holding Pattern is working on a new album. Also Tony Spada cut a solo CD for the same label, and another one ten years later.
Rhythm 'n' blues, rock 'n' roll, doo- wop, and all the magnificentmusical variationsof the swere wildly integratingforces of black and white America Today - Tupelo Chain Sex - Spot The Difference (Vinyl.
PeterGuralnick, StanleyBooth, Michael Bane, and others have laudedvarying uniting elementsof inter- racial artistry that in tandemproducedclassicsounds. The BeatlesandThe Rolling Stonesreadily acknowledgetheir roots in mixed racial artistry.
But race is less important than rhythm. Fast or slow, country or pop, jazz or blues-LouisArmstrong or Duke Ellington expressedthe universal truth. There are only two kinds of music: good and bad. Roger Rollin and Simon Frith have addedtheir own corollariesto that judgment. In matters of aestheticdecision,only the earof the beholderis relevant. Time is being supersededby commercial culling.
Generationalgaps are filled with musical nostalgia. While my 1,little discs receivelittle attentionand my LP collectiongathersdust, I have gradually warmed to compact discs as reasonablereplacements. The joy of discoveringretrospectivereleases,especiallyflips ide antholo- gies and answersongcollections thanks,Bear Family Records ,is a hearten- ing way to rediscoverearly rock gems. The demise of the critical generalisthasled to conquestby the specialist. The advantagesof a writer who knows an immenseamountof songs,artists, and history of a particular genre is the backboneof academicscholarshipin traditional disciplines.
For music analysts,however,it is a disaster. For rock journal- ists, it is even worse. Breadthof listening experienceand stylistic interest undergirdsthe quality of analysis. Without historical understanding,each new group seemslike somethingspringing from the head of Zeus.
No roots. No predecessors. No context. No distinguishingcharacteristics. No points of comparisonor contrast. Even if they are well-documented,the crampedvision of fandom is stifling. Specializationis the baneof music analysisin general,not just in the realm of biographical studies. Too many theoreticiansare sociological! Their studies reflect their expertise.
Pageafter pageof jargon, arcanenotations,methodologi- cal structures-butabysmally small samplesof song lyrics or performer commentaries. Even those specialistswith musical notation training tend to demonstratelittle overview of popular music history while pouring forth grandtheoriesaboutChuck Berry's licks or Buddy Holly's vocaliza- tion. The viability of popularmusicobservationrestsin a deep,rich, broad conversationwith popular music. Nothing can substitutefor that. It is the prerequisitefor creative,analytical,critical thought.
Introduction 5. Recordreviewing is a lost cause. The reasonsfor this phenomenonare relatedto the broadeningof commercialinterestsand the narrowing per- ceptions of music critics.
Recording companiesreadily supply review copiesof new releases,but always with the tacit expectationof laudatory comments. Review editorsyield to theseexpectationsby assigningspecif- ic discsto specialistsin heavymetal,rap, pop, rock, or whatever. The more zealousthe specialistis, the less likely that critical objectivity will enter into the analysis.
Too bad. As the rock era matures, it is increasingly possible to compareand contrast album themes,song lyrics, performer styles, and other aspectsof particular discs. It is also reasonableto place artists in historical context and to note the repetition of designatedideas, riffs, or individual tunes.
Yet the vast majority of contemporaryreviews are parochial,noncritical, pandering,and largely unreliable as disc selec- tion devices. The early yearsof rock provide little guidanceto resolvethis reviewing quandary, though.
Perhapsborrowing a technique initiated by Leonard Featherfor jazz reviews might help. Invite articulate artists and broadly knowledgeablejournaliststo participatein "blind" critiquesof soon-to-be- issued but as yet unreleasedcompact discs. Share reactions, thoughts, insights,and concernsamongprofessionals. Let it all hangout-thegood, the bad, the ugly. Then invite rock critics in pairs to react to thesenew releasesfrom historical, creative, and quality of music perspectives.
Put the Siskel and Ebert film review dynamic to work in the field of popular music. A journal such as PMS would be able to launch this kind of interactionmore readily thanfan-drivenmagazinessuchasKerrang! Recordreviewing ought to be a critical art with intellectual and educationalaims.
Presently,it is a self-congratulatory systemof merchandisingwithout any senseof balance,propriety, or history. More- over, selectingthemesfrom lyrics can offer insight into the contemporary humancondition.
This is no time to ceasepublishing. VIII Linking librarians and record collectors is the key to sustaining the scholarly study of twentiethcentury popularmusic. The SoundRecordings Archive at Bowling GreenStateUniversity ought to becomea model for the method of assembling,cataloging,and making available to seriousmusic studentsthe broadestrealm of contemporarymusic.
Certainly,jazz archives, country collections,bluesarchives,and other specialtyareasremaininvalu- able. But the salvaging of private collections,a task lovingly pursuedby Bowling Green'sWilliam L. Schurk, is a key task to be achievedover the next five decades.
It is humorous to recall how ephemeraleven the most successfulrock pioneersconsideredtheir s recording efforts. No one could have pre- dicted either the commerciallongevity or the social impact of rock 'n' roll. But from the vantage point of the mids, it is obvious that scholarly investigationof the s, s,s,and swill dependupon liberat- ing the much-loved private record collections from Goldmine readersand DISCoveriesenthusiasts.
Although the manufacturedretrospectivesof Time- Life Music afford truly enjoyablecasuallistening, researchinto rock history will require accessto original audio sources.
As today'sprivate collectorsage and die, librarians and sound recording archivists must convince their spouses,sons, daughters,and other family membersto donatethe cherished collections intact to archival facilities.
Emotional attachmentand greed will be staunchfoes in this resource-accumulation pursuit. So will intransigence. The best bet for accomplishingthis task is a fIrm commitment from the collectors themselvesto carefully transfer their most treasureddiscs directly to a community of music scholars. Deferredgiving via last will and testament bequestsmay sound outrageousas a means of assembling an academic archive.
But it is the bestway to assurethat the heritageof Americanpopular music won't be frittered away in the fashion that Gordon Stevensonde- scribedconcerning"race records"of the sand s.
IX God save us from postmodemists,British theoreticians,zealousethnogra- phers, and pompous twits. The study of popular music should be fun. But over the past fIfteen years the fIeld of music analysishas been invaded by ideologuesof many stripes. PerhapsI am too eclectic--or too dull to comprehendthe geniuslurking beneathso many convolutedarticles appearingin Britain's Popular Music and other internationaljournals.
Granted, the slobbering silliness of Americanfanzine ravings are no better. The machinationsof supposedly well- trained scholarsare much more harmful, particularly when they elevate obtusehypothesesabovecommonsense. But the lyrics of popular songscaptureme. I am enamoredof gifted writers. Wordsmithsfascinate me. But literary pageslack the soul-stealingrhythm of soundrecordings.
Despitethe preachingof David Pichaskeand Richard Goldstein,I am not convinced that traditional poetry and rock lyrics are interchangeable. Sound recordingsas a total experience-wordsand music-areunique. The shamansof my life, the gatekeepersof ideasboth visible and hidden, are singers. Ron Denisofffunctionedas a sociologicalscholarthroughouthis tenure as editor of Popular Music and Society. He was not adeptas a manuscript manager;he was not timely in correspondence with contributors;he was neither helpful nor particularly visible to neophytewriters; and he ex- haustedthe patience and goodwill of many of his Popular Press col- leagues.
But geniusneverfits a comfortablemold. His literary productiv- ity remainedhigh despiteill health. His critical and analytical skills were sharpto the end. The sadnessfor everyonewho knew and appreciatedhis talent was how soonit was gone. The Denisoff legacy is his scholarship-- books, articles, and a very specialjournal, Popular Music and Society.
The editorial skills that were so shallow for so long will now deepen. The love of popular music will not lessen. Diversity of literary talent is the guideline that the new editor appearsto be erecting. No more one-manoperation.
While both Denisoff and Burns cherishvariety of opinion, I sensethat the new editor will promote a strongerteam approachto both reviewing and manuscript assessment. PMS is in good hands. This study has surfed a variety of waves that continue to crashon the music scholarshipshores. It is a rare opportunity for a lyric analyst to commenton the generalstateof rock research. The observationsare tenta- tive.
They are subjective. But they are candidand, hopefully, helpful. I usethem. I recommendthem. The following texts are the most influential studiesthat I have encounteredduring my thirty years of popular music researchand writing. Omission from this list does not indicate lack of value; inclusion does not certify superiority. The books featuredbelow have beeninstrumentalfor me in locating audio resources, in fostering ideas,and in illustrating perspectives. Michael Bane.
New York: PenguinBooks. On the Radio: Music Radio in Britain. Carl Belz. The Story of Rock SecondEdition. New York: Harperand Row. Stanley Booth. New York: PantheonBooks. John Broven. Rhythm and Blues in New Orleans. Harry Castlemanand Walter J. New York: BallantineBooks. Harry Castlemanand Walter 1. The BeatlesAgain? The End America Today - Tupelo Chain Sex - Spot The Difference (Vinyl the Beatles? SteveChappleand ReebeeGarofalo.
Chicago: Nelson-Hall,Inc. Introduction 9. Donald Clarke ed. The PenguinEncyclopediaof Popular Music. New York: Viking Penguin,Inc. Norm Cohen with music edited by David Cohen. BarbaraCohen-Stratyner ed. Nik Cohn. London: PicadorBooks. Stuart Colman. Poole,Dorset, England:Blandford Press. Lee Cooper. Westport,CT: Greenwood Press. Lee Cooperand Wayne S. Lee Cotten. New York: RandomHouse. Inside MTV. Sing a Songof SocialSignificance.
Serge Denisoff and Richard A. Peterson eds. Serge Denisoff and William D. Risky Busi- ness:Rockin Film. SergeDenisoff, with the assistanceof William L. Robin Denselow. London: Faberand Faber.
JonathanEisen ed. New York: Vintage Books. Philip H. Colin Escott, with Martin Hawkins. New York: St. Martin's Press. Bill Flanagan. Chicago:ContemporaryBooks, Inc.
Simon Frith ed. Facing the Music. New York: Pantheon Books. Simon Frith. Simon Frith and Andrew Goodwin eds. Jeffrey N. Westport,CT: GreenwoodPress. Charlie Gillett. New York: E. John Goldrosen and John Beecher. New York: Viking Pen- guin, Inc. FernandoGonzalez comp.
Flushing, NY: Gonzalez. Goodall, Jr. Michael H. Gray comp. New York: R. Bowker Company. Anthony J. Gribin and Matthew M. Introduction New York: Outerbridgeand Dienstfrey. Peter Guralnick. Boston: David R. Jeff Hannusch a. Almost Slim. Phil Hardy and Dave Laing. SheldonHarris comp. David Hatch and StephenMillward. Manchester,England: ManchesterUniversity Press. Herb Hendler. Gerri Hirshey. The SoulBook. Frank W. The Literature of Rock, Hoffmann and B.
David Horn comp. Charles Keil. Urban Blues. Chicago: University Chicago Press. Paul Kingsbury and the Country Music Foundation eds. New York: Abbeville PublishingGroup. Donald W. BiographicalHandbookofAmerican Music. New York: Billboard Publications,Inc. Lewis ed. George H. Brady 1. Leyser, with additional researchby Pol Gosset camp. Michael Lydon. New York: Dial Press. The RockMusic SourceBook. Dave Marsh. Linda Martin and Kerry Segrave. Hamden,CT: Archon Books. Betty T. Miles, Daniel J. MIles, and Martin J.
Boulder, CO: ConvexIndustries. Jim Miller ed. Michael Ocbs. New York: Double- day and Company. Paul Oliver ed. The Blackwell Guide to Blues Records. Cambridge,MA: Basil Blackwell. New York: Viking Press. Big AI Pavlow. David Pichaske. New York: SchirmerBooks. Robert Pruter. Chicago Soul. Walter Rimler. Jerome L. Chicago: Nelson-Hall, Inc. Schaffner, Nicholas. Timothy E. Born in the U. Quentin J. Schultze, Roy M. Anker, James D.
Bratt, William D. Romanowski,John W. Worst, and Lambert Zuidervaart. The Down HomeGuide to the Blues. The RootsandRhythmGuide to Rock. Nat Shapiro and Bruce Pollock eds. Detroit, MI: Gale Research. Arnold Shaw. New York: Collier Books.
New York: HawthornBooks, Inc. Wes Smith. Irwin Stambler. The Encyclopediaof Pop, Rock, and Soul revisededition. Paul Taylor comp. New York: Mansell PublishingLimited. Nick Tosches. Country: The BiggestMusic in America. New York: Dell Publishing,Inc. New York: CharlesScribner'sSons. Jay Warner. New York: Billboard Books. Pete Welding and Toby Byron eds. New York: DuttonlPenguin Books. Jerry Wexler and David Ritz. New York: Alfred A. Joel Whitburn comp.
Pop Hits, Top Country Singles, Top Pop Album Tracks, Top PopAlbums, Top Pop Singles. Top Rhythm and Blues Singles, BrendaLee, a Georgia-borncountry artist who beganher professional singing career at age six, charted two Top national hits before her thirteenth birthday. Her most noted holiday-related song-"Rockin' Around the ChristmasTree"-wasrecordedfor Deccarecordsprior to her fourteenth birthday.
Before Brenda Lee's success,anotherthirteen-year- old youngsterscoreda No. But even younger children have producedpopular hit recordings. The previousparagraphillustratesthe roles of severalyoung peopleas popular music performers.
What is even more fascinating,though, is the variety of songsaddressingchildren'sinterests,images,perspectives,and youthful culture that haveachievedBillboard Top ranking since This chapterby B. Lee Cooperand William L. Reprint permissiongranted by the authors,editor Phillip J. Sleeman,and the WestwoodPress. It is almost as though America's postwar baby boom helped launch a new genreof kiddie-orientedrecordsthat have becomelong-term cultural staples. If the early rock era markedthe emergenceof teenagecontrol of the radio airwaves,the decadebeforeand the yearssince have featuredmany paeansto thosecarefreepreteens.
What kind of music has attractedyouthful attention? What type of re- cordingswill parentsgladly purchasefor their youngsters? After a rigorous review of the to Billboard Top charts, the answersare obvious. The following discographypresentsmore than Billboard-charted 45 rpm or 78 rpm records featuring children's themes. These songs are divided into fifteen thematictopics.
Soxx and The Blue Jeans Riley Butchart,Ronald E. Cooper, B. Westport, CT: Greenwood Press,pp. New York: GarlandPublishing, Frith, Simon. New York: PantheonBooks, New York: Routledge, Hall, Stuart and Paddy Whannel. New York: PantheonBooks,pp. Leyser,Brady 1. Westport,CT: Greenwood Press, Ross,Andrew and Tricia Rose eds. Schultze, Quentin J. Anker, JamesD. Romanowski, John W. Worst, and Lambert ZuiderVaart.
Eerd- mansPublishingCompany, Schurk, William L. Weinstein, Deena. West- port, CT: GreenwoodPress, pp. Chapter 2. This previously unpublishedessayby B. Lee Cooperwas developedas a review of severalYuletide compactdiscs releasedby Rhino Records. Nowhereis Americancultural diversity more clearly manifestedthan in the variety of annual commemorationsof the birth of Jesus. Public schoolsand collegesdismiss classes;newspapersand magazinesare flooded with holiday sale adver- tisements;and businessesprovide gala parties,specialbonuses,and even paid vacationsfor employeeslate in December.
Religion plays only one of many roles in America'schampioningof Christmas. The Yuletide season is a truly multicultural, pluralistic time when theology, economics,family relations,childhooddreams,and social mythology converge. Commercialrecordingcompanieshave issuedChristmassongsfor de- cades. Naturally, traditional Christian hymns were stapleson early twen- tieth century 78 rpm discs. Other types of seasonalsongsemergedduring the s and s,though. The rock era also contributeda variety of now widely celebratedYuletide songs.
The divergenceof themesfeaturedin holiday record- ings is obvious in this list of annualhits. Although the Bethlehemstory is still present, Santa Claus is more and more dominant.
So is comedy. Humor is found in children's perspectiveson gifts and through various adult misbehaviors. It is also locatedin talesdepictingimaginarycreatures who help Kris Kringle or who contributeto a youngster'ssenseof sharing throughtheir kindnessand caring.
Rhino Recordsof SantaMonica, California, has chronicledthe devel- opmentof America'sChristmasrecordinghit paradein two compactdisc collections featuring major Billboard-charted tunes. This is a valuable contribution to exploring commercialvinyl culture. But Rhino has gone well beyond charted hits to assembleseveral other anthologiesof less renownedChristmastunes. Subculturesof race, region, age, and musical tasteare amply representedin severalsplendidCD releases.
Lena Home, and others. The songspresentedare earthy, unconventional, and raucouslyfunny. The songsare iconoclasticand disjunctivein tone, theme, and lyric. The Rhino collectionsillustrate American cultural tolerance,self-criti- cism, and humor at their very best. Christianity and capitalism are juxta- posedwith glee; holy figures and holy terrors are matchedagainst talking snowmen,glowing reindeer,singing chipmunks,and barking canines,and traditional imagesof shepherds,stables,and starsare challengedby con- temporarydesiresfor wealth, wenches,and well-being.
Neither the Ku Klux Klan nor preachersof political correctnesswill understandthe public's fascinationwith thesemarveloushowl-a-daycollections.
But the young at heartwill genuinelyappreciatethis Rhino avalancheof Yuletide goodies. Let it snow! Michael Bane. New York: Penguin Books. Stephen Barnard. On the Radio: Music Radio in Britain. Carl Belz. The Story o f Rock Second Edition. New York: Harper and Row. Stanley Booth.
New York: Pantheon Books. John Broven. Rhythm and Blues in New Orleans. Harry Castleman and Walter J. New York: Ballantine Books.
The Beatles Again? The End o f the Beatles? Steve Chappie and Reebee Garofalo. Chicago: Nelson-Hall, Inc. Introduction 9 Donald Clarke ed. The Penguin Encyclopedia o f Popular Music. New York: Viking Penguin, Inc. Norm Cohen with music edited by David Cohen. Barbara Cohen-Stratyner ed. Nik Cohn. London: Picador Books. Stuart Colman. Poole, Dorset, England: Blandford Press. Lee Cooper. Westport, CT: Greenwood Press. Lee Cooper and Wayne S. Lee Cotton.
Lee Cotten. New York: Random House. Serge Denisoff. Inside MTV. Sing a Song o f Social Significance. Serge Denisoff and Richard A. Peterson eds. Serge Denisoff and William D. Serge Denisoff, with the assistance of William L. Robin Denselow. London: Faber and Faber. Jonathan Eisen ed. New York: Vintage Books. Philip H. Colin Escott, with Martin Hawkins. New York: St. Bill Flanagan. Chicago: Contemporary Books, Inc. Simon Frith ed.
Facing the Music. Simon Frith. Simon Frith and Andrew Goodwin eds. Jeffrey N. Charlie Gillett. New York: E. John Goldroscn and John Beecher. Fernando Gonzalez comp. Flushing, NY: Gonzalez. Goodall, Jr. Michael H. Gray comp. New York: R. Bowker Company. Anthony J. Gribin and Matthew M. Iola, WI: Krause Publications. Introduction 11 Peter Guralnick.
New York: Outerbridge and Dienstfrey. Boston: David R. Jeff Hannusch a. Almost Slim. Phil Hardy and Dave Laing. Sheldon Harris comp. David Hatch and Stephen Millward. Manchester, England: Manchester University Press. Herb Hendler. Gerri Hirshey. The Soul Book. Frank W. The Literature o f Rock, Hoffmann and B. David Horn comp. Charles Keil. Urban Blues. Chicago: University Chicago Press.
Paul Kingsbury and the Country Music Foundation eds. New York: Abbeville Publishing Group. Donald W. Biographical Handbook o f American Music. New York: Billboard Publications, Inc. George H. Lewis ed. Brady J. Ixyser, with additional research by Pol Gosset comp. Michael Lydon. Boogie Lightning. New York: Dial Press. The Rock Music Source Book. Dave Marsh. Fortunate Son.
Linda Martin and Kerry Segrave. Hamden, CT: Archon Books. Betty T. Miles, Daniel J. Miles, and Martin J. Boulder, CO: Convex Industries. Jim Miller ed. Michael Ochs. Paul Oliver ed. The Blackwell Guide to Blues Records. Cambridge, MA: Basil Blackwell. Robert Palmer. Deep Blues. New York: Viking Press. Big A1 Pavlow. David Pichaske. New York: Schirmer Books. Robert Pruter. Chicago Soul.
Introduction 13 Walter Rimler. Jerome L. Schaffner, Nicholas. Timothy E. Born in the U. Quentin J. Schultze, Roy M. Anker, James America Today - Tupelo Chain Sex - Spot The Difference (Vinyl. Bratt, William D. Romanowski, John W. Worst, and Lambert Zuidervaart.
Eerdmans Publishing Company. The Down Home Guide to the Blues. The Roots and Rhythm Guide to Rock. Nat Shapiro and Bruce Pollock eds.
Detroit, MI: Gale Research. Arnold Shaw. New York: Collier Books. New York: Hawthorn Books, Inc. Wes Smith. Irwin Stambler. The Encyclopedia o f Pop, Rock, and Soul revised edition. Paul Taylor comp. New York: Mansell Publishing Limited. Nick Tosches. Country: The Biggest Music in America. New York: Dell Publishing, Inc. Jay Warner. New York: Billboard Books. Pete Welding and Toby Byron eds. Jerry Wexler and David Ritz.
New York: Alfred A. Joel Whitburn comp. Pop Hits, Top Country Singles, Top Pop Album Tracks, Top Pop Albums, Top Pop Singles.
Top Rhythm and Blues Singles, Chapter 1 Child Performers Brenda Lee, a Georgia-born country artist who began her professional singing career at age six, charted two Top national hits before her thirteenth birthday.
Before Brenda L. But even younger children have produced popular hit recordings. The previous paragraph illustrates the roles of several young people as popular music performers. This chaptcr by B. Lee Cooper and William L. Reprint permission granted by the authors, editor Phillip J. Sleeman, and the Westwood Press. If the early rock era marked the emeigence of teenage control of the radio airwaves, the decade before and the years since have featured many paeans to those carefree preteens.
What kind of music has attracted youthful attention? After a rigorous review of the to Billboard Top charts, the answers are obvious. These songs are divided into fifteen thematic topics. Cooper, B.
Westport, CT: Greenwood Press,pp. Epstein, Jonathan S. New York: Garland Publishing, Frith, Simon. New York: Pantheon Books, New York: Routledge, Hall, Stuart and Paddy Whannel.
New York: Pantheon Books,pp. Kirschner, Tony. Westport, CT: Greenwood Press, Ross, Andrew and Tricia Rose eds. Schultze, Quentin J. Worst, and Lambert ZuiderVaart. Eerdmans Publishing Company, Schurk, William L. Weinstein, Deena. Lee Cooper was developed as a review of several Yulelide compact discs released by Rhino Records.
The Yuletide season is a truly multicultural, pluralistic time when theology, economics, family relations, childhood dreams, and social mythology converge. Other types of seasonal songs emerged during the s and s, though. The rock era also contributed a variety of now widely celebrated Yuletide songs. Although the Bethlehem story is still present, Santa Claus is more and more dominant.
So is comedy. This is a valuable contribution to exploring commercial vinyl culture. But Rhino has gone well beyond charted hits to assemble several other anthologies of less renowned Christmas tunes.
Subcultures of race, region, age, and musical taste are amply represented in several splendid CD releases. The songs presented are earthy, unconventional, and raucously funny. The songs are iconoclastic and disjunctive in tone, theme, and lyric. The Rhino collections illustrate American cultural tolerance, self-criticism, and humor at their very best.
But the young at heart will genuinely appreciate this Rhino avalanche o f Yuletide goodies. Let it snow! Barnett, James H. New York: Macmillan Company, Belk, Russell W. Butland, John. Or Stuff This in Your Stocking! Callahan, Mike. Canale, Larry. New York: Bantam Books,pp. Colby, J. The Making o f the Modern Christmas. Curtis, Bruce. Christmas Songs 35 Doggett, Peter. Elrod, Bruce. Fumar, Vincent. George, B. Grein, Paul. Harker, Dave. London: Hutchinson and Company, Ltd. Hoffmann, Frank. Hoffmann, Frank W.
Koenig, John. Boston: Dr. Godine, Lewisohn, Mark. Marsh, Dave and Steve Propes. Boston: Little, Brown and Company, Mawhinney, Paul C. McAuliffe, Jon. Milberg, David A. Chicago: D. Milberg, Moonoogian, George. Munn, Bob. Nathanson, Paul. Neely, Tim. Oksanen, Dave. Osborne, Jerry P. Prescott, AZ: Record Digest,pp.
Pattillo, Ceaig W. Portland, OR: Braemer Books,pp. Pimper, Steve. Radel, Cliff. IF, 3F. Rosen, Mark. Russell, Wayne. Scaramuzzo, Gene. Scoppa, Jordon. Sherwood, Lydia. Stidom, Larry. Stierle, Wayne. Studwell, William E.
Christmas Carols: A Reference Guide. New York: Garland Publishing, Inc. The Christmas Carol Reader. Binghamton, NY: Haworth Press, Christmas Songs 37 Studwell, William E. Whitburn, Joel. By Jeff Pike. Boston: Faber and Faber, America Today - Tupelo Chain Sex - Spot The Difference (Vinyl Seattle freclance writer Jeff Pike presents a dark vision of the rock era. What a downer! This book should not be read by anyone suffering from either mild depression or a personality disorder.
Yet it is fraught with serious Haws in both structure and This chapter by B. Casual music fans and serious biographical researchers alike are going to be puzzled when trying to locate Jesse Belvin p. No index is provided. This also negates the pursuit of cross-references. Similarly questionable is why James Dean is included while Marilyn Monroe is not listed.
Nite, Donald Clarke, and a few other reference guide compilers in the acknowledgments section, but neglects to provide any bibliography of studies dealing specifically with death themes in rock music. These structural incongruities severely weaken the book. Music is actually the lifeblood of the rock era.
Even long-dead heroes—Jackie Wilson, Elvis Presley, John Lennon, Buddy Holly, and Jim Morrison—continue to yield hit after hit and to reign supreme on oldies-but-goodies airwaves, in reissued CDs, and on motion picture soundtracks. Jeff Pike obviously prefers obituary writing to marketing analysis. This robs his work of any real insight into the meaning and impact of recorded death themes throughout the fortyyear rock era.
Without paying much attention to the lyrical commentaries on death and dying featured on so many post recordings, Pike unwittingly ignores the pluralism of humor and horror that constitute the legacy of coffin tunes. These three songs are more than just lyrical retrospectives. They assess the psychological impact of death upon entire generations. Death 41 The death theme is omnipresent in rock lyrics. Several scholars who have investigated this topic have elected to focus on the narrow topic of teenage coffin songs.
Serge Denisoff, a particularly perceptive popular music analyst, notes that the short-lived popularity of love-lost-through-death songs was due to the rapid cultural and political changes occurring during the mids.
Still, the teenage coffin song did not return after However, the death theme did not disappear. In fact, it became more visible and more broadly explored in popular lyrics after There were also many songs about death and dying that were not simply teenage laments that were popular throughout the s.
These tunes explored more than just dejected drownings or accidental auto tragedies. What is more interesting, though, is the fact that the death theme appears in such a broad variety of visages over the past forty years.
As noted earlier, there are also a few epic hero songs that use either assassinations or accidental deaths of prominent political or musical figures as backdrops for generation-defining commentaries. There is considerable discussion about aging in contemporary songs. From the tender side of thirty, Pete Townshend of The Who proclaimed that he hoped he would die before he grew old. Train wreck sagas about the brave engineer Casey Jones are legion in folk music.
So are songs about John Henry. Within the popular song arena, automobile accidents and airline crashes are events that cause unexpected loss of life. In addition to the previously cited car death songs by Mark Dinning and Ray Peterson, the foremost examples of four-wheel disasters are J.
It is usually a complete surprise, a bitter shock. In sharp contrast to solitary, debilitating deaths, the passing of figures that are larger than life—whether heroes or villains— is always noteworthy. Heroes die, too. Murder and mayhem seem miles away from teenage coffin songs. Yet homicide is a common feature in popular tunes throughout the past forty years. Yet even more cold-blooded characters have found vinyl immortality since But American society has reserved the most deliberate death-dealing activity for its young men.
War is organized homicide. Gone to graveyards every one. Although Terry Nelson and C. What is it good for? Absolutely nothing! Most often, an act of suicide is described by a forlorn lover, by a remaining relative, or by a sad, confused friend. Although John Lennon and Elvis Presley have been praised on vinyl in every imaginable fashion, no single popular music artist has yet garnered a more well-crafted, skillfully performed, and positively received recorded eulogy than Buddy Holly.
As in most epic tales, there are references to a broad spectrum of historical characters. In this case, nearly all are musicians. Paul Simon, master songsmith, perceptive social analyst, and self-proclaimed child of the rock generation, seized the same historic scope as Don McLean to comment on death as a shaper of social psyche.
No details of the New York City murder are mentioned. The singer adjourns to a bar, pumps coins into a jukebox, and dedicates each song played to the late great Johnny Ace. The cycle of death is universal.
It is complete from Ace to Lennon. It should be clear that while Jeff Pike feels that the passing of rock era artists somehow marks the end of rock music, it is the music itself that sustains the era, defines death images, and even provides immortality to a small group of performers. Check CD sales. Even Frank Zappa grins from the grave via reissued recordings.
Voices are no longer stilled by death. Carol Williams. Thomas Inge. Chicago: Chicago Review Press,pp. Baucom, John Q. Bird, Donald Allport, Stephen C. Holder, and Diane Sears. Booth, Stanley.
Burns, Gary. Cohen, Norm. Colman, Stuart. Poole, Dorset, England: Blandford Press, Cott, Jonathan and Christine Doudna eds.
Laulujen Nainen - Kauko Röyhkä & Narttu - Pois Valoista - Live 2012 (CD, Album), Breaking Barriers (Thunderdome Anthem 2010) (Original Mix) - Negative A ft. MC Justice - Breaking Ba, Its Too Late - Novaspace - Cubes (CD, Album), Discovery, The Marvelettes - Please Mr. Postman / Twistin Postman (Vinyl), Snakeman Show - Yellow Magic Orchestra - 増殖 X∞Multiplies (Cassette), Time And A Word - David Foster (2) - Open Road (CD, Album), Im Going To That City (No Die No More) - Various - Last Kind Words (1926-1953) (Vinyl, LP), Grand Valley Waltz - Don Messer - Don Messers Centennial Souvenir Album (Vinyl, LP, Album), Let The Night Roar - All Hail The Yeti - Screams From A Black Wilderness (CD, Album), Ase - King Sunny Ade & His African Beats - Live Live Juju (Vinyl, LP, Album), Nocturne No. 13 In D Minor - Field* - Benjamin Frith - Piano Music Volume 2 (Nocturnes And Sonatas)