Notes
1 Introduction
1. A problematic assertion as class representation is not specific to music aligned with particular subcultures. However, it often acts, as with the punk subcul- ture, to be a unifying factor that can be used to achieve a level of homology and communion. 2. The differentiation between ‘popular’ and ‘rock’ here is significant. Rock dis- course operates as a subsection of a broader discourse that relates to all popular music in more general ways. Most of the examples used in this work can be understood as rock music, and often the way in which that claim is made is precisely because of specific attempts to authenticate made in opposition to more obviously commercially oriented pop. Where the term ‘popular music’ is used it can be understood as an umbrella term within which ‘rock’ and ‘pop’ reside with their own stylistic concerns. 3. For discussions of gender pertinent to this work, see Solie (1993), Koskoff (1987), Whiteley (1998, 2000), McClary (1991), Padel (2000), Fast (1999) and Gottlieb and Wald (1994).
2 Class and popular music theory
1. Obviously class is never the only determining factor in a listener’s engage- ment with the sphere of music, an infinite number of variables are constantly in play. For the purposes of this chapter, however, class and its role in musical interaction is the focus. 2. Although such claims assume a level of generalization that makes them almost wholly unusable. 3. The starting point here is often considered to be the CCCS publication Resistance Through Rituals (1993) originally published in 1975 as Working Papers in Cultural Studies no. 7/8, edited by Stuart Hall and Tony Jefferson. Contributors such as Dick Hebdige, Paul Willis, Iain Chambers and Angela McRobbie forged a template that allowed an understanding of youth culture, and particularly subculture, that was highly determined by class affiliation. While the inclusion of popular music is not always present in such works, the connection between youth subcultures and popular music allows for one of the first engagements between pop music and social class. 4. A somewhat problematic term in that it embraces a huge variety of musical and visual styles. However, Simon Reynolds (2005) sees it as music influenced both by punk and the fallout of punk from approximately 1978 to 1984. Its stylistic variety becomes a primary facet of post-punk’s significance. 5. A closer examination of punk and Oi! can be found in Chapter 7. 6. What Laughey describes as ‘the neo-Marxist resistance frame’ (25). 7. Although Weber’s ‘status groups’ do provide a way of understanding class in terms other than economic determinism (1924).
174 Notes 175
8. One’s perception and articulation of one’s own class position rather than Marx’s use of the term which stresses a coming to terms with the contradic- tory nature of capitalism and a removal of such contradictions within class to fulfil revolutionary ends. 9. The ways in which such strategies may occur will be treated within the case studies in subsequent chapters. 10. Beverley Skeggs expands her discussion of the appropriation of working-class imagery in Class, Self, Culture (2004a). 11. Rebranding in Skeggs’ analysis is not to be confused with social mobility in an economic sense. 12. My use of the term myth here needs to be understood as a modification of Barthes (1973). Barthes sees myth as ideologically inflected practices and bodies of ideas. My own use of the term takes the ideological implications asserted by Barthes, but adds a level of the fantastic, in other words the need to replicate reality mimetically through cultural forms is made fantastic through the discourses surrounding popular music. As such ideology can be perpetuated in a form that might seem ‘overblown’ or ‘stereotypical’ in other spheres of cultural or social life. That is not to say that my use of myth is pertinent only to popular music (much the same could be said of Hollywood cinema or British soap operas), but the discourses potentially engaged with when listening to popular music allow a level of disengagement from lived experience while performing a mythical engagement that stands in for that lived experience. More will be said on this when the subject of rock discourse is dealt with later in this work. 13. For a fuller analysis of the discourse surrounding ‘Common People’, see Chapter 4. 14. In this particular case there is the further option of identification with the object of the song from a male perspective. 15. See Chapter 5. 16. The same is likely to be true even for a small audience engaging with a performer in a live context, but it is the specific mechanisms that allow for this prismatic effect on a large scale that I wish to engage with here. 17. Although they will no doubt be an influencing factor. 18. As supported by ancillary media operating alongside the artists themselves, such as television, the music press, radio, biography and so on.
3 The problem of authenticity
1. As Dyer points out, the division between grass roots and professional music making is complicated by the acknowledgement that most popular music production, in Britain and America at least, is predicated on professional models and standards even where it is made at an amateur level. ‘Any notion that rock emanates from ‘‘the people’’ is soon confounded by the recognition that what ‘‘the people’’ are doing is trying to be as much like professionals as possible’ (412). 2. An idea made explicit in the reception and resurrection of folk music in Britain in the twentieth century. See Chapter 6. 3. Keightley (2001) does identify strands of documentary authenticity in rock music that evolve historically from early soul and electric blues artists, which he describes as ‘performed autobiography’ (119). 176 Notes
4. Authenticity, while prioritized within rock music, can often be an issue within what might be understood as mainstream pop. 5. A move mirrored by the success in the United Kingdom of the MVC chain of record stores, designed again to appeal to this very market. 6. As we shall see later, such associations of authenticity in Young’s case may be tempered or complicated by his middle-class southern upbringing against Gates’ working-class northern origins. However, within the mainstream pop idiom such class signification is often less valued than a relationship to historically validated pop music forms and predecessors. 7. A point that rearticulates Dyer’s assertion of the professional template of popular music. 8. Rage Against the Machine’s self-titled debut album (1992) makes similar claims to show that guitarist Tom Morello’s innovative guitar sounds were not created through any inauthentic means such as a sampler or a synthesizer. 9. Robert Cantwell (1996) recognizes this liberal strand in relation to the American folk revival:
This libertarian spirit, the spirit of the patriot, has often been characteristic of the folklorist in America, especially where mistrust of central authority, as in the post-Reconstruction south, has been particularly strong. Here one thinks of the Texas folklorist L. Frank Dobie, John Lomax, Jimmy Driftwood, the Ozark folklorist Vance Randolph – the person in love with her locality, the regionalist, often associated, after the invention of the rotary press, with a newspaper, the novelist who draws on the characters and stories of her place for her material, but with a sense that her audience lies in distant parts, who shares with her forbears a distrust of outsiders, especially if they represent urban sophistication, book learning, or central government. (367)
10. For more on the influence of this, see the subsequent chapters on the folk voice and folk rock. 11. His analysis of Blur and Oasis shows how both traditions inform both artists, although they are diametrically opposed in terms of class and aims. 12. Even regarding the influence of art schools on glam and punk, where working-class students came into contact with avant garde and pop art. See Frith and Horne (1989). 13. From the 1989 album Thunder and Consolation. 14. Interestingly, Cromwell himself resisted Leveller tendencies within his army and was even responsible for the deaths of three of his own soldiers with Leveller sympathies at a failed uprising in Berkshire in 1649. The name was again taken up by the band The Levellers who supported New Model Army through their early career and shared much of their audience, although they went on to become significantly more successful. 15. In the late 1980s New Model Army had a significant following in north Essex, a relatively affluent area at the time, and by no means northern in a national sense. 16. And the concurrent values associated with that term (see above). 17. Prior to his disappearance in 1995. 18. John Harris (2003) shows how Frischmann was actually at the heart of the London mid-1990s pop scene, exposing her image as a Johnny-come-lately parasite as somewhat erroneous. Notes 177
4 Performing class
1. While Frith is talking about performance art, it is a category that he allies with music hall and vaudeville, comedy and popular song. 2. A repetition that Butler relates to Derrida’s concepts of iterability and citation. 3. ‘Text of Pentagon’s New Policy Guidelines on Homosexuals in the Military’, New York Times (22 July 1993) qtd. in Parker and Kosofsky Sedgwick (1995). 4. See Chapter 3. 5. Mark Liechty’s analysis (2002) of the development of a new middle-class performative identity in Kathmandu understands class as a practice adopted by practitioners to form subjectivity in a changing economic environment. 6. A somewhat simplistic statement but it provides a nexus for the economic- determinist models of class analysis in relation to popular music. 7. A role that is heavily connected to the experience of Pulp’s singer and song- writer Jarvis Cocker, who has talked repeatedly about his experiences at St Martin’s College as the inspiration for the content of the song, thus rein- forcing the song’s authentic status through biographical suture. Cocker has been equally candid about certain elements of poetic license applied to the narrative of the song, however (The Story of ...Pulp’s Common People, 2006). 8. Pulp’s headlining slot on the Saturday night of the festival is still considered to be one of the classic Glastonbury performances, and acts as the finale to Julien Temple’s documentary Glastonbury (2006). ‘Pulp’s set was rapturously received, launching the band into superstar status in England’ (‘Pulp Artist Biography’, 2006). 9. Even if we treat Cocker’s performance as ironic, the authenticity of his own class position within the song becomes undermined by an implicit complicity with the girl in question. 10. Of course, this presupposes a subjectivity that can bring something to bear prior to the textual experience. Given that Butler is at pains to illustrate the way in which subjectivity is constituted by discourse, it should be pointed out that any subject that comes to a textual moment are themselves already constituted in one fashion or another by other discursive fields already in operation. 11. The borough of Camden in London is home to a number of markets and stores that cater to subcultural groups, particularly the metal and gothic scenes. On most Sundays (the borough’s busiest day) it has one of the highest densities of subcultural agents anywhere in the United Kingdom, browsing alternative clothing shops such as Black Rose and Cyber Dog. 12. For the sake of this work, read ‘rock discourse’ as ‘British rock discourse’, although that is not to suggest that American, or indeed any other form of rock music, is not going to have an effect on British examples. 13. ‘Common People’ reached number two in the UK singles chart in 1995, held off the number one position by a nostalgic reading of The Righteous Brothers’ ‘Unchained Melody’ performed by two television actors, Robson Green and Jerome Flynn. 14. For more on this, see Chapter 8. 15. Arctic Monkeys famously gained a sizeable following through fan sites and file sharing on the Internet while Mike Skinner of The Streets gained a significant amount of critical kudos due to his debut album’s origins in his bedroom recording studio. 178 Notes
16. Although Skinner did move from Birmingham to Brixton in London soon after the release of his debut album. 17. These elements are by no means exhaustive, they are here merely as examples of the range of influences that inform gothic style and behaviour at certain historical moments. 18. Although New Musical Express (5 August 2006) celebrated the tenth anniver- sary of Oasis’ two concerts at Knebworth, making similar claims. ‘With the band supported by [The Charlatans, Manic Street Preachers and The Prodigy] ...in front of 250,000 people, over two historic nights, the event was one of the defining moments of the Britpop years’ (‘Oasis Mark Knebworth Anniversary’ 2006). 19. Of course, Blur are another example of the iteration of performative identities in much the same way as Pulp; however, Pulp’s origins provide a level of validation for their group identity that was never as easily available to Blur. 20. The Best Air Guitar Album in the World ...Ever series is now in its third volume with a box set available collecting all three together (2005). It is by no means alone in the market with Air Guitar Anthems (2002) and Air Guitar Heaven (2002) fulfilling a similar function. A female-oriented version is also available in the Hairbrush Divas series. 21. The ‘New Pop’ of the 1980s addresses this very problem. Bands such as ABC, Scritti Polliti (following their incarnation as post-punk deconstructionists) and Frankie Goes to Hollywood make attempts to disrupt more rockist notions of authenticity by embracing the pop mainstream, both in terms of market- ing, image and sonics. This subject is explored in greater depth by Reynolds (2005). 22. Nirvana’s attempts to make this relationship more explicitly visible for the follow-up to Nevermind (1991) included proposed album titles such as Verse Chorus Verse and Radio Friendly Unit Shifter (which did make it on to the album as a song title), before settling on In Utero (1993). 23. That is not to say that listening to Kylie Minogue (for example) allows a form of subjectivity that capitulates to the demands of a consumerist performativ- ity. If such an identity is a problem, strategies other than authenticity may be employed. However, such strategies are not the focus of this work.
5 The folk voice
1. Harry Smith’s collection, Anthology of American Folk Music, is seen as a particularly vital compilation:
This six-volume set, originally released in 1952, was arguably the most important single influence on the music of the 1960s, shaping not only the folk revival but rock and roll, as well. As the liner notes to the edition released in 1997 by Smithsonian Folkways Recordings proudly advertise, several generations of musicians on the road to Damascus have been struck down by the Harry Smith Anthology, including Bob Dylan and Elvis Costello, and virtually every track on the set, with the exception of some of the more obscure religious and Cajun numbers, have been covered by acts ranging from Peggy Seeger to Nick Cave and the Bad Seeds to Taj Mahal to Huey Lewis and the News. (Mancini, 2002) Notes 179
2. As above, see Simon Frith’s ‘The Industrialisation of Music’ (1988) for a particularly compelling critique of this position. 3. The use of the word ‘organic’ here suggests natural, a usage outlined by Raymond Williams (1976). ‘An organic society was one that has ‘‘grown’’ rather than been ‘‘made’’. This acquired early relevance in criticism of revolutionary societies or proposals as artificial and against the ‘‘natural order’’ of things’ (228). One might then suggest a conservative and perhaps reactionary undercurrent to the term; however, that is not this work’s project. Rather, Williams does point to the use of the term to suggest interrelatedness, in this case between the music and the culture from which it comes. While such a connection may at times seem fragile, this aspect of connection is the primary focus of the term as used here. 4. This would suggest that there is a real that can be experienced through signification in some way, which in itself is a problematic idea. Butler’s performance theory is quick to counter this assumption by understanding performativity as constitutive of subjectivity in and of itself, rather than as being representational. 5. It is important to note that the class division between the concert and the music hall was less than exclusive. Russell (1997) makes particular note of the working-class audiences at concerts, most of whom could barely afford the ticket prices (78–9), while later he shows how the music halls not only attracted middle-class audiences (although they were by far in the minority) but also served as a vital form of advertising for local businessmen, and also as a means of constraining anti-social behaviour. He quotes the Chief Magistrate of Bow Street Police Court in London, who in 1866 suggested that ‘I know there is scarcely ever a case of drunkenness from any of the music halls’ (89) as he believed that they provided a restraint on excessive drinking. The use of music halls by prostitutes was also tolerated in London as it was considered to at least be relatively visible and centralized rather than a problem that had been chased underground. However, the two forms of congregation still existed ostensibly in differing social strata. 6. As is continually stated throughout oral accounts and critical analyses of American popular music, class does not play as significant a role in American culture as it appears to in the United Kingdom. Racial tensions have had a much more significant impact upon the American musical landscape, but it is important to note that racial identity in the United States often carries with it assumptions of socio-economic class positioning. 7. This shift also marks a point at which class becomes an issue in its negation, and adopts a generational perspective in the articulation of its discourse. 8. The less commercially oriented music of the rent parties and juke joints in New York, Chicago and New Orleans remained centred primarily around black performers and audiences. 9. Indeed, Sinatra’s resurrection in the 1950s seems to rely on a shift away from the boyish, lyrical romanticism and lush arrangements of Axel Stordhal towards his subtler work with Nelson Riddle and later Quincy Jones. Of course, Sinatra remains an urban(e) figure, but his persona acquires a grit- tier manifestation, even on the melancholic In the Wee Small Hours of the Morning (1955), perhaps still his best work. 10. One might also see the category of youth as a minority experience in this light. 11. The same can perhaps be said of the white middle-class urban and suburban kids in the States. 180 Notes
6 Folk revival and folk rock
1. ‘Martin Carthy: English Roots’, 2004. 2. Although Adorno’s focus was on the intellectualism of modernist composi- tion rather than folk music. 3. ‘Martin Carthy: English Roots’, 2004. 4. Even the resurgence of interest in folk music, and the wider category of roots music since the mid-1980s, has largely been the preserve of a relatively small audience in comparison to mainstream popular music, and holds little in the way of currency as a class oriented folk voice, even for the largely well-educated and financially stable audience that enjoys it. 5. Assuming of course that this was the intention of the artists concerned. There is little evidence that folk rock was seen explicitly as a strategy to place folk music back in a popular arena with any kind of social agenda, but the attempts to fuse folk forms with more contemporary sounds implicitly held the promise of making folk music relevant again and reconnecting popu- lar music in the United Kingdom with a tradition of British music making that stretched back before the mass industrialization of the entertainment industries. 6. For examples see ‘Bless the Weather’, ‘Just Now’, ‘Glistening Glyndeborne’ (Bless the Weather, 1971) and ‘Over the Hill’ (Solid Air, 1973). 7. Drake took his own life in 1974 after battling with depression. 8. Despite the fact that it also contains one of his best hymns to the pastoral, ‘Northern Sky’. 9. Supplied by backing singers Pat Arnold and Doris Troy, the only other voices heard on any of Drake’s albums. 10. Themselves an amalgam of disparate influences outside of English folk forms. 11. Often with quite specific regional tones. Drake and Genesis’ Peter Gabriel both use a very clean enunciation that calls to mind the plaintive singing of a choir boy, an implicit nod to the role of the hymn form in Anglican services experienced by many middle-class English school children at the time. 12. Simon Reynolds and Joy Press also explore the connections between sound and gender in The Sex Revolts (1995), an issue that will be returned to in Chapter 7. 13. A collaboration with The Dubliners. 14. Known primarily for his dance projects such as Strange Cargo and Bassomatic, as well as his production work for Madonna, All Saints and Melanie C. 15. Originally appearing on Martyn’s Solid Air album. 16. Bastet Records’ Golden Apples of the Sun sampler (2004) is a particularly good repository of such artists, as is the particularly eclectic compilation Folk Off (2006).
7 Punk and hardcore
1. Roger Sabin’s collection Punk Rock: So What? (1999) provides some evidence of continued attempts to account for punk after the event, while John Robb’s Punk Rock: An Oral History (2006) does an equally good job of showing quite how disparate punk was at the time through the recollections of practitioners in the scene. That many of those interviewed by Robb fail to agree on punk and Notes 181
the events surrounding it says a lot about attempts to define it as a homologous entity. 2. As with the feminization associated with acoustic and pastoral idioms in progressive rock (see the previous case study on folk rock). 3. The associations between working-class experience and masculinity have been critiqued by Angela McRobbie, most notably in ‘Girls and Subcultures’ (with Jenny Garber, 1976), ‘Settling Accounts with Subcultures: A Feminist Critique’ (1980) and Feminism and Youth Culture (1990a). 4. Interestingly, John’s Children were Marc Bolan’s band prior to Tyrannosaurus Rex. The shift to pastoralism marked by the latter band suggests a significant shift in orientation for Bolan, from a hard-edged aggressive masculinity to the cosmic/rural idealization of the maternal. 5. Indeed one strategy open to the gang is to co-opt femininity visually, as The Rolling Stones and The New York Dolls do (although The Dolls’ visual identity says as much about queerness as it does about a refusal of the feminine) as well as the subsequent genres of glam rock and glam metal. 6. Other writers associated with this suburban angst are John Braine and Alan Sillitoe and the playwrights Bernard Kops and Arnold Wesker. 7. Despite punk’s links to art rock (Bowie, The Velvet Underground, Can) by the early 1980s the discourse of punk as working-class music was firmly estab- lished. Mark Perry even goes so far as to disparage practitioners within the London punk scene who are considered too arty:
But [The Sex Pistols’] audience was so naff in those days, just a bunch of fashion victims standing around like the Bromley Contingent. They were all sort of Bowie fans. They all had dyed hair, all sorts of pretentious nonsense. We just had a laugh. We were working class kids from Deptford. We weren’t middle-class ponces from Bromley or Chelsea. So in a way we knew what was going on in the terraces, on the streets, more than anyone else. (qtd. in Robb, 205)
8. And consequently anarcho-punk bands such as Crass and Discharge would spawn the grindcore genre resulting in the punk/metal hybrid of Napalm Death, The Electro Hippies and Extreme Noise Terror (Mudrian, 2004).
8 Dream pop and Madchester
1. ‘Style’ and ‘movement’ are both inadequate terms due to the lack of any cohesive musical or socio-political identity in either case. 2. Although Slowdive’s cover of Syd Barrett’s ‘Golden Hair’ on the Catch The Breeze (2004) compilation, itself a setting of James Joyce’s ‘Poem V’ from Chamber Music (1907), might suggest a bourgeois sensibility refracted through British psychedelia. 3. Or ‘arsequake’ as Melody Maker termed it prior to Nirvana’s mainstreaming of grunge. 4. Kristeva’s development of Lacanian psychoanalysis (1984) understands the symbolic realm as the development of a gendered subjectivity that is con- structed through the acquisition of language. Prior to this, the infant resides 182 Notes
in the semiotic realm, a state where desire is expressed without any structural formula such as language. As such the distinction between subject and object is partially formed and the infants sense of its own self is abstract and fluid at best. For Kristeva the semiotic realm never leaves us, manifesting itself in slips of language that express unconscious desires that language cannot account for. The relationship between music and noise can be understood in a similar way to the relationship between the symbolic and the semiotic. 5. For a collection v23’s work, see Rick Poynor’s Vaughan Oliver: Visceral Pleasures (2000). 6. Both Cocteau Twins and The Jesus and Mary Chain came from Scotland whilst My Bloody Valentine originated in Dublin. 7. The Hacienda was given its own Factory Records catalogue number, FAC51. 8. For Factory, Happy Mondays’ ...Yes Please! (1992) and for Creation, My Bloody Valentine’s Loveless, both perhaps highlighting the potential cost of artistic freedom (or in the Mondays’ case, expensive studios in the Bahamas and too many narcotics). 9. This relationship between geography, class and popular music is explored by Katie Milestone (1998) in relation to northern soul. She cites Joanne Hollows who claims that, ‘the urban sites associated with northern soul, reaffirm and celebrate what Shields (1991) calls the ‘‘place image’’ of ‘‘the North’’ as ‘‘The Land of the Working Class’’ and the industrial slum. Northern soul appropriates a vision of ‘‘the North’’ in which, in Shield’s words, ‘‘The past hangs ...like factory smoke must once have’’ ’ (Milestone, 143). 10. Although the significance of Pulp’s performance was not oriented around place in the way that The Stone Roses at Spike Island was, or indeed around a subcultural audience who had specifically come to see them.
Conclusion – A different class
1. It is interesting that these two albums receive more critical attention in Joseph Tate’s collection of essays The Music and Art of Radiohead (2005) than either of the band’s first two albums, Pablo Honey (1993) or The Bends (1995), although this says as much about musical depth, experimentation and complexity as it does about the preoccupations of academic approaches to popular music. 2. Despite being the fastest-selling album of all time in the United Kingdom, Be Here Now sold around eight million copies, a significant reduction on its predecessor (What’s the Story) Morning Glory which sold over 19 million copies worldwide. 3. The effect of self-distribution via the Internet remains to be seen at the time of writing as regards musical form. Certainly, the Internet has allowed for artists on the leftfield of musical practice to find an outlet, yet the effect of a century of music industry influenced popular music has left a seemingly indelible mark on the form and style of the majority of music available, despite the lifting of artistic restrictions afforded by home recording and self-distribution and promotion. That one is still able to assert that the average popular song takes about four minutes to listen to says much about the after effects of a form constrained by the amount of music one can fit on to a 45rpm vinyl single, despite the format’s relative obsolescence. 4. Itself a problematic idea, much as the concept of British folk music is. Bibliography
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Blur. Parklife. Food Records, 1994. ——. ‘Country House’. Food Records, 1995. ——. The Great Escape. Food Records, 1995. The Clash. ‘London’s Burning’. The Clash. Columbia, 1977. ——. ‘White Man in Hammersmith Palais’. Columbia, 1978. ——. ‘English Civil War’. Columbia, 1979. ——. ‘Guns of Brixton’. London Calling. Columbia, 1979. ——. ‘Lover’s Rock’. London Calling. Columbia, 1979. ——. ‘Rudie Can’t Fail’. London Calling. Columbia, 1979. ——. ‘Spanish Bombs’. London Calling. Columbia, 1979. ——. ‘One More Dub’. Sandanista. Columbia, 1980. ——. Sandanista. Columbia, 1980. Cocteau Twins. Sunburst and Snowblind EP. 4AD Records, 1983. ——. ‘Persephone’. Treasure. 4AD Records, 1984. ——. Victorialand. 4AD Records, 1986. ——. Bluebell Knoll. 4AD Records, 1988. ——. Heaven or Las Vegas. 4AD Records, 1990. Crass. ‘It’s the Greatest Working Class Rip Off’. Christ: The Album. Crass Records, 1982. Dale, Dick. ‘Miserlou’. Deltone Records, 1962. Donegan, Lonnie. ‘My Old Man’s a Dustman’. Pye Records, 1960. Drake, Nick. Five Leaves Left. Island Records, 1969. ——. Bryter Layter. Island Records, 1970. ——. Pink Moon. Island Records, 1972. Elastica. ‘Connection’. Deceptive Records, 1994. Fairport Convention. Liege and Leaf. Island Records, 1969. Franz Ferdinand. Franz Ferdinand. Domino Records, 2004. Genesis. Nursery Cryme. Charisma Records, 1971. ——. ‘Supper’s Ready’. Foxtrot. Charisma Records, 1972. Girls Aloud. ‘The Sound of the Underground’. Polydor Records, 2002. Happy Mondays. Squirrel and G Man 24 Hour Party People Plastic Face Carnt Smile (White Out). Factory Records, 1987. ——. Bummed. Factory Records, 1988. ——. ‘WFL (Wrote for Luck)’. Factory Records, 1988. ——. Yes Please! Factory Records, 1992. Hear’Say. ‘Pure and Simple’. Polydor Records, 2001. The Incredible String Band. 5000 Spirits or the Layers of the Onion. Island Records, 1967. ——. The Hangman’s Beautiful Daughter. Island Records, 1968. John’s Children. ‘Just What You Want – Just What You’ll Get’. Columbia Records, 1967. Lavigne, Avril. ‘Girlfriend’. Columbia Records, 2007.
191 192 Discography
Levitation. ‘Bedlam’. Firefly EP. Ultimate, 1991. Loop. ‘Collision’. Chapter 22, 1988. Lush. Mad Love EP. 4AD Records, 1989. ——. Scar. 4AD Records, 1989. ——. ‘Sweetness and Light’. Sweetness and Light EP. 4AD Records, 1990. M.A.R.R.S. ‘Pump up the Volume’. 4AD Records, 1987. Martyn, John. London Conversation. Island Records, 1968. ——. The Tumbler. Island Records, 1968. ——. Bless the Weather. Island Records, 1971. ——. Solid Air. Island Records, 1973. ——. Grace and Danger. Island Records, 1980. The Members. ‘The Sound of the Suburbs’. Virgin Records, 1979. Morrison, Van. Astral Weeks. Warners, 1969. My Bloody Valentine. This is Your Bloody Valentine. Tycoon Records, 1985. ——. ‘You Made Me Realise’. Creation Records, 1988. ——. ‘Soon’. Glider EP. Creation Records, 1990. ——. Loveless. Creation Records, 1991. New Model Army. ‘Green and Grey’. Thunder and Consolation. EMI, 1989. ——. ‘Vagabonds’. Thunder and Consolation. EMI, 1989. Nirvana. Bleach. Sub Pop Records, 1989. ——. Nevermind. DGC Records, 1991. ——. In Utero. DGC Records, 1993. Oasis. ‘Cigarettes and Alcohol’. Creation Records, 1994. ——. Definitely Maybe. Creation Records, 1994. ——. ‘Roll With It’. Creation Records, 1995. ——. (What’s the Story) Morning Glory. Creation Records, 1995. ——. Be Here Now. Creation Records, 1997. The Pogues. Rum, Sodomy and the Lash. Warners, 1985. ——. If I Should Fall from Grace with God. Warners, 1988. The Pogues and The Dubliners. ‘The Irish Rover’. Stiff Records, 1987. Prince. ‘I Feel 4 U’. Prince. Warners, 1979. ——. ‘I Would Die 4 U’. Warners, 1984. ——. ‘Money Don’t Matter 2 Night’. Paisley Park, 1991. Pulp. His ‘n’ Hers. Polygram Records, 1994. ——. ‘Common People’. Polygram Records, 1995. Radiohead. Pablo Honey. Parlophone, 1993. ——. The Bends. Parlophone, 1995. ——. Kid A. Parlophone, 2000. ——. Amnesiac. Parlophone, 2001. Rage Against the Machine. Rage Against the Machine. Epic Records, 1992. Ride. Ride EP. Creation Records, 1990. ——. Fall EP. Creation Records, 1990. ——. Nowhere. Creation Records, 1990. The Rolling Stones. ‘Out of Time’. Aftermath. Decca Records, 1966. ——. ‘Sitting on a Fence’. Flowers. Decca, 1967. ——. ‘Let it Loose’. Exile on Main Street. Decca Records, 1972. ——. ‘Tumbling Dice’. Decca Records, 1972. The Sex Pistols. ‘Bodies’. Never Mind the Bollocks, Here’s the Sex Pistols. Virgin Records, 1977. Discography 193
Sham 69. ‘Hurry up Harry’. Polydor Records, 1978. ——. ‘If the Kids are United’. Polydor Records, 1978. ——. ‘Hersham Boys’. Polydor Records, 1979. Sinatra, Frank. In the Wee Small Hours of the Morning. Capitol Records, 1955. Slowdive. ‘Catch the Breeze’. Just for a Day. Creation Records, 1991. ——. ‘Golden Hair’. Catch the Breeze. Sanctuary Records, 2004. The Smiths. ‘Hand in Glove’. Rough Trade Records, 1983. ——. ‘How Soon is Now?’ Rough Trade Records, 1985. ——. ‘The Queen is Dead’. The Queen is Dead. Rough Trade Records, 1986. Steeleye Span. ‘Gaudete’. Chrysalis Records, 1973. ——. ‘All Around My Hat’. Chrysalis Records, 1975. The Stone Roses. ‘So Young’. Thin Line Records, 1985. ——. The Stone Roses. Silvertone Records, 1989. ——. ‘Made of Stone’. Silvertone Records, 1989. ——. The Second Coming. Geffen Records, 1994. Tyrannosaurus Rex. ‘Trelawny Lawn’. Prophets, Seers and Sages, the Angels of the Ages. A&M Records, 1968. The Undertones. ‘Jimmy Jimmy’. Sire Records, 1979. ——. ‘My Perfect Cousin’. Sire Records, 1979. Various Artists. An Anthology of American Folk Music. Smithsonian Folkways, 1952. ——. Air Guitar Anthems. EMI Gold, 2002. ——. Air Guitar Heaven. Sony Budget, 2002. ——. Hairbrush Divas Vol. 1: Music You Just Have to Sing Along to. WSM, 2003. ——. Golden Apples of the Sun. Bastet Records, 2004. ——. The Roots of Led Zeppelin. CD Compilation. Mojo, August 2004. ——. The Best of the Best Air Guitar Albums in the World ...Ever [Box set]. Virgin TV, 2005. ——. Folk Off. Sunday Best Records, 2006. The Velvet Underground. ‘Femme Fatale’. The Velvet Underground and Nico. Polydor Records, 1967. ——. ‘Heroin’. The Velvet Underground and Nico. Polydor Records, 1967. Westerberg, Paul. ‘World Class Fad’. 14 Songs. Warners, 1993. Wire. ‘Three Girl Rhumba’. Pink Flag. Harvest Records, 1977. Index
A&M Records, 135 ASCAP (American Society of Abbott, Andrew, 20 Composers, Authors and ABC, 178 Publishers), 99–100, 102, 104 Abercrombie, Nicholas, 71–2 Ashcroft, Richard, 59 Abhinanda, 142 Asia, 81 audiences, 10, 71–2, 77, 79–80, 89, Abrams, Mark et al, 19 106, 125, 127, 141, 143, 179 A Certain Ratio, 161 diffuse, 71–2, 80 acid house, 157, 163, 165 simple, 71 A C Marias, 161 Auslander, Philip, 32, 38–41 acousmatics, 49–50 Austin, John Langshaw, 64–5 acousticity, 7, 118–23 Autechre, 169 Adorno, Theodor, 18, 26, 89, 111, 180 authenticity, 2–9, 14, 19, 21–2, 24–5, A Guy Called Gerald, 159 32–62, 64, 67, 69, 71–8, 81–8, 95, air guitar, 82 101–4, 106–7, 117–18, 120–1, Aitken, Jonathan, 18–19 123–4, 127, 138, 145, 156, 161, Albarn, Damon, 8–9, 60–1 167, 170–4, 176–8 Alexander, Jeffrey, 20 liberal, 41–5 modern, 43–4 Allen, Lily, 169 romantic, 43–5 All Saints, 180 auto-destructive art, 87 Amazon, 169 ambient house, 128 Bad Brains, 141 ambivalence, 6, 25, 65, 67, 69, 74–5, Baez, Joan, 112 86–7, 102, 104, 131, 133, 144 Baggy, see Madchester anarchism, 45 Baker, Danny, 134 anarcho-punk, 139, 181 ballads, 95 Anderson, Brett, 60–1 Balog, Lester, 118 Angelic Upstarts, The, 137 Band, The, 107 ‘angry young men’, 131 Banhart, Devandra, 123 Anthology of American Folk Music, 178 Bardo Pond, 73 Baring-Gould, Reverend Sabine, 91 Anti-Nowhere League, The, 139 Barrett, Jeff, 160 Arctic Monkeys, 26, 44, 79, 131, Barrett, Syd, 130, 181 169, 177 ‘Golden Hair’, 181 aristocracy, 19, 94 Barthes, Roland, 50, 175 A R Kane, 149 Bassomatic, 180 Arnold, Matthew, 18 Bastet Records, 180 Arnold, Pat, 180 BBC, 1, 99 art music, 33–4, 48, 73, 132, 181 BBC Radio One, 31, 51–2 art school, 1–2, 4, 15, 60, 132, BBC Radio Two, 108 136–9, 176 BBC2, 108
194 Index 195
Beatles, The, 2, 30, 34, 131 Broadwood, Reverend John, 91 be bop, 101 Brocken, Michael, 107–11 Beckham, Victoria, 29–30 Bromley, 131, 147, 181 Bell, Colin, 20 Brown, Ian, 164 Benjamin, Walter, 18 Buckley, Tim, 117 Bennett, Andy, 15, 167 Burnage, 1 Bennett, Tony, 100 Burning Spear, 31 Berenyi, Miki, 154 Bushell, Gary, 138–9 Berry, Heidi, 154 Business, The, 139–40 big band music, 100–1 Butcher, Bilinda, 148, 151, 155 Bill Black’s Combo, 109 Butler, Judith, 6, 64–70, 74, 93, 144, Birmingham, 79, 116, 178 177, 179 University of, 11 Buzzcocks, The, 129, 147 Birmingham School, the, 11–13 Byrds, The, 107, 112 Bit Torrent, 142 Black Flag, 125, 141 C., Melanie, 180 Black Sabbath, 143 Cage, John, 50 Blackwell, Chris, 106, 113 Caine, Michael, 18–19 Blake, Andrew, 89, 113, 129 Cale, John, 116 ‘Blow th’ Man Down’, 91 Calix, Mira, 169 Blue, 56 Callier, Terry, 123 bluegrass, 100 Callon, Michel, 62 blues, the, 91, 93, 100–1, 103, 110, calypso, 93 112, 114, 117–18, 123, 128, 175 Camberwell, 103 Blur, 1–2, 4, 8, 56, 60–1, 80–2, 130, Cambridge, 52, 116 176, 178 Cambridge Folk Festival, 108 ‘Country House’, 1–2 Camden, 76, 147, 177 The Great Escape, 1–2 Can, 134, 181 Parklife, 2, 60, 80 Cantwell, Robert, 4, 92–5, 176 Blush, Steven, 141, 143 capital, 6, 21, 23, 64, 69 Bolan, Marc, 83, 115, 119, 181 capitalism, 3, 17–18, 64, 90–1, 118, Bolton, 98 141–2, 170–1, 175 Bourdieu, Pierre, 5, 20–1, 65 Capo, Ray, 142 bourgeoisie, the, 7, 17, 42, 48, 69, 91, Carthy, Martin, 109–13, 121, 180 93–4, 100, 102, 129, 181 Catherine Wheel, 147, 149, 153 Bowie, David, 181 Catnach, Jeremy, 95 Boyd, Joe, 91–2, 113 CBS Records, 135 Bracewell, Michael, 130 CCCS, see Centre for Contemporary Brackett, David, 27–8 Cultural Studies Bradfield, James Dean, 39–40 Central Station Design, 161 Bradford, 45 Centre for Contemporary Cultural Bragg, Billy, 44, 73, 122 Studies, 11–12, 16, 18, 26, Braine, John, 181 102, 174 Brinsley Schwarz, 127 Certificate of Suitability Act, 98 Brit Awards, The, 1 Chamberlain, Jimmy, 39 Britpop, 8, 51, 60–1, 72, 80–1, Chambers, Iain, 174 146, 178 Chaney, David, 20 Brixton, 178 chanson, 117 Broadstairs Folk Festival, 120 Chapterhouse, 149, 153, 156 196 Index
Charlatans, The, 178 87–8, 91, 94, 96–9, 101–2, 105, Charles, Ray, 37 107–8, 110–11, 121, 123, 125, Chartist movement, 162 127–40, 143–5, 156–7, 159, ‘chavs’, 76 161–3, 166, 169–72, 175–6, Chelsea, 181 179, 181–2 Chevalier, Albert, 98 classical music, 90, 96–7, 99, 112, Chicago, 179 117–18 Chicago School, the, 12–13 Classic Gold, 51 Chieftains, The, 121 clubbing, 63–4, 165 chill-out music, 122 CND (Campaign for Nuclear Chiswick Records, 135, 162 Disarmament), 131 Chunk, 149 Cobain, Kurt, 42, 84–5 citation, 177 Cobley, Paul, 126 Clannad, 121 Cocker, Jarvis, 24–5, 70–2, 79–80, 177 Clapton, Eric, 114 cockney, 19, 80, 103, 105, 139 Clarke, Gary, 15 Cockney Rejects, The, 137 Clash, The, 40, 52, 126, 129, 135–7, Cock Sparrer, 139 144, 150 Cocteau Twins, 147–50, 154, ‘English Civil War’, 144 156–7, 182 ‘The Guns of Brixton’, 144 Bluebell Knoll, 149 ‘London’s Burning’, 144 Heaven or Las Vegas, 148 ‘Lover’s Rock’, 144 ‘Persephone’, 148 ‘One More Dub’, 144 Sunburst and Snowblind, 154 ‘Rudie Can’t Fail’, 144 Treasure, 148 Sandanista, 144 Victorialand, 157 ‘Spanish Bombs’, 144 Cohen, Albert, 11–12 ‘White Man in Hammersmith Cohen, Leonard, 117 Palais’, 144 Colchester, 1–2, 60 class, 2–5, 7–24, 26–30, 33–5, 42, 45, Coldplay, 2, 168–9 48–9, 52, 54–8, 60–2, 64–5, 67–70, Cold War, The, 100 73–5, 77–8, 86, 88, 90–2, 94, 96–7, Collins, Phil, 114 99, 101–2, 104–10, 114, 118–19, Comets On Fire, 41 121–5, 127–33, 136–40, 143–6, commercialization, 6, 9, 36, 49, 57, 156, 159, 161–4, 167, 169–77, 83–6, 124, 138, 170, 173 179–80, 182 commodification, 7, 21, 33, 68, 73, consciousness, 13, 17, 20–1, 23, 65, 89–90, 99, 120, 166 146, 175 commodity fetishism, 63 identity, 4–5, 7–9, 20, 24–5, 31, 42, Como, Perry, 100–1 59, 67–9 concepts, 57–8 middle class, 1, 4, 8, 11, 14, 17, Conflict, 45 21–5, 33, 45, 47–8, 57, 60, 69, Conquergood, Dwight, 62 71–2, 77–8, 86, 89, 91, 93, 96–7, Converge, 169 99–104, 108, 117, 121, 129–34, Cope, Julian, 126 136, 138–40, 144–5, 156, 167, Costello, Elvis, 178 169–70, 176–7, 179–81 Cotton, Elizabeth, 109 upper class, 22, 91 counterculture, 30, 76, 119 working class, 2–5, 7–9, 11–13, country music, 4, 99–100 15–16, 19, 21–5, 28, 30–1, 33, Coward, Noel, 117 42–8, 60, 67–72, 77–9, 81, 86, Cranes, 149 Index 197
Crass, 139–40, 181 pop, 33–4, 56–7, 72–4 ‘It’s the Greatest Working Class Rip rock, see rock discourse Off’, 139 discursive fields, 6, 67, 69, 71–6, 177 Creation Records, 154–5, 161–2, 182 Dixieland revival, 91 Cro-Mags, The, 142 Dobie, L. Frank, 176 Cromwell, Oliver, 45, 176 Doctor Feelgood, 127 Crosby, Bing, 101, 170 documentary, 29, 55, 79, 175 Croydon, 131 Donegan, Lonnie, 26, 103–5 cultural studies, 10–11, 18, 26 ‘My Old Man’s a Dustman’, 105 Curve, 149 Donovan, 107 ‘Down at the Boondocks’, 24 Daily Mirror, The, 21, 23–4 Drake, Nick, 106, 109–10, 113, Dale, Dick, 148, 172 115–19, 123, 180 ‘Miserlou’, 172 ‘At the Chime of a City Clock’, 116 Damned, The, 126, 136, 139, 141 Bryter Layter, 115–16 dance music, 122, 123, 157, 171 Five Leaves Left, 115 Darkness, The, 54 ‘From the Morning’, 116 ‘Dawn’, 24 ‘Northern Sky’, 180 Dead Can Dance, 154 Pink Moon, 115–16 Dead Kennedys, 139 ‘Pink Moon’, 116 death metal, 147 ‘Poor Boy’, 116 Decca Records, 136 ‘River Man’, 115 Deceptive Records, 59 ‘Things Behind the Sun’, 116 Deep Purple, 134 ‘Three Hours’, 116 Def Leppard, 143 ‘Time Has Told Me’, 115 Deicke, Wolfgang, 15 dream pop, 8, 48, 55–7, 128, 146–54, Deleuze, Gilles, 57–8 156–9, 162, 165, 167, 181 Denny, Sandy, 109 Driftwood, Jimmy, 176 Depeche Mode, 161 Dropkick Murphys, The, 139 Deptford, 181 Dr Phibes and the House of Wax Derrida, Jacques, 64–5, 177 Equations, 149 Detroit, 157 drugs, 34, 134, 150, 159, 163 Devine, Fiona et al, 16, 19–20 Devoto, Howard, 147 Dry Bar, 161 DGC Records, 83–4 dub, 126, 128 Diamond, Elin, 62 Dublin, 182 Diawara, Manthia, 22 Dubliners, The, 121, 180 Dillinger Escape Plan, 169 Durutti Column, 161 Dinosaur Jr, 149 Dyer, Richard, 33, 57, 175–6 Discharge, 181 Dylan, Bob, 31, 56, 73, 112, 114, Dischord Records, 142 150, 178 discourse, 6, 8–9, 14–15, 24–6, 29–30, 32–5, 41, 47–51, 53–6, 58–9, 61, Eastern Bloc Records, 159 64–70, 72–7, 79, 81, 84, 87–8, 92, economic determinism, 18, 70–1, 102, 104, 107, 112, 117–18, 128, 174, 177 133–4, 143–4, 146, 167, 172, ecstasy, 150, 157, 165 174–5, 177, 179, 181 Eddy, Duane, 171 art, 33–4, 72–4 Edgell, Stephen, 17–18 folk, 33–4, 56, 72–4, 112 Edward IV, King, 95 198 Index
Edwards, Richey James, see James, folk music, 4, 7, 46–7, 57, 88–93, 95, Richey 99–103, 105–15, 117–23, 170, 808 State, 159, 166 172, 175, 180, 182 Eisen, Jonathan, 34 Folk Off, 180 Elastica, 59–61 folk revival ‘Connection’, 59–60 American, 91–5, 112, 176, 178 Electro Hippies, The, 181 British, 103, 106–7, 110, 120 electronica, 168 folk rock, 7, 55, 106–9, 111–14, 117, Ellington, Duke, 100 119–21, 172–3, 176, 180–1 Ellis – Bextor, Sophie, 29 Folk Roots magazine, 120, 123 Ellis, Iain, 104–5 Folk Song Society, see English Folk EMI Records, 45, 47, 135 Dance and Song Society emo, 31 Folk Union One, 111 encoding / decoding, 35 folk voice, the, 5–7, 9, 29, 74, 77–9, Engels, Friedrich, 162 86–91, 93, 95–6, 98–9, 101–5, 108, English Folk Dance and Song Society, 113–14, 116–17, 120–2, 124, 127, 91, 106, 110 135, 157, 159–60, 164, 166, Enlightenment, the, 20, 42 169–71, 173, 176 Epsom, 131 Foucault, Michel, 65, 74–6 Erasure, 161 4AD Records, 149, 154, 161 ethnicity, 3, 20, 78, 172 Fox, Aaron A., 4 ethnography, 10, 20, 29 Fracture magazine, 141 Exploited, The, 139 Frankie Goes to Hollywood, 178 Extreme Noise Terror, 181 Franz Ferdinand, 3 Fraser, Elizabeth, 147–8 Factory Records, 157, 160–2, 182 Fraser, Mariam, 68–9, 86–7 Fairport Convention, 106, 109, Fraternity of Minstrels of England, 95 112–13, 116–17, 119 Freud, Sigmund, 64 Liege and Lief, 112 Frischmann, Justine, 60–1, 176 ‘Matty Groves’, 112 Frith, Simon, 33, 57, 62–4, 72–3, 131, ‘Toss the Feathers’, 112 176–7, 179 Fall, The, 60, 166 Fugazi, 142 fanzines, 134, 141–2 Farina, Richard, 31 Gabriel, Peter, 180 Fast, Susan, 63, 174 Gallagher, Noel, 8–9, 158, 164 Featherstone, Mike, 22 garage, 171–2 Felder, Rachel, 147, 149–51 garage rock, 128, 153 femininity, 125, 144, 181 Garber, Jenny, 181 feminism, 70 Gates, Gareth, 37, 176 feminization, 8, 119, 128, 130–1, 133, Geffen Records, 83–4 144–5, 169, 181 gender, 3, 6–8, 20, 27–9, 48, 60–1, Fender, Leo, 172 64–5, 67–70, 74, 104, 119, feudalism, 17, 170 128–30, 133, 144, 171, 180–1 fields, 21, 25 Genesis, 107, 119, 134, 180 Fields of the Nephilim, 39–40 ‘For Absent Friends’, 119 Filth and the Fury, The, 135 ‘Harlequin’, 119 Finsbury, 144 Nursery Cryme, 119 Fiske, John, 35 ‘Return of the Giant Hogweed’, 119 folk culture, 89, 94, 103, 123 ‘Supper’s Ready’, 4 Index 199
Gillett, Charlie, 101 hardcore, 7, 124, 127, 137, 139–43, Girls Aloud, 171–3 145, 169 ‘The Sound of the Underground’, Hardin, Tim, 117 171–2 Hare Krishna, 142 glam rock, 12, 129, 176, 181 Harker, Dave, 91–2, 95, 100, 102–3 Glastonbury, 177 Harlem, 100 Glastonbury festival, 71–2, 77–82, 85, Harper, Roy, 109 164, 177 Harris, John, 176 glitchtronica, 168 Harry’s Game, 121 globalization, 10 Haslam, Dave, 126, 157–62, 165–6 glossolalia, 148 Hawkins, Justin, 54 Goffman, Erving, 81–2 Hawkins, Stan, 3, 26, 133 Golden Apples of the Sun, 180 Hear’Say, 171 Goldthorpe, John H. et al, 19 ‘Pure and Simple’, 171 Gong, 134 ‘Heartbreak Hotel’, 109 Goodwin, Andrew, 56–7 heavy metal, 41, 76, 107, 143, 168, Goon Show, The, 33–4 177, 181 goth, 31, 39, 79, 126, 149, 177–8 heavy rock, 107–8, 123, 143 Gottlieb, Joanne, 174 Hebden Bridge, 46 Gracyk, Theodor, 41–5, 78 Hebdige, Dick, 12–16, 31, 174 Graham, Davey, 109, 117 Hegemony, 13, 16 Grainger, Percy, 99 Hendrix, Jimi, 157 Green Day, 84 Hennessey, Rosemary, 69 Grierson, Nigel, 153–4 hip hop, 23, 108, 130, 151, 171–2 Grimm, Jacob and Wilhelm, 93 hippies, 107, 134, 143, 164 grindcore, 181 His Name is Alive, 161 grunge, 84–5, 149, 165, 181 Hodkinson, Paul, 12, 15 Guattari, Felix, 57 Holland, Annie, 60 Gucci, 30 Hollows, Joanne, 182 Guns ‘n’ Roses, 40 ‘Holocaust, the’, 153 Guthrie, Robin, 147–8 homosexuality, 66–7 Guthrie, Woody, 100, 118, 150 Horne, Howard, 176 Huey Lewis and the News, 178 habitus, 21, 79 Hull, 111 Hacienda, The, 157, 161, 165–6, 182 Human League, The, 132 Hall, Philip, 160 Humphries, Patrick, 117 Hall, Stuart, 35, 174 Hutchings, Ashley, 109, 121 Hammer horror, 79 Hampson, Robert, 151 ‘Hang on Sloopy’, 24 Ibrahim, Aziz, 81 Happy Mondays, 157–67, 182 ideology, 12–13, 26, 32, 68, 90, 110, Bummed, 157 118–19, 121, 136–7, 139–40, 142, Squirrel and G Man 24 Hour Party 144, 175 People Plastic Face Squirrel and G Iggy and the Stooges, 141, 148, Man 24 Hour Carnt Smile (White 151, 157 Out), 157 iLiKETRAiNS, 169 ‘WFL (Wrote For Luck)’, 160 Imlach, Hamish, 113 Yes Please!, 182 implied listener, 27–8, 30, 64 200 Index
Incredible String Band, The, 106, 109, Joyce, James, 181 113, 118–19 Joy Division, 157 5000 Spirits or the Layers of the jungle, 172 Onion, 119 The Hangman’s Beautiful Kaiser Chiefs, The, 131 Daughter, 119 Keane, 41 indie rock, 8, 54, 57, 60–1, 108, 145, Keightley, Keir, 42–5, 91, 127, 175 154–5, 173 Kerrang!,75 industrialization, 6–7, 9, 17–18, 21, Kidel, Mark, 126 33, 44, 86, 89–90, 110–11, 115, Killers, The, 41 117, 162, 170, 173, 180 King Crimson, 134 Industrial Revolution, 5, 86, 96 Kingston Trio, The, 109 Inspiral Carpets, 158 Kingstown, 144 inter-discourse, 74, 76 Kinks, The, 2, 130 International Commission for the Kirby, Robert, 115 Study of Worker’s Songs, 110 Kooks, The, 48 International Folk Music Council, 110 Kops, Bernard, 181 Internet, the, 142, 177, 182 Koskoff, Ellen, 174 interpellation, 27, 65, 69, 71, 74, 79 Kosofsky Sedgwick, Eve, 66, 177 Ippinson, Nigel, 81 Krautrock, 128 Iron Maiden, 143 Krishnacore, 142 irony, 36, 121, 177 Kristeva, Julia, 152, 181–2 Iser, Wolfgang, 27 Island Records, 106, 113–14 Lacan, Jacques, 152, 181 iteration, 66, 86–7, 177 ITV, 54 Laing, Dave, 137 Lamacq, Steve, 58 James, 164–5 Lambeth, 98 Jameson, Fredric, 42 landscape, 46 James, Richey, 58–9, 176 Larkin, Colin, 155 Jan and Dean, 148 Larner, Sam, 107, 110 ... Jansch, Bert, 109, 112, 117 Later with Jools Holland, 108 Japan, 52 Laughey, Dan, 16, 174 jazz, 37, 47, 78, 93, 100–1, 103, 114, Lavigne, Avril, 28 117, 119, 123, 131 ‘Girlfriend’, 28 Jefferson, Tony, 174 Lawler, Steph, 69, 86–7 Jesus and Mary Chain, The, 147–9, Lazy Records, 155 156, 182 Leadbelly, 118 Jethro Tull, 119 ‘Leader of the Pack’, 24 Joe Bloggs, 161, 163 Leatherhead, 131 Johnny and the Hurricanes, 109 Leavis, F. R., 18, 89 John’s Children, 128, 181 Led Zeppelin, 80, 107, 112, 134, 143 ‘Just What You Want, Just What Lee, Edward, 91, 96–8 You’ll Get’, 128 leisure, 29, 68, 158, 167 Johnson, Robert, 112 Levellers, The, 44, 176 Jones, Mick, 144 Levitation, 149, 152 Jones, Norah, 37 ‘Bedlam’, 152 Jones, Quincy, 179 Lewisham, 131 jouissance, 150, 153 Leybourne, George, 98 Index 201 liberalism, 41–5, 78, 176 Manchester, 1, 126, 144, 157–60, see also authenticity, liberal 162–7 Liechty, Mark, 177 Mancini, Joanne, 178 Limewire, 142 Manfred Mann, 134 Live Forever,8,80 ‘Doo Wah Diddy’, 134 live performance, 32, 38–41, 163–4, Manic Street Preachers, 39–40, 58, 178 168 Marcuse, Herbert, 18, 64 Liverpool, 126, 160 M.A.R.R.S., 161 Lloyd, A. L., 6, 109–13, 115, 118 ‘Pump up the Volume’, 161 Lloyd, Marie, 98 Marshall, Gordon, 20 locale, 127, 146, 159, 161, 167, 182 Marten, Maria, 95 Lock, Stock and Two Smoking Barrels,22 Martyn, John, 106, 109–10, 113–14, lo-fi, 123 117, 119, 122–3, 180 Lomax, Alan, 88, 93 Bless the Weather, 114, 180 Lomax, John, 93, 176 ‘Bless the Weather’, 180 Lombardo, Guy, 100 ‘Glistening Glyndeborne’, 180 London, 25, 46, 59–60, 79, 95–6, 103, Grace and Danger, 114 116, 126, 130, 135, 137, 144, 147, ‘I Don’t Want to Know About 156, 158–60, 164, 176–9, 181 Evil’, 123 Longhurst, Brian, 71–3 ‘Just Now’, 180 Look Back in Anger, 131 London Conversation, 114 Lookout Records, 84 ‘Over the Hill’, 180 Loop, 150–2 Solid Air, 114, 180 ‘Collision’, 151 ‘Solid Air’, 115 Los Angeles, 170 The Tumbler, 114 Louisiana, 170 Marxism, 17, 26, 68, 111, 139, 174 loungecore, 79 Marx, Karl, 5, 17–18, 21, 65, 175 Love, 117 masculinity, 22, 102, 117, 125, Lowe, Nick, 127 129–30, 132–3, 136–7, 140, 142–3, Loxley, James, 64 145, 169, 181 LSD, 150 masculinization, 119, 128, 138, 144–5 Lush, 147, 149, 152, 154 Mad Love, 154 Massey, Graham, 166 Scar, 154 Mattacks, Dave, 116 ‘Sweetness and Light’, 152, 154 Matthews, Donna, 60 Lydon, John, 14, 54, 126, 128, Maximum Rock ‘n’ Roll magazine, 141 133–5, 147 McClary, Susan, 28, 174 MC5, 148 Macan, Edward, 113, 119 McFly, 56 MacColl, Ewan, 109, 113, 115, 118 McGee, Alan, 154 MacInnes, Colin, 103–4 McGeogh, John, 147 Madchester, 8, 56–7, 144, 146, 156–9, McGhee, Brownie, 118 161–7, 181 McGowan, Shane, 122 Maddix, Robbie, 80 McKaye, Ian, 142 Madonna, 22, 180 McLaren, Malcolm, 126, 135, 139, 141 Magazine, 60, 147 McRobbie, Angela, 174, 181 Mahal, Taj, 178 MC Tunes, 159 Malbon, Ben, 63 medievalism, 113, 118 Malone, Bill C., 4 Melly, George, 131 202 Index
Melody Maker magazine, 1, 60–1, 146, Musician’s Union, The, 132 158, 181 musicology, 27–8 Melua, Katie, 37 musique concrete,` 50 Members, The, 129, 131 Mute Records, 161 ‘Sound of the Suburbs’, 131 MVC (Music and Video Club), 176 Menace, The, 139 My Bloody Valentine, 147–56, 182 meritocracy, 18–19 Glider, 148, 154–5 Merleau-Ponty, Maurice, 50 Isn’t Anything, 155 Merseybeat, 159, 163 Loveless, 148, 151, 155, 182 Metzger, Gustav, 87 ‘Soon’, 148, 151, 155–6 ‘miasma’ bands, see dream pop This is Your Bloody Valentine, 148 Middleton, Richard, 3, 27, 34–5 ‘You Made Me Realise’, 152–3 Midway Still, 149 Myspace, 142 Milestone, Katie, 182 myth, 23, 25–6, 28–31, 34–5, 58, 84, Militia, the, 46–7 93, 95, 107, 115, 118, 120, 136, Miller, Glenn, 100 140, 144, 162, 165, 172–3, 175 Minogue, Kylie, 178 Minor Threat, 125, 141–2 Minutemen, The, 125, 141 Napalm Death, 181 Misfits, The, 141 Napoleonic Wars, 96 Mississippi, 170 Narvaez,´ Peter, 118 Mitchell, Joni, 37 nationalism, 91 Mix Mag magazine, 123 National Service, 33 Mockneys, 2 neo-folk, 121, 123 mod, 69, 128 neo-nazi, 137 Modernism, 43–4, 128, 180 Never Surrender, 142 modernity, 7, 89, 119, 173 Newby, Howard, 20 Mogwai, 169 New Cross, 131 Mojo magazine, 112 New Hormones Records, 160 Mondrian, Piet, 50 Newman, Randy, 117 Mooney, H. F., 99–101 Newman, Robert, 9 Moon, Keith, 31 New Model Army, 44–5, 176 Moore, Allan F., 118–19 ‘Green and Grey’, 45–7 Moore, Robert S., 20 Thunder and Consolation, 46, 176 Moore, Sean, 39 ‘Vagabonds’, 46 Moose, 147, 149 New Musical Express magazine, 1–2, Morello, Tom, 176 58, 60–1, 146, 158, 165, 178 Morley, David, 74 New Order, 157, 161 Morrison, Van, 114 Morrissey, 55, 133 New Orleans, 179 Morton, Charles, 98 New Pop, 122, 178 Motorhead, 143 Newport Folk Festival, 112 Mr Fox, 111 New Society, 131 MTV, 85 Newsom, Joanna, 123 MTV2, 31 New Wave of British Heavy Metal, 143 Mudrian, Albert, 181 New York, 99, 118, 170, 179 Muggleton, David, 15 New York Dolls, The, 134, 181 music hall, 88, 97–9, 105, 170, Nick Cave and the Bad Seeds, 178 177, 179 Ninja Tune Records, 168 Index 203
Nirvana, 83–5, 178, 181 Pattie, David, 58–9 Bleach, 84–5 Pegg, Bob, 111 ‘Endless, Nameless’, 84 Pegg, Dave, 116 Nevermind, 84–5, 178 Penetration, 129 In Utero, 84–5, 178 Pentagon, the, 66–7, 177 NME, see New Musical Express Pentangle, 106, 109, 112, 114, 119 magazine Pepys, Samuel, 91 northern identity, 46, 162, 182 performance, 6–7, 9, 13, 26, 29, 38–9, northern soul, 163, 182 41, 43, 52–3, 59, 61–8, 70–2, Northside, 158 74–82, 85–7, 95, 106–7, 109, Norwich, 59 120–1, 129, 132, 137, 141, 143, nu-metal, 31 147, 177 Nuttall, Jeff, 33 theory, 62–4, 68, 79, 81, 179 see also live performance Oakenfold, Paul, 165 performative utterances, 65 Oasis, 1, 8, 29–30, 56, 164, 168–9, 176, performativity, 6–7, 9, 15, 25, 29, 33, 178, 182 35, 43–4, 53–4, 56, 58, 62–70, 72, Be Here Now, 168, 182 74–7, 79, 82, 84–8, 90, 97, 102, ‘Cigarettes and Alcohol’, 31 104, 114, 117, 120, 133, 144–5, Definitely Maybe,2 171–3, 177–9 ‘Roll With It’, 1–2 Perry, Mark, 135–6, 181 What’s the Story (Morning Glory), Petersen, Richard A., 4 1, 182 Phelan, Peggy, 62 O’Bryant, Jimmy and his Chicago phenomenology, 27, 36, 47, 49–50 Skifflers, 104 Pickering, Andrew, 62 Oi!, 7, 15, 42, 125, 136–45, 174 Pink Floyd, 73, 120–1, 130, 133–4, 156 Oliver, Vaughan, 153, 182 Pixies, The, 154 Ono, Yoko, 60 Plan B, 44, 169 opera, 96 Plant, Robert, 117 Orbit, William, 123, 180 Play, 169 organic, 6–7, 34, 44, 47, 52, 57, 89, 91, pleasure garden, 97 95, 107, 111, 114–15, 120, 160, Plymouth, 126 164, 170, 173, 179 Pogues, The, 122–3 Orton, Beth, 122–3 ‘The Broad Majestic Shannon’, 122 Osborne, John, 131 If I Should Fall from Grace with God, Oxford, 156, 166 122 Oyster Band, The, 122 ‘The Irish Rover’, 122 ‘A Pair of Brown Eyes’, 122 Padel, Ruth, 174 Rum, Sodomy and the Lash, 122 Page, Jimmy, 112 Police, The, 127 Pakulski, Jan, 10 Pooka, 122 Pale Saints, 154 Pop Idol,37 Parker, Andrew, 66, 177 pop music, 5–6, 33–4, 37, 45, 51, Parliament, 52 54–5, 57, 61, 73, 77, 82–3, 86, Parry, Sir Hubert, 97 92, 102, 106–12, 121, 171, 174, Partisans, The, 140 176, 178 Pastepunk, 142 Pop Stars, 171 pastoral, the, 7, 94, 107, 109, 113–16, Pop Stars: The Rivals, 171 118–19, 122–3, 130, 172, 181 Popular Front, The, 118 204 Index
Porter, Jimmy, 131 Queen Adreena, 169 postmodernism, 35–6, 42, 173 Queer post punk, 14–15, 42, 47, 60, 122, 125, identity, 68–9, 181 135, 138, 146–7, 149, 174, 178 theory, 68 post rock, 97, 169 post-structuralism, 20, 65 race, 8, 20, 27, 29, 37, 48, 68–9, 76, Poynor, Rick, 182 104, 179 Prada, 30 Radiohead, 168, 182 Preece, Richard, 98 Amnesiac, 168 Press, Joy, 128, 130–1, 137, 152, 180 The Bends, 182 Primal Scream, 165 Kid A, 168 Prince, 59 Pablo Honey, 182 ‘I Feel 4 U’, 59 ‘Rag Doll’, 24 ‘I Would Die 4 U’, 59 Rage Against the Machine, 176 ‘Money Don’t Matter 2 Night’, 59 Ramones, The, 134, 141 Prodigy, The, 178 Randolph, Vance, 176 production, 73–4 Rastafarianism, 14, 31 professionalization, 95–6, 175 rave culture, 15, 165–6 progressive rock, 11, 97, 107, 110, Rawnsley, Stuart, 162–3 119, 121, 126, 129, 130, 133–6, Ray, Johnny, 101 138, 181 ‘Cry’, 101 proletariat, 16, 18, 43, 137, 139 Raymond, Simon, 147–8 protest music, 33–4, 100, 110, 150 Razorlight, 168 psychedelia, 30, 79, 107, 128, 130, Reading, 156, 166 134, 149, 165, 172, 181 Reay, Diane, 20 psychoanalysis, 136, 152, 181 rebranding, 22–3, 25, 31, 175 Public Enemy, 58 Reed, Lou, 42 Public Image Limited (PIL), 14, 128, reggae, 114, 126, 138, 144 135, 147 Renbourn, John, 112, 117 pub rock, 127 Reni, 80, 164 Pulp, 24, 70–2, 74, 77, 79–82, 164, Reynolds, Simon, 15, 25, 128, 130–1, 177–8, 182 137, 149–53, 174, 178, 180 ‘Common People’, 24–5, 70–2, 77, rhythm and blues, 51, 78, 128 79–81, 85, 175, 177 Richards, Keith, 31 His ‘n’ Hers,85 Riddle, Nelson, 179 Pulp Fiction, 172 Ride, 147, 149, 154–6, 166 punk, 7, 11–12, 14–15, 25, 42, 45, 55, Fall, 155 57, 60, 78, 84, 104, 121–7, 129, Nowhere, 155 131–41, 143–5, 147, 150, 157, Ride, 155 162, 173–4, 176, 180–1 Righteous Brothers, The, 177 see also anarcho-punk; Oi!; street ‘Unchained Melody’, 177 punk Rimbaud, Penny, 139 Punk Planet magazine, 141 Ritchie, Guy, 22–3 Pursey, Jimmy, 136 Rites of Spring, 142 Pussycat Dolls, The, 73 Ritson, Joseph, 91 R ‘n’ B, 108, 171–2 Q magazine, 1 see also rhythm and blues Quakerism, 94 Robb, John, 164, 180 Queen, 40 Robin of Sherwood, 121 Index 205
Robson and Jerome, 177 Searle, John, 64 rockabilly, 79, 100, 102 Seattle, 84, 165 rock discourse, 5–7, 9, 30, 33, 35, Seeger, Charles, 93 47–9, 51–3, 55–6, 58–61, 65, Seeger, Mike, 93 67–9, 72, 74, 77–8, 84, 86–7, Seeger, Peggy, 93, 178 105, 107, 112–13, 117–18, 120, Seeger, Pete, 93 125, 128, 130, 132–3, 140, Select magazine, 1 144–5, 156, 160, 163, 169, selling out, 36, 83–4 171–5, 177 semiotic, the, 152–3, 182 rockers, 69 semiotics, 56, 89 rock ‘n’ roll, 6–7, 15, 24, 55, 78, 88–9, Seville, 144 93, 101–3, 107, 110, 112, 134, Sex Pistols, The, 2, 126, 128–9, 133, 170–2, 178 135–7, 141, 147, 181 Rojek, Chris, 68 ‘Anarchy in the UK’, 134 Rolling Stones, The, 2, 30, 129, 181 ‘Bodies’, 129 ‘Let It Loose’, 129 sexuality, 64–8, 70, 74, 76, 133 ‘Out Of Time’, 129 Shadows, The, 172 ‘Sitting On A Fence’, 129 Sham 69, 136–7, 139, 141 ‘Tumbling Dice’, 129 ‘Hersham Boys’, 136 Rollins, Henry, 141, 143 ‘Hurry Up Harry’, 136 Romanticism, 43–4, 79, 90, 94, 110, ‘If The Kids Are United’, 136–7 117, 128 Sharp, Cecil, 6, 91–2, 110, 112 Ross, Stephen, 68 Sharples, Thomas, 98 Rothko, Mark, 50 Sheffield, 25, 72, 79, 126, 160 Rotten, Johnny, see Lydon, John Shelter, 142 Rough Trade Records, 161–2 Shields, Kevin, 148, 151, 155 Roxy Music, 2 Shields, Rob, 182 Rubin, Rachel Lee, 24 Shoegazing, see dream pop Runrig, 122 Sikth, 168 Russell, Dave, 97–8, 179 Sillitoe, Alan, 181 Ryder, Shaun, 161 Silvertone Records, 157 Simply Red, 80–1 Sabin, Roger, 180 Sinatra, Frank, 100, 170, 179 St Martin’s College of Art and Design, In the Wee Small Hours of the 25, 177 Morning, 179 Salford, 161 Siouxsie and the Banshees, 14, 126, San Francisco, 135, 166 144, 147 Saussure, Ferdinand de, 56 Siouxsie Sioux, 147, 149 Savage, Jon, 137, 163–4 Situationism, 139 Savage, Mike, 16, 19–20 Six Organs of Admittance, 123 Saxon, 143 ska, 138 ‘scally’ culture, 157, 161 Skeggs, Beverley, 20–5, 69, 77, 86–7, ‘Scene With No Name’, see 93, 98, 175 dream pop skiffle, 103–5 Schaeffer, Pierre, 49–50 skinhead, 125, 137–9, 143 Schechner, Richard, 62, 64 Skinner, Mike, 177–8 Schwarz, David, 136 Slade the Leveller, see Sullivan, Justin S Club 7, 121 Slaughter and the Dogs, 139 Scritti Polliti, 178 Slits, The, 144 206 Index
Slough, 156, 166 Stiff Records, 135, 162 Slowdive, 147, 149–51, 154–5, 166, Stone, Angie, 37 181 Stone, Joss, 37 ‘Catch The Breeze’, 151 Stone Roses, The, 71, 80–2, 157–61, Catch The Breeze, 181 163–4, 182 Just For a Day, 151, 155 ‘Made of Stone’, 160 Sly and the Family Stone, 157 The Second Coming,80 Small Faces, The, 2, 30–1 ‘So Young’, 160 Smashing Pumpkins, 39–40 The Stone Roses, 157 Smith, Harry, 88, 178 Stordhal, Axel, 179 Smith, Mark E., 166 straight edge, 140, 142 Smiths, The, 55, 133, 157–8 Strange Cargo, 180 ‘Hand in Glove’, 55 Stranglers, The, 60, 127 ‘How Soon is Now?’, 55 stratification, 11, 13, 17–23, 33, ‘The Queen is Dead’, 133 70, 125 Smithsonian Folkways Recordings, street punk, 136, 139 178 see also Oi! Snatch,22 Streets, The, 44, 79, 169, 177 Sniffin’ Glue magazine, 134–5, Strummer, Joe, 136, 139, 144 141 students, 1, 33, 108, 121, 131, 134, Snow Patrol, 168 136, 139, 156, 160, 176 socialism, 119, 144 subculture, 5, 11–16, 18, 25–7, 31, 48, sociology, 10–11, 16, 18, 20, 125 75–6, 79, 102, 125, 138, 142–3, Soho, 103 174, 177, 182 Solie, Ruth A., 174 subjectivity, 5–7, 9, 20, 48, 50, 64–70, Sonic Youth, 149 74, 76, 79–82, 84–7, 97, 102, soul, 37, 47, 175 104, 107, 116–17, 133–4, 137–8, Soulseek, 142 145, 152, 164, 171, 173, 177–9, Sounds magazine, 139 181–2 South Africa, 91 Sub Pop Records, 83–4 South Bank Show, The,54 suburbia, 11, 108, 127, 129–31, 140, Southwark, 98 145, 156, 166, 179 Soviet Union, the, 91 Suede, 60–1, 130 Spanish Civil War, 144 Sugababes, 37, 73 Spector, Phil, 147, 151 Sullivan, Justin, 45–7 Spice Girls, 29 Supergrass, 172 Spike Island, 163–5, 167, 182 Supremes, The, 37 Spill, 123 surrealism, 34 Spinners, The, 109 Sutton, 131 Squeeze, 44 Swarbrick, Dave, 112 Squire, John, 80 Sweeney Men, The, 107 status, 5, 12, 18–19, 23, 104, 174 Swervedriver, 149, 153 Steeleye Span, 109, 112–13, 121 Swindon, 156 ‘All Around My Hat’, 121 symbolic, the, 152–4, 181–2 ‘Gaudete’, 121 synthesizers, 39–41, 132, 176 Stefani, Gino, 27 synth pop, 129, 132 Stereophonics, 2–3, 168–9 Stevens, John, 114 Talking Heads, 126 Stiff Little Fingers, 129 Tanworth-in-Arden, 116 Index 207
Tate, Joseph, 182 vaudeville, 177 teams, 81 Vaughan – Williams, Ralph, 99 techno, 151, 157–8 Velvet Underground, The, 79, 150, teddy boys, 12, 69 157, 181 teenagers, 33, 102–4 ‘Femme Fatale’, 150 Temperance movement, 94 ‘Heroin’, 150 Temple, Julien, 177 Verve, The, 59, 164 Terry, Sonny, 118 Vetiver, 123 Thatcherism, 122, 140 Vicious, Sid, 31 Theis, Ryan, 85 Virgin Records, 135, 136 Thompson, Danny, 114–15 v23, 153–5, 182 Thompson, Richard, 106, 108, 112–16 Waksman, Steve, 63 Thornton, Anthony, 2–3, 168–9 Wald, Gayle, 174 Thornton, Sara, 15 Walkley, 46 Thousand Yard Stare, 149 Wall, Tim, 169 Throwing Muses, 154 Walser, Robert, 28, 63 Tin Pan Alley, 99 Warp Records, 160, 168 Tokyo, 166 Warwick, Jacqueline, 63 Took, Steve Peregrine, 115 Washington DC, 125, 140, 142 Toop, David, 148, 152 Waterboys, The, 122 Top of the Pops, 45, 61 Waters, Malcolm, 10 Tourette, Donny, 52 Waters, Muddy, 100, 112 Towers of London, 52–4, 86 Waterson Carthy, 109 ‘townies’, 75–6 Waterson, Norma, 111 Townshend, Pete, 53, 87 Watts Russell, Ivo, 154 Town Wait, 96 Weber, Max, 5, 17–18, 21, Toynbee, Jason, 89 65, 174 Troy, Doris, 180 Weber, William, 96 TSOL, 141 Weedon, Chris, 65 23 Envelope, see v23 Welch, Justin, 60 Two Tone, 138 Wesker, Arnold, 181 Tyrannosaurus Rex, 107, 115, Westerberg, Paul, 36, 42 118–19, 181 ‘World Class Fad’, 36 Prophets, Seers and Sages, the Angels Westwood, Vivienne, 126, 139 of the Ages, 115 Whiteley, Sheila, 174 ‘Trelawny Lawn’, 115 Who, The, 2, 30, 52–3, 131 Wigan, 164 U2, 58 Williams, Raymond, 179 UK Subs, 139, 141 Willis, Paul, 174 Undertones, The, 131–3, 135 Wilson, Anthony, 157, 161 ‘Jimmy Jimmy’, 133 Wilson, Brian, 151 ‘My Perfect Cousin’, 131–3 Wilson, Elizabeth, 75–6 ‘Uptight’, 24 Winehouse, Amy, 37 urbanization, 5, 17, 63, 88, 110, Wings, 58 119, 170 Winterland Ballroom, 135 Winwood, Steve, 114 Vance, Albert, 98 Wire, 2, 14, 60 Van der Graaf Generator, 134 ‘Three Girl Rhumba’, 60 208 Index
Wire, Nicky, 39 Yardbirds, The, 52 Witchseason, 113 Young, Will, 37, 176 Wolf, Howlin’, 112 Wood Green, 103 Zanes, R. J. Warren, 35–7, 44, 54 world music, 128 Zimbabwe, 91 World of Twist, 158 Zoo Records, 160 World War II, 90, 99, 102, 111 Zutons, The, 168 Wright, Erik Olin, 19 Zweig, Connie, 65 Zweig, Ferdynand, 19 X-Ray Spex, 144 ZZ Top, 143