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(And Recording) Studios Anderson, Robert (2015) Strength in numbers: a social history of Glasgow's popular music scene (1979-2009). PhD thesis. https://theses.gla.ac.uk/6459/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Strength in Numbers A Social History of Glasgow’s Popular Music Scene (1979-2009) Robert Anderson BA (Hons), PGCE, MEnvS, DipEd Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow June 2015 © Robert Anderson, 2015 2 Abstract In 2004, US Time magazine named Glasgow Europe’s ‘capital of rock music’ and likened it to Detroit in its Motown heyday (Porter, 2004). In 2008 UNESCO awarded Glasgow the title of ‘City of Music’ and the application dossier submitted in support of this title noted the importance of rock and pop for the city’s musical reputation. Since the late 1970s a large number of bands have emerged from (or been associated with) the city, yet little academic research has been carried out to determine the factors behind this phenomenon. This thesis, then, aims to address this deficiency. To do so, it questions the notion of the meaning of the term ‘scene and highlights the changing importance, between 1979 and 2009, of different components within Glasgow’s music scene. In doing this, the thesis examines the importance and role of different ‘foci’ for sustaining popular music production at a grassroots level. These foci (where local music makers meet, socialise, and develop lasting connections) include record shops, studios (rehearsal and recording), live performance venues, and virtual social spaces of the Internet. In foregrounding music making as a social practice, involving interactions between individuals in a wide variety of roles (rather than only between music makers), the study employs network theory as a means of exploring these connections. The resultant analysis highlights the importance of different forms of capital for cultural production. In particular, it argues that from the 1990s onwards, social capital played an increasing role in the development of Glasgow’s music scene. Expressed in terms of high levels of trust and reciprocity between scene participants, the accumulation of social capital has influenced Glasgow music makers to cultivate a distinct ‘indie’ approach to music making. This approach is manifested, not in one particular style of music, but in a plethora of cross- collaborations and a desire on the part of scene participants to create music across different art forms and media. 3 Table of Contents Abstract ......................................................................................................................... 2 List of Figures ................................................................................................................. 6 Acknowledgements ....................................................................................................... 7 Author's declaration ...................................................................................................... 8 Introduction .................................................................................................................. 9 Aims ..................................................................................................................................... 10 Structure of Thesis ................................................................................................................ 12 Chapter 1 – Music Scenes and Popular Music Studies ................................................... 15 Introduction ......................................................................................................................... 15 Music Scenes ........................................................................................................................ 16 Previous Studies ................................................................................................................... 20 Genre ................................................................................................................................... 28 Locality ................................................................................................................................. 30 Cultural Policy and the Development of the Music Industries ............................................... 32 The Production of Culture Perspective .................................................................................. 35 Social Networks and Music Scenes ........................................................................................ 38 Cultural Fields and Forms of Capital ...................................................................................... 40 Network Theory .................................................................................................................... 42 Summary .............................................................................................................................. 43 Chapter 2 - Methodology ............................................................................................. 45 Introduction ......................................................................................................................... 45 Issues of Historiography ........................................................................................................ 45 Methodological Approach ..................................................................................................... 47 Research Instruments ........................................................................................................... 51 Interview Questions ............................................................................................................. 54 Issues of Scope ..................................................................................................................... 55 Chapter 3 – Glasgow and its Music Scenes ................................................................... 58 Introduction ......................................................................................................................... 58 Dance Bands ......................................................................................................................... 58 Beat Music ............................................................................................................................ 60 Blues and Pop ....................................................................................................................... 63 Heavy Rock ........................................................................................................................... 65 Folk Music ............................................................................................................................ 66 Punk and Post-Punk .............................................................................................................. 69 Commercial Pop/Indie-Rock ................................................................................................. 70 Dance/Indie/Hybrid .............................................................................................................. 73 Summary .............................................................................................................................. 75 Chapter 4 - 1979 .......................................................................................................... 76 Introduction ......................................................................................................................... 76 Music Makers ....................................................................................................................... 77 Venues ................................................................................................................................. 87 Rehearsal/Recording Studios ................................................................................................ 93 Public Policy ......................................................................................................................... 97 Case Study: Retail Shops – Record and Instruments .............................................................. 99 Summary ............................................................................................................................ 105 Chapter 5 – 1980s ...................................................................................................... 107 4 Introduction ....................................................................................................................... 107 Music Makers ..................................................................................................................... 108 C86 and Honey at The Core .................................................................................................
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