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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Reading Activity Title: Yngwie J. Malmsteen Level. Intermediate +
Reading activity Title: Yngwie J. Malmsteen Level. Intermediate + Objective. To practice reading comprehension and identify the past form of the verb and the regular and irregular forms. Instructions: Read the text carefully and answer the questions below. Yngwie J. Malmsteen Yngwie Johann Malmsteen (born Lars Johann Yngve Lannerbäck, June 30, 1963) is a Swedish guitarist, composer and bandleader. Widely recognized as a virtuoso, Malmsteen achieved widespread acclaim in the 1980s due to his technical proficiency and his pioneering neo-classical metal. Guitar One magazine rated him the third fastest guitar shredder in the world after Michael Angelo Batio and Chris Impellitteri. Born into a musical family in Stockholm, Yngwie was the youngest child in the family. At an early age, he showed little interest in music. It wasn't until September 18, 1970 when at age seven he saw a TV special on the death of Jimi Hendrix that Malmsteen became obsessed with the guitar. To quote his official website, "The day Jimi Hendrix died, the guitar-playing Yngwie was born". He claims his first name in Swedish means "young Viking chief". Actually, it is a variation of Yngvi, who founded the House of Yngling, which is the oldest known Swedish dynasty. Malmsteen was in his teens when he first encountered the music of the 19th- José Ramón Montero Del Angel | Universidad Veracruzana century violin virtuoso Niccolò Paganini, whom he cites as his biggest classical influence. It has been rumoured that Yngwie believes himself to be the reincarnation of the temperamental, often criticized,and widely misunderstood violinist from Genoa. Through his emulation of Paganini concerto pieces on guitar, Malmsteen developed a prodigious technical fluency. -
Cashbox Subscription: Please Check Classification;
July 13, 1985 NEWSPAPER $3.00 v.'r '-I -.-^1 ;3i:v l‘••: • •'i *. •- i-s .{' *. » NE RIAA CERTIFICATIONS ANNOUNCED R.E.M. AFFILIATES LIVE-AID Crass Roots Audience Blossoms TWORK, GEAR FOR Story on Page 13 WEHIND THE BULLETS: TEARS FOR FEARS #1 MTV AWARDS ENTER NEXT PHASE GUEST EDITORIAL: AL KOOPER SUBSCRIPTION ORDER: PLEASE ENTER MY CASHBOX SUBSCRIPTION: PLEASE CHECK CLASSIFICATION; RETAILER ARTIST I NAME VIDEO JUKEBOXES DEALER AMUSEMENT GAMES COMPANY TITLE ONE-STOP VENDING MACHINES DISTRIBUTOR RADIO SYNDICATOR ADDRESS BUSINESS HOME APT. NO. RACK JOBBER RADIO CONSULTANT PUBLISHER INDEPENDENT PROMOTION CITY STATE/PROVINCE/COUNTRY ZIP RECORD COMPANY INDEPENDENT MARKETING RADIO OTHER: NATURE OF BUSINESS PAYMENT ENCLOSED SIGNATURE DATE USA OUTSIDE USA FOR 1 YEAR I YEAR (52 ISSUES) $125.00 AIRMAIL $195.00 6 MONTHS (26 ISSUES) S75.00 1 YEAR FIRST CLASS/AIRMAIL SI 80.00 01SHBCK (Including Canada & Mexico) 330 WEST 58TH STREET • NEW YORK, NEW YORK 10019 ' 01SH BOX HE INTERNATIONAL MUSIC / COIN MACHINE / HOME ENTERTAINMENT WEEKLY VOLUME XLIX — NUMBER 5 — July 13, 1985 C4SHBO( Guest Editorial : T Taking Care Of Our Own ^ GEORGE ALBERT i. President and Publisher By A I Kooper MARK ALBERT 1 The recent and upcoming gargantuan Ethiopian benefits once In a very true sense. Bob Geldof has helped reawaken our social Vice President and General Manager “ again raise an issue that has troubled me for as long as I’ve been conscience; now we must use it to address problems much closer i SPENCE BERLAND a part of this industry. We, in the American music business do to home. -
Emerson, Lake & Palmer Can Still Turn Us on with These Top 5 Song Lyrics
Emerson, Lake & Palmer can still turn us on with these top 5 song lyrics Sign in Akro… Welc… TRENDING TOPICS: metal | Concerts | Celine Dion | Music | festivals | Sports | Comedy | AXS Buzz | rock | pop | Los Angeles | Emerson, Lake & Palmer can still turn us on with these top 5 song lyrics windhoek35 YouTube merson, Lake & Palmer no longer tour as a trio, but Keith Emerson and Greg Lake have recorded and toured together as a duo. In 2010 Keith and Greg released an album titled Live E from Manticore Hall. Performing a two man version of the iconic Emerson, Lake & Palmer songs, the album was recorded during their American tour. The power trio was one of the most commercially successful and popular progressive rock bands of their era. Their music relied heavily on the use of the Moog synthesizer, Hammond organ and Keith Emerson’s http://www.axs.com/emerson-lake-palmer-can-still-turn-us-on-with-these-top-5-song-lyrics-60805[7/13/2015 9:31:39 PM] Emerson, Lake & Palmer can still turn us on with these top 5 song lyrics use of what has been described as the “flamboyant virtuoso” use of the piano. Classical music, hard rock and jazz were the dominating influences in the music created by ELP. Keith Emerson, Greg Lake and Carl Palmer made up the British trio, but it found its origins at the Fillmore West in San Francisco. Emerson and Lake, who were looking for projects outside their current bands, worked together and found their styles were “compatible and complementary.” Music impresario Robert Stigwood suggested that they add Carl Palmer as their drummer. -
Draghi, Spade E Guerrieri, a Matteotti Arrivano I Rhapsody of Fire
1 Draghi, spade e guerrieri, a Matteotti arrivano i Rhapsody of Fire. Concerto gratuito per San Giovanni di Nicola Giordanella 24 Febbraio 2018 – 16:03 Genova. “For the king, for the land, for the mountains…” Gli amanti del genere sapranno di cosa stiamo parlando, e la notizia potrebbe essere una vera bomba per l’eterogenea scena metal genovese, ma non solo: i Rhapsody of Fire suoneranno in piazza Matteotti questa estate, il 23 giugno. E se San Giovanni non porta inganni (sì, è la notte del fuoco in piazza) ci sarà da divertirsi: l’epic power metal band, nata a Trieste dalla mente del chitarrista Luca Turilli e del tastierista Alex Staropoli, con la nuova line-up, (in cui solo lo storico tastierista è ancora presente), porterà a Genova il repertorio in un concerto ad accesso gratuito. Che poi è il “dettaglio” più importante, per “niatri de Zena”. Per chi non li conoscesse, prima che serie tv blasonate ci riempissero le serate con draghi, castelli, principesse, fuoco e fiamme, negli anni novanta questa metal band cambiò per sempre i canoni del genere, introducendo elementi di musica classica barocca (ma non solo) alla tradizione heavy-power metal. Certo, erano i tempi d’oro, e qualcheduno storse il naso. Genova24.it - 1 / 2 - 29.09.2021 2 Con i primi cinque dischi, usciti tra il 1997 e il 2002 vendettero un milione di copie in tutto il mondo, arrivando in breve tempo nelle posizioni più alte dei festival dedicati di tutte le terre emerse. Gloria perpetua. Al tempo si chiamavano solamente Rhapsody (prima che una bega legale con un rapper americano li costrinse ad aggiungere “of Fire”), e questo nome per moltissimi ragazzi del tempo era ed è sinonimo di fantasy, saghe cavalleresche, “assoli, acuti e doppia cassa”, oppure “spade e salame”, come ironicamente i sostenitori del metal più estremo definiscono i “fratellini” del power metal sinfonico. -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
A Memoir. by Myles Goodwyn. Toronto, Ontario: Harper Collins, 2016
Just Between You and Me: A Memoir. By Myles Goodwyn. Toronto, Ontario: Harper Collins, 2016. 379 pp. ISBN 978-1- 44344-670-9. Reviewed by: David Montgomery, York University Libraries1 The story arc of any rock memoir is predictable. It begins or ends with substance abuse, there are troubled family relationships, extra-marital affairs, betrayals, friends left behind, “musical differences,” management conflicts, and of course, as in any bildungsroman the vicissitude of fortune. The guitar slinger turned raconteur is duty-bound to caution that even modest fame comes at a price, that “rock and roll is a vicious game.” Like the music, the memoir embraces the cliché. On his third go at rehab, April Wine frontman Myles Goodwyn reflects, “Things come in threes” (341). Goodwyn tells us that the goal of his unvarnished memoir was to set the record straight, and not to settle old scores. Neither as beloved as Rush, nor as emblematic as The Tragically Hip, April Wine was nonetheless quintessentially Canadian. With roots in the Maritimes and Quebec, the band regularly toured Ontario rock circuits in the early 1970s, expanding its range to the rest of Canada by the end of the decade. It peaked in the early 1980s, with modest success in England and the US, and garnered worldwide sales of 20 million albums—a solid career. Yet, despite winning several Juno awards and in 2010 being inducted into the Canadian Music Hall of Fame, April Wine may also be a candidate for a quick fade. While songs such as “Weeping Widow,” “Oowatanite,” and “Roller” may resonate with the home demographic, future induction into Cleveland’s Rock & Roll Hall of Fame is unlikely. -
Suffocation Gloom Adrenaline Mob Beastmaker
SUFFOCATION GLOOM ADRENALINE MOB BEASTMAKER ...OF THE DARK LIGHT SOLARIS WE THE PEOPLE INSIDE THE SKULL NUCLEAR BLAST E1 CENTURY MEDIA RISE ABOVE New York death metallers Suffocation return Combining death metal, black metal, doom Recorded once again at Sonic Stomp Studios “When I describe what we do to do people with ...Of the Dark Light. The disc was pro- metal, progressive metal, post-grunge, and oc- over a year-plus period, We the People sounds that don’t know about us I like to say if Danzig duced by Suffocation and tracked at Full casionally described as “blackened death huge. Each riff is massive, every drum hit a and Black Sabbath had a child of darkness it Force Studios with longtime engineer Joe Cin- groove,” Gloom earns a place in the pan- chest-thumping pound, and each line frontman would be Beastmaker,” says vocalist and cotta (Obituary). Mixing and mastering was theon of heavy music in closer proximity to Russell Allen vocalizes exudes unbelievable guitarist Trevor Church. “I’ve always wanted handled by world-renowned producer/engi- timeless giants than forgettable clones. power and heart. Life-changing events may to express my love for horror films through neer Chris “Zeuss” Harris (Hatebreed, Arsis, Gloom represents honesty in its glorious have halted Adrenaline Mob’s momentum music, so you could say it was planned, but it Suicide Silence). “Suffocation worked heaviness, philosophically and musically. The several times, but the group›s third full-length took some natural evolution to figure out what through the end of 2016 to hash out and lay fact that Musicians Institute graduate Dante is proof positive they›re stronger now than works.” From the old-school evangelism of down the tracks at Full Force Studios with Joe Dalton, the band’s guitarist, has worked on they›ve ever been. -
On a Cold Road: Tales of Adventure in Canadian Rock. by Dave Bidini
On a Cold Road: Tales of Adventure in Canadian Rock. By Dave Bidini. Toronto: McClelland & Stewart, 1998. 278 p-, ill. ISBN 0771014562. $19.99 When the Tragically Hip embarked on its a table with a bunch of posters in fiont of him. Trouble in the Henhouse tour in the winter of His skin looked blue and he could barely keep 1996, the Rheostatics were invited to be the his head up ... 'Joey. It's me, Dave.' He had opening act. The offer was a dream come true no idea who I was. I left the store. Outside, for the self-described "Canadian Shield art the rain felt like spiders." rock band." Dave Bidini, a rhythm guitarist and founding member of the Rheostatics, In Toronto Bidini arrives at a different decided he would also take the opportunity to point on the musical spectrum. Inspired by write about his experiences. Thanks to Mitch the "poignant heaviness" of My Stompin' Potter, the Toronto Star ran some excerpts Grounds he sets out to find the self-exiled from Bidini's tour diary in December of 1996. Stompin' Tom Connors. Protesting what he This exposure interested McClelland & perceived as an American bias in the Canadian Stewart which, two years later, published On music industry, Stompin' Tom had stepped a Cold Road: Tales ofAdventure in Canadian out of the Canadian music scene in 1977. Rock. After a long and dogged search, Bidini gets a lead from an employee at Connors' record The adventures begin in Vancouver and label in Mississauga. Armed with a "Tom, take the reader eastward across the Prairies. -
Alex Harvey and “The Tomahawk Kid”: Mode and Interpretation
Alex Harvey and “The Tomahawk Kid”: Mode and Interpretation David Montgomery Abstract: Alex Harvey and the Sensational Alex Harvey Band achieved only marginal popularity during Harvey’s lifetime. Yet an examination of Harvey’s “The Tomahawk Kid,” based on Robert Louis Stevenson’s Treasure Island, shows an idiosyncratic musical style that combines rock and Scottish Celtic influences, subtle textual interpretation, unique compositional choices, and modal tonalities. Introduction The academic study of popular music oscillates between two preoccupations. On one hand, the dogmas of sub-cultural theory still influence popular music discourse and general cultural theory to a great degree. On the other hand, this discourse cannot escape the parameters of its label— popular. In essence, the two poles may be staked as cultural theory versus popular appreciation; but in a way difficult to describe, the application of critical theory has begun to seem more like an attempt to avoid an aesthetic conundrum— a kind of elevation of the demotic artefact to a height it cannot bear. Ever resourceful, the practitioners of popular music studies have wriggled out of this quandary and into the at least temporarily secure embrace of post feminist studies, world pop, and the ethnography of locale; in other words, into areas where inquiry is either of self-evident importance, exotic, or comfortably esoteric. Even if the locale is no more exotic than Glasgow, Scotland or Montgomery, Alabama, or the object mundane, the conceit of the critical stance has proven sufficient. Things change, canons crumble, time has done its work. The difficult “aesthetics” of popular music studies, the indeterminate nature of its aims, is a nagging problem. -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The Golden Age of Heavy Metal (These are excerpts from my book "A History of Rock and Dance Music") The pioneers 1976-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Heavy-metal in the 1970s was Blue Oyster Cult, Aerosmith, Kiss, AC/DC, Journey, Boston, Rush, and it was the most theatrical and brutal of rock genres. It was not easy to reconcile this genre with the anti-heroic ethos of the punk era. It could have seemed almost impossible to revive that genre, that was slowly dying, in an era that valued the exact opposite of machoism, and that was producing a louder and noisier genre, hardcore. Instead, heavy metal began its renaissance in the same years of the new wave, capitalizing on the same phenomenon of independent labels. Credit goes largely to a British contingent of bands, that realized how they could launch a "new wave of British heavy metal" during the new wave of rock music. Motorhead (1), formed by ex-Hawkwind bassist Ian "Lemmy" Kilminster, were the natural bridge between heavy metal, Stooges/MC5 and punk-rock. They played demonic, relentless rock'n'roll at supersonic speed: Iron Horse (1977), Metropolis (1979), Bomber (1979), Jailbait (1980), Iron Fist (1982), etc. -
Andy Roberts Urban Cowboy 01
ANDY ROBERTS 01 URBAN COWBOY www.thebeesknees.com ANDY ROBERTS 02 URBAN COWBOY The first seeds for this album were sown in October 1970. Everyone, my Morgan Studios had been started by well-known drummer Barry Morgan post Liverpool Scene band, was put out of business in a devastating four years before, and was Samwell’s studio of choice. His principal client instant when our long wheelbase Transit was side swiped in Basingstoke in those days was Cat Stevens, who was well on his way to being a global by a jack-knifing flatbed, killing Paul Scard, our 19-year-old roadie, and superstar. One day after a Matthews session I was taking my time packing injuring Andy Rochford, his colleague. up my guitars, when in strolled Alan Davies, who was Steve’s right hand man on acoustic (still is, as far as I know). Alan and I knew each other from The musicians in the band were all safely back in London when it way back, when we had both at various times played with Jeremy Taylor happened. Earlier we had played at Southampton University, and I was and Sydney Carter. I showed him the Kriwaczek String Organ I had with Plainsong rehearsal photographs by Harry Isles sitting in drummer John Pearson’s kitchen in Bruton Place, having a cup me (a unique stringed instrument, designed by a great friend of mine, of of tea with John, Dave Richards and Paul, when Andy Rochford phoned up which I was at that time the sole exponent!), and then we began playing to ask if Paul could possibly return to Southampton to fetch him.