Why Doesn't Anybody Write Anything About Glam Rock?
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
I Can Hear Music
5 I CAN HEAR MUSIC 1969–1970 “Aquarius,” “Let the Sunshine In” » The 5th Dimension “Crimson and Clover” » Tommy James and the Shondells “Get Back,” “Come Together” » The Beatles “Honky Tonk Women” » Rolling Stones “Everyday People” » Sly and the Family Stone “Proud Mary,” “Born on the Bayou,” “Bad Moon Rising,” “Green River,” “Traveling Band” » Creedence Clearwater Revival “In-a-Gadda-Da-Vida” » Iron Butterfly “Mama Told Me Not to Come” » Three Dog Night “All Right Now” » Free “Evil Ways” » Santanaproof “Ride Captain Ride” » Blues Image Songs! The entire Gainesville music scene was built around songs: Top Forty songs on the radio, songs on albums, original songs performed on stage by bands and other musical ensembles. The late sixties was a golden age of rock and pop music and the rise of the rock band as a musical entity. As the counterculture marched for equal rights and against the war in Vietnam, a sonic revolution was occurring in the recording studio and on the concert stage. New sounds were being created through multitrack recording techniques, and record producers such as Phil Spector and George Martin became integral parts of the creative process. Musicians expanded their sonic palette by experimenting with the sounds of sitar, and through sound-modifying electronic ef- fects such as the wah-wah pedal, fuzz tone, and the Echoplex tape-de- lay unit, as well as a variety of new electronic keyboard instruments and synthesizers. The sound of every musical instrument contributed toward the overall sound of a performance or recording, and bands were begin- ning to expand beyond the core of drums, bass, and a couple guitars. -
“Grunge Killed Glam Metal” Narrative by Holly Johnson
The Interplay of Authority, Masculinity, and Signification in the “Grunge Killed Glam Metal” Narrative by Holly Johnson A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts in Music and Culture Carleton University Ottawa, Ontario © 2014, Holly Johnson ii Abstract This thesis will deconstruct the "grunge killed '80s metal” narrative, to reveal the idealization by certain critics and musicians of that which is deemed to be authentic, honest, and natural subculture. The central theme is an analysis of the conflicting masculinities of glam metal and grunge music, and how these gender roles are developed and reproduced. I will also demonstrate how, although the idealized authentic subculture is positioned in opposition to the mainstream, it does not in actuality exist outside of the system of commercialism. The problematic nature of this idealization will be examined with regard to the layers of complexity involved in popular rock music genre evolution, involving the inevitable progression from a subculture to the mainstream that occurred with both glam metal and grunge. I will illustrate the ways in which the process of signification functions within rock music to construct masculinities and within subcultures to negotiate authenticity. iii Acknowledgements I would like to thank firstly my academic advisor Dr. William Echard for his continued patience with me during the thesis writing process and for his invaluable guidance. I also would like to send a big thank you to Dr. James Deaville, the head of Music and Culture program, who has given me much assistance along the way. -
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. -
Chart Book Template
Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts. -
100 Years: a Century of Song 1970S
100 Years: A Century of Song 1970s Page 130 | 100 Years: A Century of song 1970 25 Or 6 To 4 Everything Is Beautiful Lady D’Arbanville Chicago Ray Stevens Cat Stevens Abraham, Martin And John Farewell Is A Lonely Sound Leavin’ On A Jet Plane Marvin Gaye Jimmy Ruffin Peter Paul & Mary Ain’t No Mountain Gimme Dat Ding Let It Be High Enough The Pipkins The Beatles Diana Ross Give Me Just A Let’s Work Together All I Have To Do Is Dream Little More Time Canned Heat Bobbie Gentry Chairmen Of The Board Lola & Glen Campbell Goodbye Sam Hello The Kinks All Kinds Of Everything Samantha Love Grows (Where Dana Cliff Richard My Rosemary Grows) All Right Now Groovin’ With Mr Bloe Edison Lighthouse Free Mr Bloe Love Is Life Back Home Honey Come Back Hot Chocolate England World Cup Squad Glen Campbell Love Like A Man Ball Of Confusion House Of The Rising Sun Ten Years After (That’s What The Frijid Pink Love Of The World Is Today) I Don’t Believe In If Anymore Common People The Temptations Roger Whittaker Nicky Thomas Band Of Gold I Hear You Knocking Make It With You Freda Payne Dave Edmunds Bread Big Yellow Taxi I Want You Back Mama Told Me Joni Mitchell The Jackson Five (Not To Come) Black Night Three Dog Night I’ll Say Forever My Love Deep Purple Jimmy Ruffin Me And My Life Bridge Over Troubled Water The Tremeloes In The Summertime Simon & Garfunkel Mungo Jerry Melting Pot Can’t Help Falling In Love Blue Mink Indian Reservation Andy Williams Don Fardon Montego Bay Close To You Bobby Bloom Instant Karma The Carpenters John Lennon & Yoko Ono With My -
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. -
Louis Brown and Tony Visconti at L. Brown Recording Series 80B
Tony VisconTi WoWs aT PMi audio GrouP’s eVenT durinG The aes conVenTion New York, New York October 24- After making several appearances at PMI Audio Group’s booth at the 131st AES, Tony Visconti made his way from the Jacob Javits Event Center to L. Brown Recording on 9th Avenue for a special and intimate meet ‘n’ greet. Visconti is the legendary producer of David Bowie, T. Rex, Dandy Warhols, Moody Blues, Ziggy Marley, Thin Lizzy, Iggy Pop, The Finn Brothers and more recently Morrissey. Hosted by PMI and Louis Brown at L. Brown Recording, some lucky AES attendees were given invi - tations at the PMI Audio Booth during the show. The invitations also served as an entry to a special raffle in which Louis Brown and Tony Visconti at L. Brown Recording a Trident Series 80B® was given away! releases. Toft’s Trident Audio consoles The event was an informal Q&A forum have also been a favorite of Tony’s with Tony discussing his much-lauded over the years. history as well as current events. Tony The evening was capped off by the shared details of his many sessions at highly anticipated giveaway of a new Trident Recording Studios and EMI’s Trident Series 80B® module. Under Abbey Road Studios, both in London. the wanting eyes of the crowd, Tony One of which was recounting his skill picked a winner. Congratulations to as an expert recorder player. In Mark Downie! Mark is a producer, addition to his production duties with FOH mixer, musician and engineer David Bowie on Space Oddity and The from Massachusetts. -
The Persistence of Patriarchy Operation Yewtree and the Return to 1970S Feminism
The persistence of patriarchy Operation Yewtree and the return to 1970s feminism Victoria Browne On 30 May 2014 a conference was held in London the workings of male power, privilege, domination to discuss the work and legacy of Kate Millett, an and violence, but which has become something of American feminist who rose to prominence follow- an embarrassment or anachronism within contem- ing the publication of Sexual Politics in 1970, and her porary feminism. In light of the current sex abuse appearance on the cover of Time magazine later that scandals (and the continuing prevalence of sexual year.1 Elsewhere in London, on the same day of the violence against women and children), I propose conference, popular entertainer Rolf Harris was in that feminists engage in a strategic reappraisal of Southwark Crown Court being tried on twelve counts ‘patriarchy’, to recover a political interpretation of of indecent assault between 1968 and 1986. The trial sexual violence/abuse in terms of structural male was an outcome of ‘Operation Yewtree’, the police power, rather than individual aberration or an ‘abuse investigation tasked in 2012 with gathering evidence of power’ in more general terms. of ‘historic sex abuse’, in the wake of numerous alle- gations that various media personalities and stars of Returning to ‘1970s feminism’ the ‘light entertainment’ world engaged in regular Over the past decade or so, there has been an increas- sexual harassment and abuse of women and children ing level of interest among Anglo-American academic throughout their careers in the 1970s and 1980s. feminists in how ‘1970s’ or ‘second-wave’ feminism It is an interesting piece of timing: whilst a group is remembered (or forgotten) in mainstream public of feminist theorists and activists were gathered discourse, and within feminist discourse itself. -
Sweet at Top of the Pops
1-4-71: Presenter: Tony Blackburn (Wiped) THE SWEET – Funny Funny ELVIS PRESLEY – There Goes My Everything (video) JIMMY RUFFIN – Let’s Say Goodbye Tomorrow CLODAGH RODGERS – Jack In The Box (video) FAME & PRICE TOGETHER – Rosetta CCS – Walkin’ (video) (danced to by Pan’s People) THE FANTASTICS – Something Old, Something New (crowd dancing) (and charts) YES – Yours Is No Disgrace T-REX – Hot Love ® HOT CHOCOLATE – You Could Have Been A Lady (crowd dancing) (and credits) ........................................................................................................................................................ THIS EDITION OF TOTP IS NO LONGER IN THE BBC ARCHIVE, HOWEVER THE DAY BEFORE THE BAND RECORDED A SHOW FOR TOPPOP AT BELLEVIEW STUDIOS IN AMSTERDAM, WEARING THE SAME STAGE OUTFITS THAT THEY HAD EARLIER WORN ON “LIFT OFF”, AND THAT THEY WOULD WEAR THE FOLLOWING DAY ON TOTP. THIS IS THE EARLIEST PICTURE I HAVE OF A TV APPEARANCE. 8-4-71: Presenter: Jimmy Savile (Wiped) THE SWEET – Funny Funny ANDY WILLIAMS – (Where Do I Begin) Love Story (video) RAY STEVENS – Bridget The Midget DAVE & ANSIL COLLINS – Double Barrel (video) PENTANGLE – Light Flight JOHN LENNON & THE PLASTIC ONO BAND – Power To The People (crowd dancing) (and charts) SEALS & CROFT – Ridin’ Thumb YVONNE ELLIMAN, MURRAY HEAD & THE TRINIDAD SINGERS – Everything's All Right YVONNE ELLIMAN, MURRAY HEAD & THE TRINIDAD SINGERS – Superstar T-REX – Hot Love ® DIANA ROSS – Remember Me (crowd dancing) (and credits) ......................................................................................................................................................... -
Glam Rock and Funk Alter-Egos, Fantasy, and the Performativity of Identities
REVISTA DE LENGUAS MODERNAS, N.° 26, 2017 / 387-401 / ISSN: 1659-1933 Glam Rock and Funk Alter-Egos, Fantasy, and the Performativity of Identities MONICA BRADLEY Escuela de Lenguas Modernas Universidad de Costa Rica The emergence of desire, and hence our biological response, is thus bound up in our ability to fantasize, to inhabit an imagined scenario that, in turn, ‘produces what we understand as sexuality’ (Whitely 251). Is this the real life? Is this just fantasy? Caught in a landslide, no escape from reality” (Queen, “Bohemian Rhapsody”). Abstract The following article explores different conceptions of fantasy and science fiction that characterized many popular music performances in the 1970’s predominantly in the genres of glam rock and funk. By focusing on a few artists that were at the peak of their music careers at this time, such as David Bowie, P-Funk, Queen, Labelle and others, it attempts to un-earth some historical conditions for women, queers, and people of color and reveal how these artists have attempted to escape and transform certain realities by transgressing the boundaries of real/fiction, masculinity/ femininity, race, sexuality, and the “alien”. Key words: Glam rock, Funk, music, science fiction, queer, gender, race Resumen El siguiente artículo explora las diferentes concepciones de fantasía y ciencia ficción que caracterizan muchas formas de actuación en la música popular de los años setentas, predominantemente en los géneros de glam rock y funk. Pondré especial atención en algunos artistas que estuvieron en el ápice de su carrera musical en este tiempo como David Bowie, Recepción: 29-03-16 Aceptación: 12-12-16 388 REVISTA DE LENGUAS MODERNAS, N.° 26, 2017 / 387-401 / ISSN: 1659-1933 P-Funk, Queen, Labelle, y otros quienes intentaron traer a la realidad temas sobre condiciones históricas en mujeres, queers y personas de color . -
60Th Birthday Playlist
60th Birthday Playlist ARTIST TITLE YEAR ABBA DANCING QUEEN ABBA WATERLOO AMY WINEHOUSE REHAB 2006 BEACH BOYS I GET AROUND 1964 BEATLES GET BACK BEATLES HEY JUDE BILL MEDLEY/J. WARNES I’VE HAD THE TIME OF MY LIFE BRUCE SPRINGSTEEN BORN IN THE USA/I’M ON FIRE BRYAN ADAMS SUMMER OF ’69 1984 DAVID BOWIE DANCING IN THE STREET ELTON JOHN I’M STILL STANDING 1983 ELVIS PRESLEY BLUE SUEDE SHOES 1956 ELVIS PRESLEY JAILHOUSE ROCK 1957 ELVIS PRESLEY V JXL A LITTLE LESS CONVERSATION ERIC CLAPTON WONDERFUL TONIGHT (LIVE) EURYTHMICS SISTERS ARE DOING IT FOR THEMSELVES EURYTHMICS THERE MUST BE AN ANGEL 1985 GEORGE MICHAEL I WANT YOUR SEX 1987 HOT CHOCOLATE YOU SEXY THING JEFF BECK HI HO SILVER LINING 1967 KYLIE MINOGUE ON A NIGHT LIKE THIS 2000 LIONEL RICHIE ALL NIGHT LONG 1983 MADONNA LIKE A PRAYER MARVIN GAYE I HEARD IT THROUGH THE GRAPEVINE 1968 MICHAEL JACKSON BILLIE JEAN MICHAEL JACKSON THRILLER MOODY BLUES NIGHTS IN WHITE SATIN POLICE EVERY BREATH YOU TAKE PUSSYCAT DOLLS DON’T ’CHA 2005 QUEEN WE WILL ROCK YOU 1977 R.E.M EVERYBODY HURTS 1993 ROBBIE WILLIAMS ANGELS 1997 ROBBIE WILLIAMS LET ME ENTERTAIN YOU 1997 ROD STEWART DO YA THINK I’M SEXY 1977 ROD STEWART MAGGIE MAY 1971 ROLLING STONES I CAN’T GET NO SATISFACTION ROLLING STONES BROWN SUGAR ROSE ROYCE CAR WASH 1976 S CLUB 7 REACH 2000 SCISSOR SISTERS I DON’T FEEL LIKE DANCIN’ 2006 SISTER SLEDGE WE ARE FAMILY (ORIGINAL) 1979 SPANDAU BALLET GOLD STATUS QUO ROCKING ALL OVER THE WORLD STEVIE WONDER SUPERSTITION 1973 SUGABABES PUSH THE BUTTON 2005 T.REX I LOVE TO BOOGIE 1976 TAKE THAT NEVER FORGET 1996 THE ANIMALS THE HOUSE OF THE RISING SUN 1964 THE B-52’S LOVE SHACK THE GROOVE GENERATION\ LEO SAYER YOU MAKE ME FEEL LIKE DANCING 1998 THE WEATHER GIRLS IT’S RAINING MEN TINA TURNER THE BEST VAN MORRISSON BROWN EYED GIRL VILLAGE PEOPLE YMCA 1978 WESTLIFE FLYING WITHOUT WINGS 1999 WHAM EDGE OF HEAVEN WHITNEY HOUSTON I WANNA DANCE WITH SOMEBODY 1987 WILSON PICKET IN THE MIDNIGHT HOUR WILSON PICKET MUSTANG SALLY. -
Dee Quits Four Month
11EWS shed press officer Annie Branson, prom- otion man Paul Sargent and regional£40,000 TV Deals Dee quits promotion chief Trish Connolly. Dee was said tbe leaving to concentrate onspend for Polly Brown's Nia net a erhis ownaoctiviies. Meanwhile Lynne Peacock, who hasLeo Sayer LP belated token four monthS been with Magnet for some time, has been promoted, and her new areas ofCHRYSALIS RECORDS is mounting DAVE DEE has left Magnet Recordsresponsibility have been extended toa £40,000 test TV campaign in the after just four months as head of presscover national promotion, marketingGranada area next week to promote Leo and promotion. and press, working with a team report-Sayer's World Radio album - first His departure coincides with a rash ofing directly to her from each of thesereleased in mid -May. redundancies at the label, which has alsoareas. The campaign breaks on July 28 and runs for three weeks. There will be a mix of 60, 20 and ten second spots making a total of 21 spots altogether. If success- Secondary boost for Digance ful, the push will then roll into the INDEPENDENT COAST Records hasa joint promotion with the eating houseCentral TV area. moved into the secondary merchandis-chain running. A 50 -off voucher is Display packs for the album are ing field with a Richard Digance cassetteincluded with the package entitling theavailable from PolyGram free of charge.GOOD LUCK token: Polly Brown designed to be sold through the chain ofpurchaser to a discount on mail -order-Order number is DPLS5. receives a belated silver disc from the roadside Happy Eater cafes, called Mr.ing Backwater.