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Books on the topic 'American rock bands'

Author: Grafiati

Published: 19 February 2023

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1

Levitt, Ellen. Land of a thousand bands: The current American independent label rock 'n roll band experience. Brooklyn, N.Y. (1121 E. 22nd St., Dept. M., Brooklyn 11210): Midwood Pub., 1987.

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2

Tow, Stephen. The strangest tribe: How a group of Seattle rock bands invented grunge. Seattle: Sasquatch Books, 2011.

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3

John, Gilmore. Who's Who of Jazz in Montreal: Ragtime to 1970. Montréal (Québec) Canada: Véhicule Press, 1989.

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4

Hoskyns, Barney. Across the great divide: The Band and America. London: Penguin, 1994.

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5

Across the Great Divide: The Band and America. New York: Hyperion, 1993.

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6

DeRogatis, Jim. Let it blurt: The life and times of Lester Bangs, America's greatest rock critic. New York: Broadway Books, 2000.

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7

Hoobler, Dorothy. The 1950's: Music. Brookfield, CT: Millbrook Press, 2001.

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8

Budnick, Dean. Jam bands: North America's hottest live groups plus how to tape and trade their shows. Toronto: ECW Press, 1998.

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9

Budnick, Dean. Jam bands: North America's hottest live groups plus how to tape and trade their shows. Toronto: ECW Press, 1998.

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10

Killer show: The Station nightclub fire, America's deadliest rock concert. Hanover: University Press of New England, 2012.

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11

Violence girl: East L.A. rage to Hollywood stage : a Chicana punk story. Port Townsend, WA: Feral House, 2011.

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12

Tow, Stephen. Strangest Tribe: How a Group of Seattle Rock Bands Invented Grunge. Sasquatch Books, 2014.

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13

Tow, Stephen. Strangest Tribe: How a Group of Seattle Rock Bands Invented Grunge. Lemur Press, 2021.

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14

The Bobby Joe Ebola Songbook A Humor Miscellany Containing Lyrics Guitar Chords For Over 90 Songs From The Bands Complete Discography With Illustrations By Various Artists Photographs Anecdotes And Other Bizarre Detritus. Microcosm Publishing, 2014.

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15

Wright, Jonathan, and Dawson Barrett. Punks in Peoria. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043802.001.0001.

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Peoria, Illinois has long been a benchmark for the cautious and the conservative, a popular American test market for ideas, entertainment acts, and products. Beginning in the 1980s, hardcore punk rock bands “played in Peoria,” right alongside Reagan Republicanism and a series of factory closings. Spanning two decades and many waves of youth, this book explores how various misfits and outcasts repurposed elements of their deindustrializing city to promote local and touring bands, build social networks, and grapple with the possibilities and shortcomings of subcultural and countercultural politics. The vast majority of books about subcultures, and punk rock in particular, focus on bands, music scenes, and youth in vibrant, world-class metropolitan areas such as London, New York, and Los Angeles. In contrast, this book examines the efforts of young people to create an alternative music scene, from scratch, in Peoria – a typical, conservative, mid-sized city in the American Midwest.

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16

The British Invasion: How the Beatles and Other UK Bands Conquered America. Chrome Dreams, 2004.

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17

Pearson, David. Rebel Music in the Triumphant Empire. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197534885.001.0001.

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At the dawn of the 1990s, as the United States celebrated its victory in the Cold War and sole superpower status by waging war on Iraq and proclaiming democratic capitalism as the best possible society, the 1990s underground punk renaissance transformed the punk scene into a site of radical opposition to American empire. Nazi skinheads were ejected from the punk scene; apathetic attitudes were challenged; women, Latino, and LGBTQ participants asserted their identities and perspectives within punk; the scene debated the virtues of maintaining DIY purity versus venturing into the musical mainstream; and punks participated in protest movements from animal rights to stopping the execution of Mumia Abu-Jamal to shutting down the 1999 World Trade Organization meeting. Punk lyrics offered strident critiques of American empire, from its exploitation of the Third World to its warped social relations. Numerous subgenres of punk proliferated to deliver this critique, such as the blazing hardcore punk of bands like Los Crudos, propagandistic crust-punk/dis-core; grindcore and power violence with tempos over 800 BPM, and So-Cal punk with its combination of melody and hardcore. Musical analysis of each of these styles and the expressive efficacy of numerous bands reveals that punk is not merely simplistic three-chord rock music, but a genre that is constantly revolutionizing itself in which nuances of guitar riffs, vocal timbres, drum beats, and song structures are deeply meaningful to its audience, as corroborated by the robust discourse in punk zines.

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18

The Band: Pioneers of Americana Music. Rowman & Littlefield Publishers, 2014.

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19

Kersen, Thomas Michael. Where Misfits Fit. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835420.001.0001.

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All regions and places are unique in their own way, but the Ozarks have an enduring place in American culture. Studying the Ozarks offers the ability to explore American life through the lens of one of the last remaining cultural frontiers in American society. Perhaps because the Ozarks were relatively isolated from mainstream American society, or were at least relegated to the margins of it, their identity and culture are liminal and oftentimes counter to mainstream culture. Whatever the case, looking at the Ozarks offers insights into changing ideas about what it means to be an American and, more specifically, a special type of southerner. Thomas Michael Kersen explores the people who made a home in the Ozarks and the ways they contributed to American popular culture. He argues the area attracts and even nurtures people and groups on the margins of the mainstream. These include UFO enthusiasts, cults, musical troupes, and back-to-the-land groups. Kersen examines how the Ozarks became a haven for creative, innovative, even nutty people to express themselves—a place where community could be reimagined in a variety of ways. Chapters examine real and imagined identity and highlight how the area has contributed to popular culture through analysis of the Eureka Springs energy vortex, fictional characters like Li’l Abner, cultic activity, environmentally minded communes, and the development of rockabilly music and near-communal rock bands such as Black Oak Arkansas.

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20

Hoskyns, Barney, and The Band. Across the Great Divide: The Band and America. Leonard Corporation, Hal, 2006.

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21

Across the Great Divide: The Band and America. Hal Leonard, 2006.

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22

Hoskyns, Barney, and The Band. Across the Great Divide: The Band and America. Leonard Corporation, Hal, 2006.

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23

Hoskyns, Barney, and The Band. Across the Great Divide: The Band and America. Leonard Corporation, Hal, 2006.

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24

Across the Great Divide: The Band and America. Hyperion, 1993.

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25

Let It Blurt: The Life and Times of Lester Bangs, America's Greatest Rock Critic. Crown/Archetype, 2000.

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26

The 1950s: Music. Brookfield, Conn: Millbrook Press, 2001.

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27

Hoobler, Dorothy. 1950'S The: Music (Century Kids). Millbrook Press, 2001.

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28

Maskell, Shayna L. Politics as Sound. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252044182.001.0001.

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This book aims to delineate, describe, explore, and examine hardcore in Washington, DC, during its zenith of both impact and innovation, 1978-83. During these indispensably creative and influential years in DC music, hardcore was not simply born—a mutated sonic stepchild of rock ’n’ roll, British and American punk—but also evolved into an uncompromising and resounding paradigm of and for a specific segment of DC youth. Through the revelatory music of DC hardcore, a new formulation of sound, and a new articulation of youth, arose: one that was angry, loud, fast, and minimalistic. With a total of only ten albums among all five bands this book covers—Bad Brains, Minor Threat and Teen Idles (considered jointly), State of Alert, Government Issue, and Faith—over a five-year period, DC hardcore cemented a small yet significant subculture and scene. More specifically, this book considers two major components inherent in any genre of popular music: (1) aesthetics and (2) the social politics that stem from those aesthetics. Throughout these chapters, we consider the way music communicates, its structure—facets like timbre, melody, rhythm, pitch, volume, dissonance—and simultaneously dissects how these features communicate messages of social and cultural politics, expressly representations of race, class, and gender.

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29

Wade, Stephen. Bill Stepp. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036880.003.0001.

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This chapter focuses on Kentuckian Bill Stepp, who worked as a logger in his younger days, then later turned his energies to fiddling for neighborhood hoedowns. Stepp is the creative source of an American anthem. In 1942 his rendition of the tune “Bonaparte's Retreat” became incorporated, nearly note for note, in the score of Rodeo, Aaron Copland's acclaimed modern ballet. By the early 1970s it appeared as “Hoedown,” an FM radio hit for Emerson, Lake, and Palmer, a symphonically oriented English rock band. Later, it formed the soundtrack for the beef growers' commercial, and finally, in this, an example of its continuing presence in American life, it recurs in the music piped down the hallways of a modern airport.

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30

Chapman, Con. Rabbit's Blues. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.001.0001.

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The book explores the career of Johnny Hodges, at one time one of the most famous saxophone players in the world. He was closely identified with Duke Ellington’s orchestra, playing with that seminal jazz group for nearly four decades, with only a four-year break in the early 1950s, when he led a band of his own. Just a few years after his death, however, he would be largely forgotten and his style considered passé. The book details why Hodges deserves reconsideration: he helped codify the vocabulary and syntax of his instrument in a jazz context, drawing inspiration from Sidney Bechet and Louis Armstrong, but adding stylistic touches of his own and keeping the Ellington band anchored in the African American tradition of the blues. He recorded with the giants of his day—Billie Holiday, Lionel Hampton, Earl Hines, Teddy Wilson, and John Coltrane. With Wild Bill Davis, he invented the organ-sax combo. Hodges was one of Ellington’s leading composing lieutenants, serving as an inexhaustible source of riffs that Ellington frequently fashioned into longer works. He may even have a partial claim to the first rock ‘n’ roll song, as his group’s “Castle Rock” was recorded the same day as the earliest recording date for “Rocket 88.” Johnny Hodges’s story is an atypical jazz history; a taciturn and undemonstrative man who lived a quiet life, never succumbing to drink or drugs, he nonetheless created some of the most romantic music of the twentieth century.

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31

Barylick, John. Killer Show: The Station Nightclub Fire, America's Deadliest Rock Concert. University Press of New England, 2015.

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32

Vazquez, Alexandra T. The Florida Room. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022541.

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In The Florida Room Alexandra T. Vazquez listens to the music and history of Miami to offer a lush story of place and people, movement and memory, dispossession and survival. She transforms the “Florida room”—an actual architectural phenomenon—into a vibrant spatial imaginary for Miami’s musical cultures and everyday life. Drawing on songs, ephemera, and oral histories from artists, families, and inheritors of their traditions, Vazquez hears Miami as a city that has long been shaped by Indigenous Florida, the Bahamas, the Caribbean, and southern Georgia. She draws connections between seemingly disparate artists, sounds, and stories, from singer Gwen McCrae to pirate radio innovator DJ Uncle Al, from the Miccosukee rock band Tiger Tiger to the Cuban-American songwriter Desmond Child, among the percussionists Dafnis Prieto, Obed Calvaire, and Yosvany Terry, and through the notes of Eloise Lewis, Betty Wright, and the Miami Bass group Anquette. By listening to musical collaborations and ancestral ties across place and time, Vazquez brings together formal musical details, the histories of people and locations they hold, and the aesthetic traditions transformed inside them.

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33

Pérez, Celia C. The first rule of punk. 2017.

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34

Department of Defense. Commanders' Responsibilities in the Operations Process During the 1864 Red River Expedition - Defeat of Union General Nathaniel Banks Between Louisiana and Little Rock, Arkansas in American Civil War. Independently Published, 2017.

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35

Milanes, Janelle. Victoria in My Head. Simon Pulse, 2017.

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36

The Victoria in my head. Simon Pulse, 2017.

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37

Victoria in My Head. Simon Pulse, 2018.

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38

The First Rule of Punk. Viking Books for Young Readers, 2017.

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39

The First Rule of Punk. Puffin Books, 2018.

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40

Game Freaks 365's PS3 Review Guide. Smashwords, 2010.

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41

Game Freaks 365's Xbox 360 Review Guide. Smashwords, 2010.

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42

Game Freaks 365's Wii Review Guide. Smashwords, 2010.

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43

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2006.

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44

Pilchak, Angela M. Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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45

Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2004.

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46

Contemporary Musicians: Profiles of the People in Music (Contemporary Musicians). Thomson Gale, 2005.

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47

Pilchak, Angela M. Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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48

Pilchak, Angela M. Contemporary Musicians. Thomson Gale, 2006.

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49

Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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50

Pilchak, Angela M. Contemporary Musicians: Profiles Of The People In Music (Contemporary Musicians). Thomson Gale, 2005.

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