Bloomsbury_MUSIC Cat.indd

Transcription

MUSIC &
SOUND
STUDIES
2013-14
CELEBRATING 10 YEARS
33 1/3 is a series of short books about popular music, focusing on individual albums
by a variety of artists. Launched in 2003, the series will publish its 100th book in
2014 and has been widely acclaimed and loved by fans, musicians and scholars alike.
LAUNCHING SPRING 2014
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Contents
eBook availability is indicated under each book entry:
Individual eBook: available for your e-reader.
Letter from the Editor
2
Sound Studies
3
General Music
6
Popular Music
9
33 1/3
15
Index
27
Representatives, Agents & Distributors
29
Bloomsbury Head Offices and
Distributors
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See the website for details of vendors.
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CONTENTS
eBooks
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For copies of books for review in journals, please email
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Translation rights for all titles are available unless
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1
L E T T E R F R O M T H E E D I TO R
Welcome to Bloomsbury Music & Sound Studies
Welcome to the new Music & Sound Studies catalogue. As you will have noticed, for the first time
this catalogue is coming out under the Bloomsbury name instead of the separate Continuum and
Bloomsbury Academic imprints. We wanted to give you some background to this rebranding: in 2008,
Bloomsbury decided to invest in building a new academic division. Growth since that decision was taken
has been very rapid; we now publish around 1,100 titles each year, with a particularly big presence in
the Humanities and Social Sciences, and our backlist comprises some 20,000 titles. The purchase of
Continuum in 2011 was a key part of this growth.
We believe we are stronger as a group, which is why we have taken the strategic decision to adopt the
Bloomsbury name for all academic titles that we publish. The values of Continuum, Berg and our other
imprints, which you have appreciated over the years, are already integral to the larger entity that is
Bloomsbury. Much has changed over the past 2 years, but we remain as committed to our authors and to
publishing the same high quality textbooks, course books, and research.
In this catalogue, we are excited to announce some very important new titles. We’ve re-launched the 33
1/3 series under the Bloomsbury name and will be releasing 20 new volumes on new albums over the
next two years. First up, in October 2013, is a brilliant book by Darran Anderson on Serge Gainsbourg’s
Histoire de Melody Nelson shortly followed by Phillip Crandall’s diligently-researched take on Andrew
W.K.’s cult classic, I Get Wet.
Finally, we are delighted to promote our global Bloomsbury website: www.bloomsbury.com. This site
brings together everything under the Bloomsbury Group, including Continuum, Berg, Methuen Drama,
Arden Shakespeare, T&T Clark, Bristol Classical Press, and A&C Black titles. The site features enhanced
academic functionality such as online previews, digital inspection copies, textbook companion sites and
online resources. Go to www.bloomsbury.com/academic for more information.
I hope you enjoy reading our latest catalogue.
Ally Jane Grossan
Commissioning Editor, Popular Music & Sound Studies
[email protected]
@333books
www.333sound.com
www.facebook.com/33.3books
www.bloomsbury.com/musicandsoundstudies
2
www.bloomsbury.com • UK, Europe, ROW • +44 (0) 1256 302692 • [email protected]
Experimental Music and the Aesthetics of Failure
eldritch Priest
Reshaping debates on failure as an aesthetic category, Priest shows failure to be a highly dubious
concept. The book frames recent experimental composition as a deviant kind of sound art whose
affective and formal elements reflect on current issues in contemporary culture, and offers
analyses of musical works and performance practices that are rarely heard, let alone considered
as significant cultural phenomena - showing the role that obscurity and the esoteric have in
articulating current cultural realities. Ambitious in content and experimental in its approach,
Boring Formless Nonsense will challenge and fracture your views on failure, creativity, and
experimental music.
SOUND STUDIES
Boring Formless Nonsense
ELDRITCH PRIEST is a composer, writer and co-artistic director of the experimental music collective Neither/Nor. Priest’s essays
on musical aesthetics and avant-garde poetics have appeared in various academic journals including Postmodern Culture, Radical
Musicology and Mosaic.
UK March 2013 | US January 2013
PB 9781441122131 | £17.99 | $29.95
Individual eBook 9781441146168 | £14.99 | $25.99
HB 9781441124753 | £55.00 | $100.00
Library eBook 9781441124081 | £58.00 | $89.00
Lexicon of the Mouth
Poetics and Politics of Voice and the Oral Imaginary
Brandon LaBelle
Expands understandings of voice and the poetics of gibberish showing how speech is fundamentally shaped by the
complex dynamics of the mouth.
While the eyes may lead to the soul, the mouth exposes the vitality of the body. Examining the movements of the
mouth, or what LaBelle terms “micro-oralities,” this book considers the relation of voice and mouth, suggesting that the
importance of voicing is inextricably bound to the exertions of the oral.
BRANDON LABELLE is Professor at the National Academy of the Arts in Bergen, Norway. He is also the editor of Errant Bodies
Press and organizer of the related Surface Tension project.
UK July 2014 | US June 2014
PB 9781623561888 | £19.99 | $29.95
Also available:
Acoustic Territories
bestseller
Sound Culture and
Everyday Life
Brandon LaBelle
Combining research on urbanism,
popular culture and auditory issues,
Acoustic Territories opens up multiple
perspectives—it challenges debates
surrounding noise pollution and
charts an “acoustic politics of space”
by unfolding auditory experience
as located within larger cultural histories and related
ideologies.
UK June 2010 | US April 2010
PB 9781441161369 | £16.99 | $27.95
HB 9781441157249 | £50.00 | $90.00
Library eBook 9781441177254 | £56.00 | $85.00
HB 9781623560263 | £50.00 | $100.00
Library eBook 9781623561628 | £58.00 | $89.00
Background Noise
bestseller
Perspectives on Sound Art
Brandon LaBelle
Follows the development of sound
as an artistic medium and illustrates
how it is used within composition,
architectural theory, performance
studies, and media theory.
Contributors include Vito Acconci,
Maryanne Amacher, Michael Asher,
John Cage, Bill Fontana, Christof
Migone, Max Neuhaus, Yasunao Tone, Achim Wollscheid,
and Iannis Xenakis.
PB 9780826418456 | £19.99 | $32.95
HB 9780826418449 | £70.00 | $90.00
3
SOUND STUDIES
Sound, Music, Affect
Theorizing Sonic Experience
Edited by Marie Thompson and Ian Biddle
“This collection of erudite, provocative essays is likely to become a classic.”
—Suzanne G. Cusick, New York University, USA
The first section sets out key methodological and theoretical concerns, focussing on the
relationships between affective models and sound. The second section deals with particular musical
case studies, exploring how reference to affect theory might change or reshape some of the ways
we are able to make sense of musical materials. The third section examines the politics and practice
of sonic disruption: from the notion of noise as ‘prophecy’, to the appropriation of ‘bad vibes’ for
pleasurable aesthetic and affective experiences. And the final section engages with some of the
ways in which affect can help us understand the politics of chill, relaxation and intimacy as sonic encounters. The result
is a rich and multifaceted consideration of sound, music and the affective, from scholars with backgrounds in cultural
theory, history, literary studies, media studies, architecture, philosophy and musicology.
MARIE THOMPSON is a PhD candidate at Newcastle University, UK.
IAN BIDDLE is Senior Lecturer and Head of Postgraduate Studies in Music at Newcastle University, UK.
UK April 2013 | US February 2013
PB 9781441114679 | £17.99 | $29.95
HB 9781441126344 | £55.00 | $100.00
Library eBook 9781441101761 | £58.00 | $89.00
Sonic Possible Worlds
Hearing the Continuum of Sound
Salomé Voegelin
Inspired by its use in literary theory, film criticism and the discourse of games design, Voegelin
adapts and develops possible world theory in relation to sound. David Lewis’ Possible World
philosophical concept is juxtaposed with Merleau-Ponty’s life-world, to produce a meeting of the
semantic and the phenomenological at the place of listening.
The central tenet of this book is that at present traditional musical compositions and contemporary
sonic output are approached and investigated through separate and distinct critical languages and
histories. As a consequence, no continuous and comparative study of the field - as exists in literary
studies for example - is possible. Until now.
SALOMÉ VOEGELIN is Senior Lecturer in Sound Arts and Design at the London College of Communication, UK.
UK August 2014 | US June 2014
PB 9781623565091 | £17.99 | $29.95
HB 9781623567040 | £55.00 | $100.00
Library eBook 9781623566951 | £58.00 | $89.00
Also available:
Listening to Noise
and Silence
4
bestseller
Sonic Bodies
Towards a Philosophy of Sound Art
Salomé Voegelin
Reggae Sound Systems, Performance
Techniques, and Ways of Knowing
Julian Henriques
UK May 2010 | US March 2010
PB 9781441162076 | £16.99 | $24.95
HB 9781441126436 | £60.00 | $100.00
Library eBook 9781441135322 | £75.00 | $58.00
UK November 2011 | US September 2011
PB 9781441144294 | £17.99 | $29.95
HB 9781441101518 | £50.00 | $90.00
Library eBook 9781441149343 | £58.00 | $89.00
Towards an Ontology of Noise
Greg Hainge
Everyone knows what noise is. Or do they? Can we in fact say that one man’s noise is another
teenager’s music? Is noise in fact only an auditory phenomenon or does it extend far beyond
this realm? If our common definitions of noise are necessarily subjective and noise is not just
unpleasant sound, then it merits a closer look (or listen). Hainge sets out to define noise in this way,
to find within it a series of operations common across its multiple manifestations that allow us to
apprehend it as something other than a highly subjective term that tells us very little. Examining
a wide range of texts, including Sartre’s novel Nausea and David Lynch’s iconic films Eraserhead
and Inland Empire, Hainge investigates some of the 20th-century’s most infamous noisemongers to
suggest that they’re not that noisy after all; and it finds true noise in some surprising places.
SOUND STUDIES
Noise Matters
GREG HAINGE is Reader in French and Head of the School of Languages and Comparative Cultural Studies at the University of
Queensland, Australia.
PB 9781441111487 | £17.99 | $29.95
HB 9781441160461 | £55.00 | $100.00
Library eBook 9781441152862 | £58.00 | $89.00
Resonances
Noise and Contemporary Music
Edited by Michael Goddard, Benjamin Halligan and Nicola Spelman
“A massive achievement…which succeeds as both music scholarship and cultural
contextualization, particularly in relation to artists in other media (Ballard, Artaud) and key
scholars (Attali, Adorno, Benjamin).” —Allan F Moore, Professor of Popular Music, University of Surrey,
UK, author of Rock: the Primary Text and Song Means
Noise seems to stand for a lack of aesthetic grace, to alienate or distract rather than enrapture.
And yet the drones of psychedelia, the racket of garage rock and punk, the thudding of rave, the
feedback of shoegaze and post-rock, the bombast of thrash and metal, the clatter of jungle and the
stuttering of electronica, together with notable examples of avant-garde noise art, have all found a
place in the history of contemporary musics. Noise therefore is the untold story of contemporary popular music, and in
a critical exploration of noise lies the possibility of a new narrative: one that is wide-ranging, connects the popular to the
underground and avant-garde, fully posits the studio as a musical instrument, and demands new critical and theoretical
paradigms of those seeking to write about music.
MICHAEL GODDARD is Lecturer in Media Studies at the University of Salford, UK. BEN HALLIGAN runs the Graduate Programme
for the School of Media, Music and Performance at the University of Salford, UK. NICOLA SPELMAN is Senior Lecturer in Popular
Music at the University of Salford, UK.
UK September 2013 | US July 2013
PB 9781441159373 | £17.99 | $29.95
HB 9781441110541 | £55.00 | $100.00
Library eBook 9781441118370 | £58.00 | $89.00
Also available:
Reverberations
Word Events
The Philosophy, Aesthetics and
Politics of Noise
Edited by Michael Goddard,
Benjamin Halligan and Paul Hegarty
Perspectives on Verbal Notation
John Lely and James Saunders
UK July 2012 | US May 2012
PB 9781441173102 | £22.99 | $39.95
UK August 2012 | US May 2012
PB 9781441160652 | £16.99 | $27.95
HB 9781441196057 | £50.00 | $90.00
Library eBook 9781441127662 | £58.00 | $85.00
5
GENERAL MUSIC
The nine Encyclopedia of Popular Music of the World volumes contain entries on the genres
of music that have been or currently are popular in countries and communities all over the
world. Included are discussions on cultural, historical and geographic origins; technical
musical characteristics; instrumentation and use of voice; lyrics and language; typical
features of performance and presentation; historical development and paths and modes
of dissemination; influence of technology, the music industry and political and economic
circumstances; changing stylistic features; notable and influential performers; and
relationships to other genres and sub-genres.
Bloomsbury Encyclopedia of Popular Music of the World, Volume 9
Genres: Caribbean and Latin America
Edited by John Shepherd and David Horn
This volume, on the music of the Caribbean and Latin America, features over 300 entries and
in-depth essays on genres ranging from Afro-Cuban Jazz to Alcatraz, from Carnaval to Charanga,
and from Dancehall to Dub. All entries conclude with a bibliography, discographical references and
discography, with additional information on sheet music listings and visual recordings. Written and
edited by a team of distinguished popular music scholars and professionals, this is an exceptional
resource for anybody studying or researching the history and development of popular music.
JOHN SHEPHERD is Chancellor’s Professor of music and sociology, and Dean, Faculty of Graduate Studies
and Research at Carleton University, Canada. DAVID HORN was a founding editor of the journal Popular Music, and a founding
member of IASPM (The International Association for the Study of Popular Music). He was Director of the Institute of Popular Music
at the University of Liverpool, UK from 1988 until his retirement in 2002.
UK January 2014 | US March 2014
HB 9781441141972 | £150.00 | $250.00
Library eBook 9781441132253 | £450.00 | $723.00
Forthcoming:
Vol. 10. Africa & Middle East
Vol. 12. International
Edited by Heidi Feldman, Rich Jankowsky and John Shepherd
Edited by David Horn and John Shepherd
Vol. 11. Europe
Vol. 13. Asia & General index
Edited by Paolo Prato and David Horn
Edited by Roy Shuker, John Shepherd and David Horn
The Power of Music
new
Pioneering Discoveries in the New Science of Song
Elena Mannes
in PB
The award-winning creator of the acclaimed documentary The Music Instinct: Science & Song,
explores the power of music and its connection to the body, the brain, and the world of nature. One
remarkable recent study, analyzing the cries of newborns, shows that infants’ cries contain common
musical intervals. Physics experiments show that sound waves can physically change the structure
of a material; musician and world-famous conductor Daniel Barenboim believes musical sound
vibrations physically penetrate our bodies, shifting molecules as they do.
The Power of Music follows visionary researchers and accomplished musicians to the crossroads of
science and culture, to discover: how much of our musicality is learned and how much is innate? Can examining the biological
foundations of music help scientists unravel the intricate web of human cognition and brain function? Why is music virtually
universal across cultures and time--does it provide some evolutionary advantage? Can music make people healthier?
ELENA MANNES has won six Emmys and many other national awards for her documentaries. Her grandparents founded the
Mannes College of Music in New York City; her great uncle, Walter Damrosch, conducted the Metropolitan Opera and was the
instigator for the building of Carnegie Hall. She lives in New York City.
US February 2013
Trade PB 9780802778284 | $17.00
6
Individual eBook 9780802778291 | $11.99
Jim Rogers
“A carefully documented analysis is a welcome relief from the ‘digital deliria’ often associated
with discussions of the music industry. A welcome contribution to the growing literature on the
political economy of the evolving media industries.” —Janet Wasko, Professor and Knight Chair for
Communication Research, University of Oregon, USA
This book challenges the conventional wisdom that the internet is ‘killing’ the music industry.
While technological innovations (primarily in the form of peer-to-peer file-sharing) have evolved to
threaten the economic health of major transnational music companies, Rogers illustrates how those
same companies have themselves formulated highly innovative response strategies to negate the
harmful effects of the internet. In short, it documents how the radical transformative potential of the
internet is being suppressed by legal and organisational innovations.
GENERAL MUSIC
The Death and Life of the Music Industry in the Digital Age
JIM ROGERS is a Research Fellow and Associate Lecturer at the School of Communications, Dublin City University, Ireland.
PB 9781623560010 | £19.99 | $29.95
HB 9781780931609 | £60.00 | $90.00
Library eBook 9781780931265 | £51.00 | $82.00
MasterClass in Music Education
Transforming Teaching and Learning
Edited by John Finney and Felicity Laurence
textbook
“A valuable resource for music education research projects….This is not a prescriptive ‘how
to’ book but rather an insightful approach to methodological enquiry with a strong foundation
constructed from the current literature.” —Betty Anne Younker, Dean and Professor of Music
Education, Western University, Canada
Students embarking upon research will gain a many-faceted understanding of the possibilities for
using action research and other research methods to explore the interesting and challenging issues
confronting music education. At the same time, they will be able to develop an understanding of how
to carry out research from the real life case study accounts written by their peers.
JOHN FINNEY is Senior Lecturer in Music Education at the Faculty of Education, University of Cambridge, UK.
FELICITY LAURENCE is Lecturer in Music Education at Newcastle University, UK, where she is Director of the MA in Music and
Education.
UK January 2013 | US April 2013
PB 9781441130860 | £24.99 | $38.95
Series: MasterClass
HB 9781441180377 | £75.00 | $115.00
Library eBook 9781441188601 | £75.00 | $120.00
Also available:
Reverberations of Dissent
Identity and Expression in
Iran’s Illegal Music Scene
Bronwen Robertson
PB 9781441123251 | £18.99 | $32.95
HB 9781441146496 | £60.00 | $110.00
Hitchcock’s Ear
Music and the Director’s Art
David Schroeder
PB 9781441182166 | £19.99 | $34.95
HB 9781441114587 | £65.00 | $120.00
Library eBook 9781441108883 | £69.00 | $106.00
7
GENERAL MUSIC
John Cage and Buddhist Ecopoetics
Peter Jaeger
“A lo-fi commentary on how some tenets of Buddhist thought, especially as filtered through D. T.
Suzuki and Alan Watts, were pragmatically adapted in radical mid-20th-centry North American
poetry and art.” —Charles Bernstein, University of Pennsylvania, USA
John Cage was among the first wave of post-war American artists and intellectuals to be influenced by
Zen Buddhism and it was an influence that led him to become engaged with our current ecological crisis.
This book posits the question: what did Buddhism mean to Cage? And how did his understanding of
Buddhist philosophy impact on his representation of nature? Following Cage’s own creative innovations
in the poem-essay form and his use of the ancient Chinese text, the I Ching to shape his music and
writing, this book outlines a new critical language that reconfigures writing and silence.
PETER JAEGER is Reader in the Department of English and Creative Writing at Roehampton University, UK.
UK September 2013 | US November 2013
PB 9781441117526 | £17.99 | $29.95
Series: New Directions in Religion and Literature
HB 9781441104663 | £55.00 | $100.00
Library eBook 9781623562342 | £54.00 | $87.00
Music After Deleuze
Edward Campbell
“Explains key Deleuzian concepts in clear, accessible language and uses them to think about
music in fundamentally new ways.” —Björn Heile, Senior Lecturer in Music, University of Glasgow, UK
Explores how Deleuzian concepts of difference, identity and repetition offer novel approaches to
Western art music from Beethoven to Boulez and Bernhard Lang as well as jazz improvisation,
popular and sacred music. The concepts of the ‘rhizome’, the ‘assemblage’ and the ‘refrain’ enable
us to think of the specificity of musical works as the meeting of productive forces, for example in
the contemporary opera of Dusapin and the experimental music theatre of Aperghis. The concepts
of smooth and striated space form the starting point for musical and political reflections on
pitch in Western and Eastern music. Deleuze’s notion of time as multiple illumines the distinctive
conceptions of musical time found in Debussy, Messiaen, Boulez, Carter and Grisey. Finally, the innovative semiotic theory
forged in Deleuze-Guattarian philosophy offers valuable insights for a semiotics capable of engaging with the innovative,
molecular music of Lachenmann, Aperghis and Levinas.
EDWARD CAMPBELL is Lecturer in Music at the University of Aberdeen, UK.
UK November 2013 | US January 2014
PB 9781441157027 | £17.99 | $29.95
Series: Deleuze Encounters
HB 9781441101815 | £55.00 | $100.00
Library eBook 9781441173485 | £54.00 | $87.00
Also available:
Sinister Resonance
Senses of Vibration
The Mediumship of the Listener
David Toop
A History of the Pleasure
and Pain of Sound
Shelley Trower
UK December 2011 | US October 2011
PB 9781441155870 | £12.99 | $19.95
HB 9781441149725 | £17.99 | $27.95
Library eBook 9781441194930 | £38.00 | $58.00
8
PB 9781441148636 | £14.99 | $24.95
HB 9781441161970 | £45.00 | $80.00
Library eBook 9781441118905 | £49.00 | $75.00
Why Other People Have Such Bad Taste
Carl Wilson
For his 2007 critically acclaimed 33 1/3 series title, Let’s Talk About Love,
Wilson went on a quest to find his inner Céline Dion fan and explore how
we define ourselves by what we call good and bad, what we love and
what we hate. At once among the most widely beloved and most reviled
and lampooned pop stars of the past few decades, Dion’s critics call her
mawkish and overblown while millions of fans around the world adore
her “huge pipes” and even bigger feelings. How can anyone say which
side is right?
POPULAR MUSIC
Let’s Talk About Love
This new, expanded edition goes even further, calling on thirteen
prominent writers and musicians to respond to themes ranging from
sentiment and kitsch to cultural capital and musical snobbery. The
original text is followed by lively arguments and stories from Nick
Hornby, Krist Novoselic, Ann Powers, Mary Gaitskill, James Franco,
Sheila Heti and others.
In a new afterword, the author examines recent cultural changes in love
and hate, including the impact of technology and social media on how
taste works (or doesn’t) in the 21st century.
CARL WILSON is the music critic at Slate and also writes for The Globe and
Mail, Hazlitt, The New York Times Magazine and many other online and print
publications. He lives in Toronto, where he is the doorman at the Trampoline
Hall Lecture Series.
PB 9781441166777 | £10.99 | $19.95
Library eBook 9781623563288 | £38.00 | $58.00
Table of Contents
A NOTE FROM THE PUBLISHER
PART I
Let’s Talk About Love: A Journey to the End of Taste
Carl Wilson
1. Let’s Talk About Hate
2. Let’s Talk About Pop (and Its Critics)
3. Let’s Talk in French
4. Let’s Talk About World Conquest
5. Let’s Talk About Schmaltz
6. Let’s Sing Really Loud
7. Let’s Talk About Taste
8. Let’s Talk About Who’s Got Bad Taste
9. Let’s Talk with Some Fans
10. Let’s Do a Punk Version of “My Heart Will Go On”
(or, Let’s Talk About Our Feelings)
11. Let’s Talk About Let’s Talk About Love
12. Let’s Talk About Love
PART II
Essays: What We Talk About When We Talk About Love
Carl Wilson, “Introduction”
Nick Hornby, “The Artists We Deserve”
Krist Novoselic, “With the Lights On, It’s Less Useless”
Ann Powers, “If the Girls Were All Transported”
Mary Gaitskill, “The Most Obvious Thing”
Jason King, “Compared to What?”
Daphne Brooks, “Let’s Talk About Diana Ross (In
Memory of Trayvon Martin)”
Drew Daniel, “Deep in the Game”
Sukhdev Sandhu, “Children of the Corn”
James Franco, “Acting In and Out of Context”
Marco Roth and the Editors of n+1, “Too Much
Sociology”
Jonathan Sterne, “Giving Up on Giving Up on Good
Taste”
Owen Pallett, “When I Come Home”
Sheila Heti, “Playlist: Let’s Listen to Love”
PART III
Afterword
Carl Wilson, “Let’s Talk Later”
ACKNOWLEDGEMENTS
NOTES ON CONTRIBUTORS
9
POPULAR MUSIC
DJ Culture in the Mix
Power, Technology, and Social Change in
Electronic Dance Music
Edited by Bernardo Attias, Anna Gavanas and
Hillegonda C. Rietveld
“Fills a long overdue void in DJ and electronic dance music literature.
Interdisciplinary in focus and approach, the essays within raise
thoughtful questions and offer a range of critical insights into the
complexities of DJ cultures and practices around the world.”
—Rebekah Farrugia, Oakland University, USA
The DJ stands at a juncture of technology, performance and culture in the
increasingly uncertain climate of the popular music industry, functioning
both as pioneer of musical taste and gatekeeper of the music industry.
Together with promoters, producers, video jockeys (VJs) and other
professionals in dance music scenes, DJs have pushed forward music
techniques and technological developments in last few decades, from
mashups and remixes to digital systems for emulating vinyl performance
modes. This book is the outcome of international collaboration among
academics in the study of electronic dance music. Mixing established and
upcoming researchers from the US, Canada, the UK, Germany, Austria,
Sweden, Australia and Brazil, the collection offers critical insights into DJ
activities in a range of global dance music contexts. In particular, chapters address digitization and performativity, as well
as issues surrounding the gender dynamics and political economies of DJ cultures and practices.
This is the first scholarly collection uniquely dedicated to DJ practices in electronic dance music, surveying the DJ’s
cultural role as both pioneer and gatekeeper.
BERNARDO ALEXANDER ATTIAS is Professor and Chair of Communication Studies at California State University Northridge,
USA. ANNA GAVANAS is Social Anthropologist and Docent at Remeso, Linköping University, Sweden. HILLEGONDA C. RIETVELD
is Reader in Music and Sonic Culture at London South Bank University, UK.
PB 9781623560065 | £19.99 | $34.95
HB 9781623566906 | £65.00 | $120.00
Library eBook 9781623564377 | £69.00 | $106.00
Audio Culture
bestseller
textbook
Readings in Modern Music
Edited by Christoph Cox and Daniel Warner
Includes writing by some of the most important musical thinkers of the past half-century, among
them John Cage, Brian Eno, Glenn Gould, Umberto Eco, Ornette Coleman, Jacques Attali, Simon
Reynolds, Pauline Oliveros, Paul D. Miller, David Toop, John Zorn, Karlheinz Stockhausen, and many
others. The book is divided into nine thematically-organized sections, each with its own introduction,
helping the reader to place the essay within musical, historical, and conceptual contexts.
CHRISTOPH COX is Associate Professor of Philosophy at Hampshire College, USA. He writes regularly on
contemporary art and music for Artforum, The Wire, Cabinet, and other magazines. DANIEL WARNER is a
Professor of Music at Hampshire College, USA, where he teaches electronic and computer music.
UK October 2004 | US September 2004
PB 9780826416155 | £22.99 | $34.95
HB 9780826416148 | £60.00 | $120.00
10
bestseller
The Beats and Rock Culture
Simon Warner
new
in PB
“An exhaustive and always illuminating account of the Beats’ profound and still-registering
impact on radical pop from Dylan to hip hop.” —Barney Hoskyns, author of Lowside of the Road: A
Life of Tom Waits
This fascinating cultural history delves into a wide range of issues: Was rock culture the natural heir
to the activities of the Beats? Were the hippies the Beats of the 1960s? What attitude did the Beat
writers have towards musical forms and particularly rock music? How did literary works shape the
consciousness of leading rock music-makers and their followers? Why did Beat literature retain
its cultural potency with later rock musicians who rejected hippie values? How did rock musicians
use the material of Beat literature in their own work? How did Beat figures become embroiled in the process of rock
creativity?
POPULAR MUSIC
Text and Drugs and Rock ‘n’ Roll
These questions are addressed through a number of approaches - the influence of drugs, the relevance of politics, the
effect of religious and spiritual pursuits, the rise of the counter-culture, the issue of sub-cultures and their construction,
and so on. The result is a highly readable history of the innumerable links between two of the most revolutionary artistic
movements of the last 60 years.
SIMON WARNER is Senior Teaching Fellow at the University of Leeds, UK.
PB 9781628926279 | $13.95 | $19.95
HB 9780826416643 | £19.99 | $34.95
Library eBook 9781441143037 | £38.00 | $58.00
How the Beatles Rocked the Kremlin
The Untold Story of a Noisy Revolution
Leslie Woodhead
Imagine a world where Beatlemania was against the law — recordings scratched onto medical
X-rays, merchant sailors bringing home contraband LPs, spotty broadcasts taped from western AM
radio late in the night. This was no fantasy world populated by Blue Meanies but the USSR, where
a vast nation of music fans risked repression to hear the defining band of the British Invasion. The
music of the Fab Four opened the eyes of an entire generation of Soviet youth to seventy years of
authoritarianism and suppression of Western popular music. This book tells the improbable story of
Russian kids who discovered the band — by stealth, by way of whispers, through the illicit late night
broadcasts on Radio Luxembourg — and helped bring down the Soviet Union.
LESLIE WOODHEAD, OBE is one of Britain’s most distinguished documentary filmmakers. His films have won many international
awards, including recognition by the Emmy and Peabodys in America, and by BAFTA, and the Royal Television Society in the UK. He
is the author of two books, My Life as a Spy and A Box Full of Spirits. He lives in Cheshire, England.
UK April 2013
Trade PB 9781408840429 | £12.99
Individual eBook 9781408840436 | £10.99
US April 2013
Trade HB 9781608196142 | $26.00
Also available:
Beyond and Before
bestseller
Progressive Rock since the 1960s
Paul Hegarty
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HB 9780826440754 | £50.00 | $95.00
Library eBook 9781441114808 | £49.00 | $75.00
A Cultural Dictionary of Punk
1974-1982
Nicholas Rombes
PB 9780826427793 | £17.99 | $29.95
11
POPULAR MUSIC
The Sound of Tomorrow
How Electronic Music Was Smuggled into the Mainstream
Mark Brend
bestseller
“The story of how electronic music has infiltrated the mainstream from the turn of the 20th
Century…A touching epilogue reveals how many of these characters have passed on with little
mainstream recognition, but Brend’s book ensures that their tales are told.” —Jason Draper,
Record Collector
A fascinating history of the inventors, producers and technicians behind the early televisual and
cinematic breakthroughs of electronic music, packed with original research and interviews from
pioneers such as Paul McCartney, Brian Jones, Alfred Hitchcock, John Cage, and Leon Theremin.
MARK BREND is an author and musician who lives in Exeter, Devon, UK. His books include Strange Sounds and American
Troubadours, and his journalism has appeared in Record Collector, Mojo, Art & Music and many other publications.
PB 9780826424525 | £12.99 | $19.95
Library eBook 9781623561536 | £38.00 | $58.00
Talk About a Dream
The Essential Interviews of Bruce Springsteen
Edited by Christopher Phillips and Louis P. Masur
“No artist has ever been as candid, informative, and entertaining as Bruce is in this wonderful
book. As revealing as you could possibly hope. I highly recommend it.” —Nils Lofgren, E Street Band
guitarist
“A fascinating addition to the growing shelf of Springsteen studies.”— Kirkus Reviews
Bruce Springsteen often prefers to let his music do the talking. His onstage stories and shaggy
dog tales have long entertained his fans, but his songs and his guitar provide the most direct line
to their hearts. Considering his prominence on the rock ‘n’ roll landscape, Springsteen has spent
remarkably little of his 40-year recording career speaking to the press. But when he does decide to sit down and talk,
the conversations tend to be momentous. Q&As with Bruce Springsteen reveal an artist with great insight and selfawareness, a student of music, an avid searcher, an astute observer of humanity from the boardwalk to America at large.
Much has been written about the Boss, but few can be said to know the man as well as he knows himself, and the best of
Springsteen’s own words are collected here. Gathering more than thirty different interviews spanning from 1973 to 2013,
this volume captures his remarkable personality.
CHRISTOPHER PHILLIPS is editor and publisher of Backstreets, the premier Springsteen magazine, as well as Backstreets.com,
the primary web destination for Springsteen fans. He lives in Chapel Hill, North Carolina, USA. LOUIS P. MASUR is a professor of
American Studies and History at Rutgers University, New Jersey, USA. He is the author of Runaway Dream: Born to Run and Bruce
Springsteen’s American Vision.
UK October 2013 | US August 2013
Trade PB 9781620400722 | £14.99 | $20.00
Also available:
Song and Circumstance
12
Runaway Dream
The Work of David Byrne
from Talking Heads to the Present
Sytze Steenstra
Born to Run and Bruce Springsteen’s
American Vision
Louis P. Masur
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PB 9781608191017 | £12.99 | $15.00
HB 9781596916920 | £20.00 | $23.00
Library eBook 9781441111593 | £36.00 | $55.00
The Life of Elliott Smith
William Todd Schultz
Elliott Smith was one of the most gifted songwriters of the 90s, adored by fans for his subtly
melancholic words and melodies. There was trauma from an early age, years of drug abuse and
a chronic sense of disconnection that seemed almost self-engineered. Smith died violently in Los
Angeles in 2003, under what some believe to be questionable circumstances, of a single fatal stab
wound to the chest. By this time fame had found him, and fans felt he spoke directly to them: lonely,
lovelorn, frustrated, fighting until he could fight no more. And yet, although his achingly intimate
lyrics carried the weight of truth, Smith remained unknowable.
POPULAR MUSIC
Torment Saint
The first proper biography of the rock star, a decade after his death, this book draws on more than
150 hours of interviews with close friends, lovers, bandmates, peers, managers, label owners, and recording engineers
and producers.
WILLIAM TODD SCHULTZ is a professor of psychology at Pacific University in Oregon, USA. He edited and contributed to
Handbook of Psychobiography and blogs for Psychology Today.
UK October 2013
Trade PB 9781408830475 | £14.99
US October 2013
Trade HB 9781608199730 | $27.00
Starting At Zero
His Own Story
Jimi Hendrix
Edited by Alan Douglas and Peter Neal
It took just four years in the spotlight for Jimi Hendrix to become an international cultural icon. The
sheer impact and originality of his music and his mastery of the guitar placed him forever amongst
musical giants. But what of the man behind the public image? Modest and intensely private by
nature, Jimi was shrouded in intrigue from the moment he first came into the public eye, and the
mystery has only grown with time. Much has been written about him by experts, fans and critics,
some of it true and some of it not. He did, however, leave his own account of himself locked away
like a Chinese puzzle in his many interviews, lyrics, writings, poems, diaries and even stage raps.
Starting At Zero brings all these elements together in narrative form. The result is an intimate, funny and poetic memoir –
one that tells, for the first time, Jimi’s own story as only he could tell it.
ALAN DOUGLAS is a record producer who produced many of Hendrix’s posthumous releases.
PETER NEAL is a documentary film director, whose credits include the 1968 Hendrix short documentary Experience.
UK November 2013
Trade HB 9781408842140 | £18.99
US November 2013
Trade HB 9781620403310 | $26.00
13
POPULAR MUSIC
Respect Yourself
Stax Records and the Soul Explosion
Robert Gordon
The story of Stax Records unfolds like a Greek tragedy. A white brother and sister build a monument
to racial harmony in blighted south Memphis during the civil rights movement. Their success soon
pits the siblings against each other, and the brother abandons his sister for a visionary AfricanAmerican partner. Under integrated leadership, Stax explodes as a national player until, Icarus-like,
the heights they achieve result in their tragic demise. They fall, losing everything, and the sanctuary
they created is torn to the ground. A generation later, Stax is rebuilt brick by brick and is once again
transforming disenfranchised youth into stellar young musicians.
Set in the world of 1960s and ‘70s soul music, Respect Yourself is a character-driven story of racial
integration, and then of black power and economic independence. It’s about music and musicians—Isaac Hayes, Otis
Redding, the Staple Singers, and Booker T. and the M.G.’s, Stax’s interracial house band. It’s about a small independent
company’s struggle to survive in an increasingly conglomerate-oriented world. And always at the center of the story is
Memphis, Tennessee, an explosive city struggling through volatile years.
ROBERT GORDON is the author of It Came from Memphis, Can’t Be Satisfied, The King on the Road, and The Elvis Treasures. He won
a Grammy in 2011 for his liner notes to the Big Star box set Keep an Eye on the Sky. His film work includes producing and directing
the documentary Respect Yourself: The Stax Records Story for PBS’s Great Performances. Gordon lives in Memphis, Tennessee, USA.
UK January 2014 | US November 2013
HB 9781596915770 | £22.95 | $30.00
Also available:
Little Richard
14
bestseller
Jerry Lee Lewis
The Birth of Rock ‘n’ Roll
David Kirby
Lost and Found
Joe Bonomo
PB 9781441194060 | £9.99 | $14.95
Library eBook 9781441111760 | £38.00 | $55.00
PB 9781441118806 | £9.99 | $14.95
Library eBook 9781441128652 | £38.00 | $55.00
Morrissey
Kraftwerk
The Pageant of His Bleeding Heart
Gavin Hopps
Music Non-Stop
Edited by Sean Albiez and David Pattie
PB 9781441124043 | £10.99 | $16.95
Library eBook 9781441137050 | £30.00 | $65.00
PB 9781441191366 | £17.99 | $29.95
HB 9781441165077 | £50.00 | $95.00
Library eBook 9781441189677 | £62.00 | $89.00
33 1/3
33 1/3 is a series of short books about popular music, focusing on individual albums by a
variety of artists from James Brown to the Beastie Boys and from Celine Dion to Neutral Milk
Hotel. Launched in 2003, the series will publish its 100th book in 2014 and has been widely
acclaimed and loved by fans, musicians and scholars alike.
For more information about the series, visit our blog at www.333sound.com.
“A growing Alexandria of rock criticism.” —Los Angeles Times
“Ideal for the rock geek who thinks liner notes just aren’t enough.” —Rolling Stone
“A brilliant series…each one a work of real love.” —NME
Serge Gainsbourg’s Histoire de Melody Nelson
Darran Anderson
Outside his native France, the view of Serge Gainsbourg was once of a one-hit wonder lothario. This
has been slowly replaced by an awareness of how talented and innovative a songwriter he was.
Gainsbourg was an eclectic, protean figure; a Dadaist, poète maudit, Pop-Artist, libertine and antihero. An icon and iconoclast.
His masterpiece is arguably Histoire de Melody Nelson, an album suite combining many of his signature
themes; sex, taboo, provocation, humour, exoticism and ultimately tragedy. Composed and arranged
with the great Jean-Claude Vannier, its score of lush cinematic strings and proto-hip hop beats,
combined with Serge’s spoken-word poetry, has become remarkably influential across a vast musical
spectrum; inspiring soundtracks, indie groups and electronic artists. In recent years, the album’s reputation has grown from
cult status to that of a modern classic with the likes of Beck, Portishead, Mike Patton, Air and Pulp paying tribute.
How did the son of Jewish Russian immigrants, hounded during the Nazi Occupation, rise to such notoriety and acclaim,
being celebrated by President François Mitterand as “our Baudelaire, our Apollinaire”? How did the early chanson singer
evolve into a musical visionary incorporating samples, breakbeats and dub into his music, decades ahead of the curve?
And what are the roots and legacy of a concept album about a Rolls Royce, a red-haired Lolita muse, otherworldly
mansions, plane crashes and Cargo Cults?
DARRAN ANDERSON is an Irish writer. He is a co-editor of 3:AM Magazine.
PB 9781623562878 | £8.99 | $14.95
Library eBook 9781623565978 | £29.99 | $44.00
They Might Be Giants’ Flood
S. Alexander Reed and Philip Sandifer
For a few decades now, They Might Be Giants’ album Flood has been a beacon (or at least a
nightlight) for people who might rather read than rock out, who care more about science fiction than
Slayer, who are more often called clever than cool. Neither the band’s hip origins in the Lower East
Side scene nor Flood’s platinum certification can cover up the record’s singular importance at the
geek fringes of culture.
Flood’s significance to this audience helps us understand a certain way of being: it shows that geek
identity doesn’t depend on references to Hobbits or Spock ears, but can instead be a set of creative
and interpretive practices marked by playful excess—a flood of ideas.
The album also clarifies an historical moment. The brainy sort of kids who listened to They Might Be Giants saw their
own cultural options grow explosively during the late 1980s and early 1990s amid the early tech boom and America’s
advancing leftist social tides. Whether or not it was the band’s intention, Flood’s jubilant proclamation of an identity
unconcerned with coolness found an ideal audience at an ideal turning point.
S. ALEXANDER REED, PhD is a musician and professor, currently teaching at Ithaca College, USA. He is author of Assimilate: A
Critical History of Industrial Music. PHILIP SANDIFER, PhD publishes and blogs about the psychic history of comics and science
fiction. He is author of TARDIS Eruditorum.
PB 9781623569150 | £8.99 | $14.95
Library eBook 9781623569655 | £29.99 | $44.00
15
33 1/3
Andrew W.K.’s I Get Wet
Phillip Crandall
“It’s Time To Party,” the first track off of I Get Wet, opens with a rapid-fire guitar line — nothing fancy,
just a couple crunchy power chords to acclimate the ears — repeated twice before a booming bass
drum joins in to provide a quarter-note countdown. A faint, swirling effect intensifies with each bass
kick and, by the eighth one, the ears have prepped themselves for the metal mayhem they are about
to receive. When it all drops, and the joyous onslaught of a hundred guitars is finally realized, you’ll
have to forgive your ears for being duped into a false sense of security, because it’s that second
intensified drop a few seconds later — the one where yet more guitars manifest and Andrew W.K.
slam-plants his vocal flag by screaming the song’s titular line — that really floods the brain with
endorphins, serotonin, dopamine, and whatever else formulates invincibility.
Polished to a bright overdubbed-to-oblivion sheen, the party-preaching I Get Wet didn’t capture the zeitgeist of rock at the
turn of the century; it captured the timelessness of youth, as energized, awesome, and unapologetically stupid as ever.
With insights from friends and unprecedented help from the mythological maniac himself — whose sermon and pop
sensibilities continue to polarize — this book chronicles the sound’s evolution, uncovers the relevance of Steev Mike, and
examines how Andrew W.K.’s inviting, inclusive lyrics create the ultimate shared experience between artist and audience.
PHILLIP CRANDALL lives in South Florida, USA, and is a former editor for FHM Magazine.
UK February 2014 | US January 2014
PB 9781623567149 | £8.99 | $14.95
Library eBook 9781623565503 | £29.99 | $44.00
Aphex Twin’s Selected Ambient Works Volume II
Marc Weidenbaum
Extravagantly opaque, willfully vaporous — Aphex Twin’s Selected Ambient Works Volume II, released
by the estimable British label Warp Records in 1994, rejuvenated ambient music for the Internet
Age that was just dawning. In the United States, it was his first full length on Sire Records (home to
Madonna and Depeche Mode), which helped usher in Richard D. James, for whom Aphex Twin is but
one of numerous monikers, as a major force in music, electronic or otherwise.
Faithful to Brian Eno’s definition of ambient music, Selected Ambient Works Volume II was
intentionally functional: it furnished chill rooms, the sanctuaries amid intense raves.
Choreographers and film directors began to employ it to their own ends, and in the intervening
decades this background music came to the fore, adapted by classical composers who reverseengineer its fragile textures for performance on acoustic instruments. Simultaneously, “ambient” has moved from
esoteric sound art to central tenet of online culture. This book contends that despite a reputation for being beat-less,
the album exudes percussive curiosity, providing a sonic metaphor for our technologically mediated era of countless
synchronized nanosecond metronomes.
MARC WEIDENBAUM founded Disquiet.com, which is focused on the intersection of sound, art, and technology, in 1996. A former
editor of Tower Records’ Pulse! magazine, he’s written for Nature, Boing Boing, and the website of The Atlantic. He lives in San
Francisco, California, USA.
PB 9781623568900 | £8.99 | $14.95
16
Library eBook 9781623567637 | £29.99 | $44.00
Pete Astor
To wander the streets of a bankrupt, often lawless, New York City in the early 1970’s wearing a
t-shirt with PLEASE KILL ME written on it was a subversive act, and one often recounted in the first
reports of Richard Hell filtering into pre-punk UK. Pete Astor, an archly nihilistic teenager himself at
the time, was most impressed. The fact that it emerged that Hell himself had not worn the garment
but had convinced junior band member Richard Lloyd to do so, actually fitted very well with Astor’s
older, wiser, and more knowing self. Here was an artist who could not only embody but also frame
the punk urge; just what was needed to make one of the defining records of the era.
33 1/3
Richard Hell and the Voidoids’ Blank Generation
Having seeded and developed the essential look and character of punk since his arrival in New York in
the late 1960’s, Richard Hell and The Voidoids released Blank Generation in 1977. Astor’s portmanteau
approach uses objective and subjective perspectives to articulate the meanings of the album, combining academic rigour
with the reception-based subjectivities that are key to understanding our relationships to popular culture.
PETE ASTOR is Senior Lecturer in Musicology at the University of Westminster, UK.
PB 9781623561222 | £8.99 | $14.95
Library eBook 9781623568566 | £29.99 | $44.00
Gang of Four’s Entertainment!
Kevin J.H. Dettmar
Following hard on the explosion of British punk, in 1979 Gang of Four produced post-punk’s
smartest record, Entertainment! For the first time, a band wedded punk’s angry energy to funk’s
propulsive beats—and used that music to put across lyrics that brought a heady mixture of Marxist
theory and situationism to exposing the cultural politics of everyday life. But for an American college
student from the suburbs, Jon King’s and Andy Gill’s mumbled lyrics were often all but unintelligible.
Political rock ‘n’ roll is already an oxymoron: rock audiences by and large don’t tune in to be lectured
to. But what can it mean that a band that made pop songs as political theory actively resisted
making that theory legible?
Coming to terms with the impact of Entertainment! requires us to take the mondegreen—the
misunderstood lyric—seriously. The old joke has it that the title of R.E.M.’s debut album should have been not Murmur, but
Mumble. This strategic inarticulateness, which creates such an important role for the listener, has an important politics.
KEVIN J. H. DETTMAR is W. M. Keck Professor of English at Pomona College, California, USA.
PB 9781623560652 | £8.99 | $14.95
Library eBook 9781623562854 | £29.99 | $44.00
The Beach Boys’ Smile
Luis A. Sanchez
In the early 1960s, The Beach Boys rose from the suburbs of Hawthorne, California and became
emissaries of an American dream that fused middle-class aspiration and mobility with images of
youth. Led by dream master Brian Wilson, their music gave voice to a Southern California mythos
and compelled an audience across the nation and beyond to live out their own versions of the
fantasy. By 1966, the encroaching counterculture added new dimensions of creative possibility so
Wilson sought collaboration with a brilliant musician named Van Dyke Parks. Together they began
work on Smile, an ambitious album of earnest, droll and complex music that refracted The Beach
Boys’ naïveté into a visionary exploration of American consciousness.
LUIS SANCHEZ grew up in West Texas, USA but earned his PhD in Musicology at the University of
Edinburgh, Scotland.
PB 9781623562588 | £8.99 | $14.95
Library eBook 9781623569563 | £29.99 | $44.00
17
33 1/3
J. Dilla’s Donuts
Jordan Ferguson
From a Los Angeles hospital bed, equipped with little more than a laptop and a stack of records,
James “J.Dilla” Yancey crafted a set of tracks that would forever change the way beatmakers
viewed their artform. The songs on Donuts are not hip hop music as “hip hop music” is typically
defined; they careen and crash into each other, in one moment noisy and abrasive, gorgeous and
heartbreaking the next. The samples and melodies tell the story of a man coming to terms with
his declining health, a final love letter to the family and friends he was leaving behind. As a prolific
producer with a voracious appetite for the history and mechanics of the music he loved, J. Dilla
knew the records that went into constructing Donuts inside and out. He could have taken them all
and made a much different, more accessible album. If the widely accepted view is that his final work
is a record about dying, the question becomes why did he make this record about dying?
Drawing from philosophy, critical theory and musicology, as well as Dilla’s own musical catalogue, Ferguson shows
that the contradictory, irascible and confrontational music found on Donuts is as much a result of an artist’s declining
health as it is an example of what scholars call “late style,” placing the album in a musical tradition that stretches back
centuries.
JORDAN FERGUSON is a freelance culture writer based in Toronto, Canada. He can be found online at poetryforgravediggers.com.
PB 9781623561833 | £8.99 | $14.95
Library eBook 9781623563608 | £29.99 | $44.00
Kanye West’s My Beautiful Dark Twisted Fantasy
Kirk Walker Graves
In the first decade of the 21st century, Kanye West produced what is arguably the most compelling
body of work made by a popular American musician during the period. Rising from obscurity as a
precocious producer through the ranks of Jay-Z’s Roc-A-Fella records, by the time he released My
Beautiful Dark Twisted Fantasy in late 2010, West had evolved into a master collagist, an alchemist
capable of transfiguring semi-obscure soul samples and indelible beats into a brash and vulnerable
art form. A long look at the arc of his career - from the early days as an apprentice producer
gaining mastery of the sample, to his creation of MBDTF during a hypomanic self-imposed Hawaiian
exile - tells us about the march of pop music into the twenty first century and, by extension, the
redrawn lines of American life.
Weaving original soundscapes comprising old, familiar voices (Ray Charles, King Crimson, Otis Redding, and a host of
others), no other artist has so deftly curated conversations between pop music’s past and future—very much a story of
our culture’s narcissistic wish for unfettered digital ubiquity—and no album tells this story with more decadent artistry
and surrealist gusto than My Beautiful Dark Twisted Fantasy.
KIRK WALKER GRAVES is a writer from Tennessee, USA, at work on his first novel.
PB 9781623565428 | £8.99 | $14.95
18
Library eBook 9781623564582 | £29.99 | $44.00
Susan Fast
Dangerous can be viewed as Michael Jackson’s coming of age album – a grand claim to make given
that many think his best work lay behind him by the time this record was made. It offers Jackson
on a threshold, finally inhabiting adulthood and doing so through an immersion in black music that
would continue to deepen through the remainder of his career. On Dangerous, Jackson struggles
with weighty stuff—love and lust, politics, and race—in ways hitherto unseen; he gives us a darker,
less childishly optimistic vision of the world, one based more in realism than his characteristic
theatricality, one in which he is emotionally wrenched.
33 1/3
Michael Jackson’s Dangerous
This book offers a critical reading, positing Dangerous as a concept album, one that offers a
compelling narrative arc of uncertainty, anger, and betrayal—spiritual, physical, emotional, and
political—through five broad themes: Jackson’s bleak vision of postmodernity; the heartbreak of intimate relationships;
a utopian vision of peace and unity (delivered, in the end, through children’s voices, not his); what the writer Michael Eric
Dyson terms Jackson’s “secular spirituality;” and finally through his engagement with the figure of the femme fatale, a
favorite character to which Jackson returned often in his career. This analysis seeks to explore Jackson’s artistic/political
vision on this album, one that, it could be argued, set the wheels of his spectacular fall from grace into motion.
SUSAN FAST is Professor in the Department of English and Cultural Studies at McMaster University, Canada. She is the author of
In the Houses of the Holy: Led Zeppelin and The Power of Rock Music.
PB 9781623566319 | £8.99 | $14.95
Library eBook 9781623561024 | £29.99 | $44.00
Danger Mouse’s The Grey Album
Charles Fairchild
This book marks the 10th anniversary of The Grey Album. The online release and circulation of
what Danger Mouse called his ‘art project’ was an unexpected watershed in the turn-of-thecentury brawls over digital creative practice. The album’s suppression inspired widespread digital
civil disobedience and brought a series of contests and conflicts over creative autonomy in the
online world to mainstream awareness. The Grey Album highlighted, by its very form, the profound
changes wrought by the new technology and represented the struggle over the tectonic shifts in the
production, distribution and consumption of music. But this is not why it matters.
The Grey Album matters because it is more than just a clever, if legally ambiguous, amalgam. It is
an important case study about the status of the album as a cultural form in an era when the album
appears to be losing its coherence and power. Perhaps most importantly, The Grey Album matters because it changes
how we think about the traditions of musical practice of which it is a part. Danger Mouse created a broad, inventive
commentary on forms of musical creativity that have defined all kinds of music for centuries: borrowing, appropriation,
homage, derivation, allusion and quotation. The struggle over this album wasn’t just about who gets to use new
technology and how. The battle over The Grey Album struck at the heart of the very legitimacy of a long recognised and
valued form of musical expression: the interpretation of the work of one artist by another.
CHARLES FAIRCHILD is a Senior Lecturer in Popular Music at the University of Sydney, Australia. He is the author of Music, Radio
and the Public Sphere and Pop Idols and Pirates.
PB 9781623566609 | £9.95 | $14.95
Library eBook 9781623561239 | £29.99 | $44.00
19
33 1/3
Sigur Rós’s ( )
Ethan Hayden
Words like “inspiring,” “expansive,” and “moving” are regularly used to describe Sigur Rós’ ( ), and
yet the only words heard on the record itself are a handful of meaningless nonsense syllables. The
album had no title - or rather its title was no title: just an empty pair of parentheses. The intent
was that listeners would fill in the parentheses with their own title, their own interpretation of the
sounds on the record. The CD sleeve consisted of twelve pages that were essentially blank, lacking
song titles, liner notes or production credits. Instead, just semi-translucent frosted images of
abstract natural scenes (tree branches, clouds, etc.), on which the listener is free to inscribe their
own notes - or no notes at all. And then there were the lyrics, sung in a deliberately unintelligible
tongue called “Hopelandic” which the band invited listeners to interpret freely.
Hayden’s book doesn’t try to fill in the gaps between the album’s parentheses, but instead explores the ways in which
listeners might attempt to do so. Examining the communicative powers of nonsensical language, the book asks whether
music can bring sense to nonsense. What happens to the voice when it stops singing conventional language: does it
simply become another musical instrument, or is it somehow more “human”? What role does space play on ( )? And how
do we interpret music that we cannot possibly understand, but feel very deeply that we do?
ETHAN HAYDEN is a composer and performer, currently pursuing a Ph.D. in music at the University at Buffalo, New York,
USA.
PB 9781623568924 | £8.99 | $14.95
Library eBook 9781623562939 | £29.99 | $44.00
Björk’s Biophilia
Nicola Dibben
On its release in 2011 Biophilia was acclaimed as the first “app album” and the birth of a new
music format. It was greeted as the way forward for musicians and developers, at a time when the
traditional album format was under threat.
Biophilia is an album for mobile digital devices, conceived and creatively directed by Björk, one the
world’s most innovative musicians, and executed by a team including interactive artists, developers,
and designers. Here, Dibben draws on her experience as a member of the creative team working
on the app suite to provide an insider’s perspective on the creative process and product. The entire
project’s conception and realisation are traced, drawing on dozens of original interviews and
participant observation.
Dibben explores questions including: the new potential for interactivity and multi-sensory experience of music; the
implications of Biophilia’s visualisation of music for audio-visual aesthetics and music education; immersive versus
‘distributed’ modes of listening; and the creation of a curated artistic vision that counters the fragmentation and lack of
multimedia experience associated with music consumption via MP3 download. The result is a brilliant exploration of a
cutting-edge musical work and offers a unique perspective on the creative processes and ambitions of one of pop music’s
most compelling figures.
NICOLA DIBBEN is Senior Lecturer in Music at the University of Sheffield, UK. She is co-editor of the journal Empirical Musicology
Review, a former co-ordinating editor of Popular Music, author of Björk and co-author of Music and Mind in Everyday Life.
PB 9781623561741 | £8.99 | $14.95
20
Library eBook 9781623562830 | £29.99 | $44.00
Alex Niven
Writing in Manchester in the years 1992-93, in a context in which the depression of social
marginalisation was palliated by a culture of radical hedonism and belligerence, Noel Gallagher
composed a series of songs that distilled the spirit of the age far better than the more usually
celebrated Kurt Cobain. Gallagher’s lyrics on Definitely Maybe offered a message of affirmation and
hope that was couched in language of remarkable clarity and directness.
33 1/3
Oasis’ Definitely Maybe
In an era in which deconstructive cynicism was threatening the very existence of the counterculture
and the mainstream Left, Oasis offered a radical, anomalous vision of positivity. And the fact
this was indisputably a working-class vision founded in solidarity and fraternity was incredibly
important. To a post-Thatcherite Britain that had just undergone the most debilitating period of
social upheaval in a century, Gallagher ventriloquised slogans of burning communitarian optimism through the mouth of
his brother Liam and the playing of the other Oasis “everymen”, Paul McGuigan, Paul Arthurs, and Tony McCarroll.
Niven charts the astonishing rise of Oasis in 1993 and 1994 and celebrates the life-affirming, communal force of songs
such as “Live Forever,” “Supersonic,” and “Cigarettes & Alcohol,” and in doing so, he seeks to reposition Oasis in relation to
their Britpop peers.
ALEX NIVEN was a founding member of the Mercury Prize-nominated band Everything Everything. He is currently working on his
PhD at Oxford University, UK, and is the author of Folk Opposition.
PB 9781623564230 £8.99 | $14.95
Library eBook 9781623568832 | £29.99 | $44.00
Dead Kennedys’ Fresh Fruit for Rotting Vegetables
Michael Stewart Foley
In 1978, San Francisco, a city that has seen more than its share of trauma, plunged from a summer
of political tension into an autumn cascade of malevolence that so eluded human comprehension it
seemed almost demonic. The battles over property taxes and a ballot initiative calling for a ban on
homosexuals teaching in public schools gave way to the madness of the Jonestown massacre and
the murders of Mayor George Moscone and city supervisor Harvey Milk. In the year that followed
this season of insanity, it made sense that a band called Dead Kennedys played Mabuhay Gardens
in North Beach, referring to Governor Jerry Brown as a “zen fascist,” calling for landlords to be
lynched and yuppie gentrifiers to be sent to Cambodia to work for “a bowl of rice a day,” critiquing
government welfare and defense policies, and, at a time when each week seemed to bring news of a
new serial killer or child abduction, commenting on dead and dying children.
Most histories of the 1970s and 1980s ignore youth politics and subcultures. Drawing on Bay Area zines as well as
new interviews with the band and fans, Michael S. Foley corrects that failing by treating Dead Kennedys’ first record,
Fresh Fruit for Rotting Vegetables, as a critical historical document, one that not only qualified as political expression but,
whether experienced on vinyl or from the stage of “the Mab,” stimulated emotions and ideals that were, if you can believe
it, utopian.
MICHAEL S. FOLEY teaches American history at the University of Sheffield in England. He is author of Life during Wartime:
America in the 1970s and 1980s and Confronting the War Machine: Draft Resistance during the Vietnam War, and a founding editor of
The Sixties: A Journal of History, Politics, and Culture.
PB 9781623567309 | £8.99 | $14.95
Library eBook 9781623562441 | 29.99 | $44.00
21
33 1/3
Hole’s Live Through This
Anwyn Crawford
Courtney Love has never been less than notorious. Her intelligence, ambition and appetite for
confrontation have made her a target in a music industry still dominated by men. As Kurt Cobain’s
wife she was derided as an opportunistic groupie; as his widow she is pitied, and scorned, as
the madwoman in rock’s attic. Yet Hole’s second album, Live Through This, awoke a feminist
consciousness in a generation of teenage girls.
Live Through This arrived in 1994, at a tumultuous point in the history of American music. Three
years earlier, Nirvana’s Nevermind had broken open the punk underground, and the first issue of a
zine called Riot Grrrl had been published. Hole were of this context and yet outside of it: too famous
for the strict punk ethics of riot-grrrl, too explicitly feminist to be the world’s biggest rock band. And
then Kurt Cobain shot himself, four days before the album’s scheduled release.
Live Through This is an album about girlhood and motherhood; desire and disgust; self-destruction and survival.
There have been few rock albums before or since so intimately concerned with female experience. The album is a key
document of third-wave feminism, but the conditions that produced its particular aesthetic have disappeared. So where
did the energy of that feminism go? And why is Courtney Love’s achievement as a songwriter and musician still not taken
seriously, nearly twenty years on?
ANWYN CRAWFORD is a writer and visual artist. Her essays on music, film and feminism have appeared in several publications,
including Frieze, Loops: Writing Music, Sound On Film and Overland.
UK January 2015 | US December 2014
PB 9781623563776 | £8.99 | $14.95
Library eBook 9781623567620 | £29.99 | $44.00
Liz Phair’s Exile in Guyville
Gina Arnold
Although Exile in Guyville was grudgingly celebrated as one of the year’s top records by Spin and the
New York Times, it was also some people’s idea of an abomination: a mockery of the Rolling Stones’
most revered record and a rare glimpse into the psyche of a shrewd, independent, strong young
woman. For these crimes, Phair was quite literally run out of her home town of Chicago, enduring a
flame war by writers who accused her of being boring, inauthentic and a poor musician.
With Exile in Guyville, Phair spoke for all the girls who loved indie rock but felt deeply unwelcome
there. Like all great works of musical art, Exile was a harbinger of the shape of things to come: Phair
may have undermined the male ago, but she also unleashed a new female one. For the sake of all
the women artists who have benefited from her work - on behalf of Sleater Kinney, MIA and Miley
Cyrus - it’s high time we go back to Guyville.
GINA ARNOLD is the author of Route 666: On the Road to Nirvana and Kiss This: Punk in the Present Tense. She has written for Spin,
Rolling Stone, and the Village Voice. Currently, she is finishing up her PhD at Stanford University, USA.
PB 9781441162571 £8.99 | $14.95
22
Library eBook 9781623567323 | £29.99 | $44.00
Evie Nagy
Finally, after all that waiting, The Future arrived in 1980. Ohio art-rockers Devo had plainly prepared
with their 1979 second LP Duty Now for the Future, and now it was go time. Propelled by the new
decade’s high-tech, free-market, pre-AIDS promise, 1980’s Freedom of Choice would rocket what
Devo co-founder Gerald Casale calls his “alternate universe, hermetically sealed, alien band” both
into the arms of the Earthlings and back to their home planet in one scenic trip.
33 1/3
Devo’s Freedom of Choice
Before an artistic and commercial decline that resulted in a 20-year gap between Devo’s last
two studio records, Freedom of Choice made them curious, insurgent superstars, vindicated but
ultimately betrayed by the birth of MTV. Their only platinum album represented the best of their
unreplicable code: dead-serious tricksters, embracing conformity in order to destroy it with
bullet-proof pop sensibility. Through first-hand accounts and musical analysis set against an examination of New Wave’s
emergence, this book explores Devo’s peak of success, when the band’s hermetic seal cracked open to let in mainstream
attention, lots of cocaine and the occasional violent Italian dwarf.
EVIE NAGY is the Music Editor at Billboard Magazine, and has been an editor at Rolling Stone and Wolfgang’s Vault. She co-wrote the
afterword to Out of the Vinyl Deeps, an anthology of rock writing by the late Ellen Willis, the New Yorker’s first pop music critic.
PB 9781623563448 | £9.95 | $14.95
Library eBook 9781623563172 | £29.99 | $44.00
Bobbie Gentry’s Ode to Billie Joe
Tara Murtha
In August 1967, “Ode to Billie Joe,” a B-side throwaway performed by a total unknown, knocked
the Beatles’ “All You Need is Love” out of the Billboard chart’s top slot. Listeners obsessed over the
mysteries ensnarled in the song’s haunting refrain: Billie Joe McAllister jumped off the Tallahatchie
Bridge. Why did Billie Joe kill himself? Is he the narrator’s secret lover? Fans also wanted to know:
Who is this glamorous young woman who could boil air with just a parlor guitar and voice low as
the Mississippi moon? Less than 10 years after bursting onto the world’s stage with an album that
scored an unprecedented trifecta on the Pop, Country and Black charts, the woman born Roberta
Lee Streeter vanished from the spotlight.
This much we know: Gentry was an artistic polymath and astute businesswoman. After “Ode”, she
wrote more music, DJed a radio program, hosted a TV show and started her own publishing company. Disenchanted with
the record business, she produced spectacular Las Vegas shows, writing the music, choreographing the routines and
designing the costumes. But despite working herself to exhaustion, Gentry was unable to replicate the commercial sales
of her debut, and she disappeared. Bobbie Gentry has not been seen in public for over 30 years. With unprecedented
access to a treasure trove of Gentry’s memorabilia, Murtha excavates the mysteries of Ode to Billie Joe, in terms of
both the record’s production and the effect of its success on Gentry. With input from the artist’s collaborators and
contemporaries, Murtha argues that though Gentry has every right to vanish, her role as a pioneering woman in the
music industry should not.
TARA MURTHA is a journalist based in Philadelphia, USA.
UK January 2015 | US December 2014
PB 9781623569648 | £8.99 | $14.95
Library eBook 9781623563424 | £29.99 | $44.00
23
33 1/3 BACKLIST
33 1/3 Greatest Hits, Volume 1
Brian Eno’s Another Green World
Flaming Lips’ Zaireeka
Edited by David Barker
Geeta Dayal
Mark Richardson
PB 9780826419033 £10.99 | $19.95
Individual eBook 9781441112347 £9.99 | $16.99
Library eBook 9781441101853 £38.00 | $58.00
PB 9780826427861 £8.99 | $14.95
Library eBook 9781441106414 £29.00 | $44.00
UK February 2010 | US December 2009
PB 9780826429018 £8.99 | $14.95
Library eBook 9781441138866 £29.00 | $44.00
33 1/3 Greatest Hits, Volume 2
Bruce Springsteen’s Born in the USA
Fleetwood Mac’s Tusk
Edited by David Barker
Geoffrey Himes
Rob Trucks
PB 9780826428769 £12.99 | $19.95
Library eBook 9781441142368 £38.00 | $58.00
UK November 2005 | US August 2005
PB 9780826416612 £8.99 | $14.95
Library eBook 9781441115157 £29.00 | $44.00
PB 9780826429025 £8.99 | $14.95
Library eBook 9781441121400 £29.00 | $44.00
A Tribe Called Quest’s People’s
Instinctive Travels and the Paths
of Rhythm
Captain Beefheart’s Trout Mask
Replica
Flying Burrito Brothers’ The Gilded
Palace of Sin
Kevin Courrier
Bob Proehl
UK June 2007 | US March 2007
PB 9780826427816 £8.99 | $14.95
Library eBook 9781441113771 £29.00 | $44.00
PB 9780826429032 £8.99 | $14.95
Library eBook 9781441109538 £29.00 | $44.00
Celine Dion’s Let’s Talk About Love
A Journey to the End of Taste
Guided By Voices’ Bee Thousand
Abba’s Abba Gold
Elisabeth Vincentelli
Carl Wilson
PB 9780826415462 £8.99 | $14.95
Library eBook 9781441167897 £29.00 | $44.00
PB 9780826427885 £8.99 | $14.95
Library eBook 9781441167217 £29.00 | $44.00
AC DC’s Highway To Hell
David Bowie’s Low
Guns N’ Roses’ Use Your Illusion
I and II
Joe Bonomo
Hugo Wilcken
Eric Weisbard
PB 9781441190284 £8.99 | $14.95
Library eBook 9781441136121 £29.00 | $44.000
PB 9780826416841 £8.99 | $14.95
Library eBook 9781441199553 £29.00 | $44.00
PB 9780826419248 £8.99 | $14.95
Library eBook 9781441177223 £29.00 | $44.00
Aretha Franklin’s Amazing Grace
Dinosaur Jr.’s You’re Living
All Over Me
Israel Kamakawiwo’ole’s
Facing Future
Nick Attfield
Dan Kois
PB 9781441187789 £8.99 | $14.95
Library eBook 9781441118240 £29.00 | $44.00
PB 9780826429056 £8.99 | $14.95
Library eBook 9781441105752 £29.00 | $44.00
Shawn Taylor
PB 9780826419231 £8.99 | $14.95
Library eBook 9781441134349 £29.00 | $44.00
Aaron Cohen
PB 9781441148889 £8.99 | $14.95
Library eBook 9781441112088 £29.00 | $44.00
Belle & Sebastian’s If You’re
Feeling Sinister
24
Marc Woodworth
UK November 2006 | US October 2006
PB 9780826417480 £8.99 | $14.95
Library eBook 9781441115270 £29.00 | $44.00
DJ Shadow’s Endtroducing
James Brown’s Live at the Apollo
Scott Plagenhoef
Eliot Wilder
Douglas Wolk
PB 9780826428189 £8.99 | $14.95
Library eBook 9781441194909 £29.00 | $44.00
PB 9780826416827 £8.99 | $14.95
Library eBook 9781441124326 £29.00 | $44.00
PB 9780826415721 £8.99 | $14.95
Library eBook 9781441153456 £29.00 | $44.00
Big Star’s Radio City
Dusty Springfield’s Dusty in Memphis
Jeff Buckley’s Grace
Bruce Eaton
Warren Zanes
Daphne A. Brooks
PB 9780826428981 £8.99 | $14.95
Library eBook 9781441183835 £29.00 | $44.00
PB 9780826414922 £8.99 | $14.95
Library eBook 9781441196378 £29.00 | $44.00
PB 9780826416353 £8.99 | $14.95
Library eBook 9781441174567 £29.00 | $44.00
Black Sabbath’s Master of Reality
Elliott Smith’s XO
Jethro Tull’s Aqualung
John Darnielle
Matthew LeMay
Allan Moore
PB 9780826428998 £8.99 | $14.95
Library eBook 9781441121943 £29.00 | $44.00
PB 9780826429001 £8.99 | $14.95
Library eBook 9781441147790 £29.00 | $44.00
PB 9780826416193 £8.99 | $14.95
Library eBook 9781441113153 £29.00 | $44.00
Bob Dylan’s Highway 61 Revisited
Elvis Costello’s Armed Forces
Jimi Hendrix’s Electric Ladyland
Mark Polizzotti
Franklin Bruno
John Perry
PB 9780826417756 £8.99 | $14.95
Library eBook 9781441103710 £29.00 | $44.00
PB 9780826416742 £8.99 | $14.95
Library eBook 9781441195821 £29.00 | $44.00
PB 9780826415714 £8.99 | $14.95
Library eBook 9781441176561 £29.00 | $44.00
Nick Drake’s Pink Moon
Radiohead’s Kid A
Tony Tost
Amanda Petrusich
Marvin Lin
PB 9781441174611 £8.99 | $14.95
Library eBook 9781441143372 £29.00 | $44.00
PB 9780826427908 £8.99 | $14.95
Library eBook 9781441196040 £29.00 | $44.00
PB 9780826423436 £8.99 | $14.95
Library eBook 9781441139382 £29.00 | $44.00
Joni Mitchell’s Court and Spark
Nine Inch Nails’ Pretty Hate Machine
Radiohead’s OK Computer
Sean Nelson
Daphne Carr
Dai Griffiths
PB 9780826417732 £8.99 | $14.95
Library eBook 9781441122001 £29.00 | $44.00
PB 9780826427892 £8.99 | $14.95
Library eBook 9781441186379 £29.00 | $44.00
PB 9780826416636 £8.99 | $14.95
Library eBook 9781441109163 £29.00 | $44.00
Joy Division’s Unknown Pleasures
Nirvana’s In Utero
Chris Ott
Gillian G. Gaar
PB 9780826415493 £8.99 | $14.95
Library eBook 9781441195517 £29.00 | $44.00
PB 9780826417763 £8.99 | $14.95
Library eBook 9781441186096 £29.00 | $44.00
Richard and Linda Thompson’s
Shoot Out the Lights
Led Zeppelin’s Led Zeppelin IV
Patti Smith’s Horses
Erik Davis
Philip Shaw
UK June 2005 | US February 2005
PB 9780826416582 £8.99 | $14.95
Library eBook 9781441194305 £29.00 | $44.00
UK October 2008 | US March 2008
PB 9780826427922 £8.99 | $14.95
Library eBook 9781441129581 £29.00 | $44.00
Love’s Forever Changes
Pavement’s Wowee Zowee
Andrew Hultkrans
Bryan Charles
PB 9780826414939 £8.99 | $14.95
Library eBook 9781441170149 £29.00 | $44.00
PB 9780826429575 £8.99 | $14.95
Library eBook 9781441198754 £29.00 | $44.00
Madness’ One Step Beyond...
Pink Floyd’s The Piper at the
Gates of Dawn
Terry Edwards
PB 9780826429063 £8.99 | $14.95
Library eBook 9781441119377 £29.00 | $44.00
MC5’s Kick Out the Jams
Don McLeese
PB 9780826416605 £8.99 | $14.95
Library eBook 9781441145383 £29.00 | $44.00
My Bloody Valentine’s Loveless
Mike McGonigal
PB 9780826415486 £8.99 | $14.95
Library eBook 9781441169594 £29.00 | $44.00
Nas’s Illmatic
Matthew Gasteier
PB 9780826429070 £8.99 | $14.95
Library eBook 9781441129833 £29.00 | $44.00
Neil Young’s Harvest
Sam Inglis
PB 9780826414953 £8.99 | $14.95
Library eBook 9781441153678 £29.00 | $44.00
Neutral Milk Hotel’s In the
Aeroplane Over the Sea
Kim Cooper
UK November 2005 | US November 2005
PB 9780826416902 £8.99 | $14.95
Library eBook 9781441188755 £29.00 | $44.00
John Cavanagh
PB 9780826414977 £8.99 | $14.95
Library eBook 9781441185174 £29.00 | $44.00
PJ Harvey’s Rid of Me: A Story
Kate Schatz
PB 9780826427786 £8.99 | $14.95
Library eBook 9781441141026 £29.00 | $44.00
Portishead’s Dummy
RJ Wheaton
PB 9781441194497 £8.99 | $14.95
Library eBook 9781441185570 £29.00 | $44.00
Prince’s Sign O’ the Times
Michaelangelo Matos
UK April 2004 | US March 2004
PB 9780826415479 £8.99 | $14.95
Library eBook 9781441141767 £29.00 | $44.00
Public Enemy’s It Takes a Nation
of Millions to Hold Us Back
Christopher R. Weingarten
PB 9780826429131 £8.99 | $14.95
Library eBook 9781441151414 £29.00 | $44.00
R.E.M.’s Murmur
33 1/3 BACKLIST
Johnny Cash’s American Recordings
Hayden Childs
PB 9780826427915 £8.99 | $14.95
Library eBook 9781441186997 £29.00 | $44.00
Slayer’s Reign in Blood
D.X. Ferris
PB 9780826429094 £8.99 | $14.95
Library eBook 9781441132413 £29.00 | $44.00
Slint’s Spiderland
Scott Tennent
PB 9781441170262 £8.99 | $14.95
Library eBook 9781441190147 £29.00 | $44.00
Sly and the Family Stone’s
There’s a Riot Goin’ On
Miles Marshall Lewis
UK May 2006 | US February 2006
PB 9780826417442 £8.99 | $14.95
Library eBook 9781441148551 £29.00 | $44.00
Sonic Youth’s Daydream Nation
Matthew Stearns
PB 9780826417404 £8.99 | $14.95
Library eBook 9781441128867 £29.00 | $44.00
Steely Dan’s Aja
Don Breithaupt
PB 9780826427830 £8.99 | $14.95
Library eBook 9781441115188 £29.00 | $44.00
Stevie Wonder’s Songs in the
Key of Life
Zeth Lundy
PB 9780826419262 £8.99 | $14.95
Library eBook 9781441142078 £29.00 | $44.00
Talking Heads’ Fear of Music
Jonathan Lethem
PB 9781441121004 £8.99 | $14.95
Library eBook 9781441125910 £29.00 | $44.00
J. Niimi
PB 9780826416728 £8.99 | $14.95
Library eBook 9781441152732 £29.00 | $44.00
25
33 1/3 BACKLIST
Television’s Marquee Moon
The Pixies’ Doolittle
Bryan Waterman
Ben Sisario
PB 9781441186058 £8.99 | $14.95
Library eBook 9781441145291 £29.00 | $44.00
UK April 2006 | US March 2006
PB 9780826417749 £8.99 | $14.95
Library eBook 9781441121417 £29.00 | $44.00
The Afghan Whigs’ Gentlemen
The Pogues’ Rum,
Sodomy and the Lash
Bob Gendron
PB 9780826429100 £8.99 | $14.95
Library eBook 9781441186966 £29.00 | $44.00
The Band’s Music From Big Pink
John Niven
PB 9780826417718 £8.99 | $14.95
Library eBook 9781441145024 £29.00 | $44.00
The Beach Boys’ Pet Sounds
Jim Fusilli
PB 9780826416704 £8.99 | $14.95
Library eBook 9781441140999 £29.00 | $44.00
The Beastie Boys’ Paul’s Boutique
Dan LeRoy
PB 9780826417411 £8.99 | $14.95
Library eBook 9781441151728 £29.00 | $44.00
The Beatles’ Let It Be
Steve Matteo
PB 9780826416346 £8.99 | $14.95
Library eBook 9781441167149 £29.00 | $44.00
The Byrds’ The Notorious
Byrd Brothers
Ric Menck
PB 9780826417176 £8.99 | $14.95
Library eBook 9781441168498 £29.00 | $44.00
The Kinks’ The Kinks Are the Village
Green Preservation Society
26
Tom Waits’ Swordfishtrombones
David Smay
PB 9780826427823 £8.99 | $14.95
Library eBook 9781441174598 £29.00 | $44.00
The Ramones’ Ramones
U2’s Achtung Baby
Meditations on Love in the
Shadow of the Fall
Nicholas Rombes
PB 9780826416711 £8.99 | $14.95
Library eBook 9781441103703 £29.00 | $44.00
The Replacements’ Let It Be
Colin Meloy
PB 9780826416339 £8.99 | $14.95
Library eBook 9781441138255 £29.00 | $44.00
The Rolling Stones’ Exile on
Main Street
Bill Janovitz
PB 9780826416735 £8.99 | $14.95
Library eBook 9781441115843 £29.00 | $44.00
The Rolling Stones’ Some Girls
Cyrus R.K. Patell
PB 9781441192806 £8.99 | $14.95
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Richard Henderson
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Hank Shteamer
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Wilson Neate
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Carr, Daphne........................................... 25
Catanzarite, Stephen ........................... 26
Cavanagh, John ..................................... 25
Celine Dion’s Let’s Talk About Love ....24
Charles, Bryan ....................................... 25
Childs, Hayden ....................................... 25
Cohen, Aaron .......................................... 24
Cooper, Kim ............................................ 25
Courrier, Kevin ....................................... 24
Cox, Christoph ........................................ 10
Crandall, Phillip ..................................... 16
Crawford, Anwyn................................... 22
Cultural Dictionary of Punk, A...............11
Danger Mouse’s The Grey Album ........19
Daniel, Drew ........................................... 26
Darnielle, John....................................... 24
David Bowie’s Low ...................................24
Davis, Erik ............................................... 25
Dayal, Geeta............................................ 24
Dead Kennedys’
Fresh Fruit for Rotting Vegetables ...21
Death and Life of the Music Industry
in the Digital Age, The ............................ 7
Dettmar, Kevin J.H. ............................... 17
Devo’s Freedom of Choice .....................23
Dibben, Nicola ........................................ 20
Dinosaur Jr.’s
You’re Living All Over Me ....................24
DJ Culture in the Mix ...............................10
DJ Shadow’s Endtroducing ...................24
Dougan, John ......................................... 26
Douglas, Alan ......................................... 13
Dusty Springfield’s Dusty in
Memphis ..................................................24
Eaton, Bruce ........................................... 24
Edwards, Terry ...................................... 25
Elliott Smith’s XO ......................................24
Elvis Costello’s Armed Forces ..............24
Fairchild, Charles .................................. 19
Fast, Susan ............................................. 19
Feldman, Heidi ..........................................6
Ferguson, Jordan .................................. 18
Ferris, D.X. ............................................... 25
Finney, John ..............................................7
Flaming Lips’ Zaireeka ...........................24
Fleetwood Mac’s Tusk .............................24
Flying Burrito Brothers’ The Gilded
Palace of Sin ...........................................24
Foley, Michael Stewart ........................ 21
Fournier, Michael T. .............................. 26
Fusilli, Jim ............................................... 26
Gaar, Gillian G......................................... 25
Gang of Four’s Entertainment! .............17
Gasteier, Matthew ................................. 25
Gavanas, Anna ....................................... 10
Gendron, Bob.......................................... 26
Goddard, Michael .....................................5
Gordon, Robert ...................................... 14
Graves, Kirk Walker .............................. 18
Green, Alex.............................................. 26
Griffiths, Dai............................................ 25
Guided By Voices’ Bee Thousand .........24
Guns N’ Roses’
Use Your Illusion I and II......................24
Hainge, Greg ..............................................5
Halligan, Benjamin ..................................5
Harvard, Joe ........................................... 26
Hayden, Ethan ........................................ 20
Hegarty, Paul ......................................5, 11
Henderson, Richard ............................. 26
Hendrix, Jimi .......................................... 13
Henriques, Julian .....................................4
Himes, Geoffrey ..................................... 24
Hitchcock’s Ear............................................ 7
Hole’s Live Through This ........................22
Hopps, Gavin .......................................... 14
Horn, David ................................................6
How the Beatles
Rocked the Kremlin ..............................11
Hultkrans, Andrew................................ 25
Inglis, Sam .............................................. 25
Israel Kamakawiwo’ole’s Facing
Future .......................................................24
J. Dilla’s Donuts.........................................18
Jaeger, Peter .............................................8
James Brown’s Live at the Apollo .......24
Jankowsky, Rich .......................................6
Janovitz, Bill ........................................... 26
Jeff Buckley’s Grace ................................24
Jerry Lee Lewis ..................................... 14
Jethro Tull’s Aqualung ............................24
Jimi Hendrix’s Electric Ladyland .........24
John Cage and Buddhist Ecopoetics .... 8
Johnny Cash’s
American Recordings ..........................25
Joni Mitchell’s Court and Spark ...........25
Joy Division’s Unknown Pleasures .....25
Kanye West’s
My Beautiful Dark
Twisted Fantasy .....................................18
Kinks’ The Kinks Are the Village
Green Preservation Society, The ......26
Kirby, David ............................................. 14
Kois, Dan.................................................. 24
Kraftwerk ....................................................14
LaBelle, Brandon......................................3
Laurence, Felicity.....................................7
Led Zeppelin’s Led Zeppelin IV .............25
Lely, John ...................................................5
LeMay, Matthew .................................... 24
LeRoy, Dan .............................................. 26
Lethem, Jonathan ................................. 25
Let’s Talk About Love................................. 9
Lewis, Miles Marshall .......................... 25
Lexicon of the Mouth ................................. 3
Lin, Marvin .............................................. 25
Listening to Noise and Silence ............... 4
Little Richard..............................................14
INDEX
33 1/3 Greatest Hits, Volume 1 ............24
33 1/3 Greatest Hits, Volume 2 ............24
A Tribe Called Quest’s
People’s Instinctive Travels
and the Paths of Rhythm ....................24
Abba’s Abba Gold .....................................24
AC DC’s Highway To Hell ........................24
Acoustic Territories .................................... 3
Afghan Whigs’ Gentlemen, The ............26
Albiez, Sean ............................................ 14
Anderson, Darran ................................. 15
Andrew WK’s I Get Wet............................16
Aphex Twin’s
Selected Ambient Works
Volume II ..................................................16
Aretha Franklin’s Amazing Grace........24
Arnold, Gina ............................................ 22
Astor, Pete ............................................... 17
Attfield, Nick ........................................... 24
Attias, Bernardo .................................... 10
Audio Culture .............................................10
Background Noise ...................................... 3
Band’s Music From Big Pink, The ........26
Barker, David .......................................... 24
Beach Boys’ Pet Sounds, The................26
Beach Boys’ Smile, The...........................17
Beastie Boys’ Paul’s Boutique, The .....26
Beatles’ Let It Be, The ..............................26
Beghtol, L.D............................................. 26
Belle & Sebastian’s
If You’re Feeling Sinister .....................24
Beyond and Before ...................................11
Biddle, Ian ..................................................4
Big Star’s Radio City ................................24
Björk’s Biophilia ........................................20
Black Sabbath’s Master of Reality ......24
Bloomsbury Encyclopedia of
Popular Music of the World:
Volume 9 .................................................... 6
Volume 10.................................................. 6
Volume 11.................................................. 6
Volume 12.................................................. 6
Volume 13.................................................. 6
Bob Dylan’s Highway 61 Revisited ......24
Bobbie Gentry’s Ode to Billie Joe .........23
Bonomo, Joe .....................................14, 24
Boring Formless Nonsense ..................... 3
Breithaupt, Don...................................... 25
Brend, Mark ............................................ 12
Brian Eno’s Another Green World .......24
Brooks, Daphne A. ................................ 24
Bruce Springsteen’s
Born in the USA .....................................24
Bruno, Franklin ...................................... 24
Byrds’ The Notorious Byrd
Brothers, The ..........................................26
Campbell, Edward ...................................8
Captain Beefheart’s
Trout Mask Replica ...............................24
27
INDEX
28
Liz Phair’s Exile in Guyville....................22
Louis P. Masur........................................ 12
Love’s Forever Changes .........................25
Lundy, Zeth ............................................. 25
Madness’ One Step Beyond... ................25
Magnetic Fields’, The
69 Love Songs........................................26
Mannes, Elena...........................................6
MasterClass in Music Education ............ 7
Matos, Michaelangelo .......................... 25
Matteo, Steve ......................................... 26
MC5’s Kick Out the Jams........................25
McGonigal, Mike .................................... 25
McLeese, Don ......................................... 25
Meloy, Colin ............................................. 26
Menck, Ric ............................................... 26
Michael Jackson’s Dangerous ..............19
Miller, Andy ............................................. 26
Minutemen’s, The
Double Nickels on the Dime ...............26
Moore, Allan............................................ 24
Morrissey ....................................................14
Murtha, Tara ........................................... 23
Music After Deleuze ................................... 8
My Bloody Valentine’s Loveless ...........25
Nagy, Evie ................................................ 23
Nas’s Illmatic .............................................25
Neal, Peter .............................................. 13
Neate, Wilson ......................................... 26
Neil Young’s Harvest................................25
Nelson, Sean .......................................... 25
Neutral Milk Hotel’s
In the Aeroplane Over the Sea ..........25
Nick Drake’s Pink Moon ..........................25
Niimi, J. .................................................... 25
Nine Inch Nails’
Pretty Hate Machine .............................25
Nirvana’s In Utero.....................................25
Niven, Alex .............................................. 21
Niven, John ............................................. 26
Noise Matters............................................... 5
Oasis’ Definitely Maybe ...........................21
Ott, Chris .................................................. 25
Patell, Cyrus R. K. .................................. 26
Patti Smith’s Horses ................................25
Pattie, David............................................ 14
Pavement’s Wowee Zowee ....................25
Pernice, Joe ............................................ 26
Perry, John .............................................. 24
Petrusich, Amanda ............................... 25
Phillips, Christopher ............................ 12
Pink Floyd’s
The Piper at the Gates of Dawn ........25
Pixies’ Doolittle, The .................................26
PJ Harvey’s Rid of Me: A Story .............25
Plagenhoef, Scott .................................. 24
Pogues’ Rum, The
Sodomy and the Lash .........................26
Polizzotti, Mark ...................................... 24
Portishead’s Dummy ...............................25
Power of Music, The................................... 6
Prato, Paolo ...............................................6
Priest, eldritch ..........................................3
Prince’s Sign O’ the Times .....................25
Proehl, Bob ............................................. 24
Public Enemy’s
It Takes a Nation of Millions
to Hold Us Back .....................................25
R.E.M.’s Murmur ........................................25
Radiohead’s Kid A.....................................25
Radiohead’s OK Computer .....................25
Ramones’ Ramones, The........................26
Reed, S. Alexander ............................... 15
Replacements’ Let It Be, The.................26
Resonances .................................................. 5
Respect Yourself: Stax Records
and the Soul Explosion ........................14
Reverberations ............................................ 5
Reverberations of Dissent ....................... 7
Richard and Linda Thompson’s
Shoot Out the Lights.............................25
Richard Hell and the Voidoids’
Blank Generation...................................17
Richardson, Mark.................................. 24
Rietveid, Hillegonda C.......................... 10
Robertson, Bronwen ...............................7
Roesgen, Jeffrey T................................. 26
Rogers, Jim................................................7
Rolling Stones’, The
Exile on Main Street .............................26
Rolling Stones’ , The
Some Girls...............................................26
Rombes, Nicholas ...........................11, 26
Runaway Dream .......................................12
Sanchez, Luis A. .................................... 17
Sandifer, Philip ...................................... 15
Saunders, James .....................................5
Schatz, Kate............................................ 25
Schroeder, David ......................................7
Schultz, William Todd .......................... 13
Senses of Vibration .................................... 8
Serge Gainsbourg’s
Histoire de Melody Nelson..................15
Shaw, Philip ............................................ 25
Shepherd, John ........................................6
Shteamer, Hank..................................... 26
Shuker, Roy................................................6
Sigur Rós’s ( ).............................................20
Sinister Resonance .................................... 8
Sisario, Ben............................................. 26
Slayer’s Reign in Blood...........................25
Slint’s Spiderland .....................................25
Sly and the Family
Stone’s There’s a Riot Goin’ On .........25
Smay, David ............................................ 26
Smiths’ Meat is Murder, The..................26
Song and Circumstance .........................12
Sonic Bodies................................................. 4
Sonic Possible Worlds .............................. 4
Sonic Youth’s Daydream Nation...........25
Sound of Tomorrow, The ........................12
Sound, Music, Affect .................................. 4
Spelman, Nicola .......................................5
Starting At Zero .........................................13
Stearns, Matthew.................................. 25
Steely Dan’s Aja ........................................25
Steenstra, Sytze .................................... 12
Stevie Wonder’s
Songs in the Key of Life.......................25
Stone Roses’ The Stone Roses, The....26
Talk About a Dream: The Essential
Interviews of Bruce Springsteen ......12
Talking Heads’ Fear of Music ................25
Taylor, Shawn......................................... 24
Television’s Marquee Moon ...................26
Tennent, Scott ........................................ 25
Text and Drugs and Rock ‘n’ Roll .........11
They Might Be Giants’ Flood ..................15
Thompson, Marie .....................................4
Throbbing Gristle’s
Twenty Jazz Funk Greats ....................26
Tom Waits’ Swordfishtrombones.........26
Toop, David.................................................8
Torment Saint ............................................13
Tost, Tony................................................. 25
Trower, Shelley .........................................8
Trucks, Rob ............................................. 24
U2’s Achtung Baby ...................................26
Van Dyke Parks’ Song Cycle ..................26
Velvet Underground’s, The
The Velvet Underground and Nico ...26
Vincentelli, Elisabeth ........................... 24
Voegelin, Salomè .....................................4
Warner, Daniel ....................................... 10
Warner, Simon ....................................... 11
Waterman, Bryan .................................. 26
Ween’s Chocolate and Cheese ..............26
Weidenbaum, Marc............................... 16
Weingarten, Christopher R................. 25
Weisbard, Eric ........................................ 24
Wheaton, RJ............................................ 25
Who’s The Who Sell Out, The ................26
Wilcken, Hugo ........................................ 24
Wilder, Eliot ............................................. 24
Wilson, Carl.........................................9, 24
Wire’s Pink Flag ........................................26
Wolk, Douglas ........................................ 24
Woodhead, Leslie .................................. 11
Woodworth, Marc .................................. 24
Word Events ................................................. 5
Zanes, Warren........................................ 24
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32
CELEBRATING 10 YEARS
33 1/3 is a series of short books about popular music, focusing on individual albums
by a variety of artists. Launched in 2003, the series will publish its 100th book in
2014 and has been widely acclaimed and loved by fans, musicians and scholars alike.
LAUNCHING SPRING 2014
new in 2013
new in 2013
new in 2014
9781623562878 $14.95 | £8.99
9781623569150 $14.95 | £8.99
9781623567149 $14.95 | £8.99
new in 2014
new in 2014
new in 2014
9781623568900 $14.95 | £8.99
new in 2014
9781623561222 $14.95 | £8.99
9781623560652 $14.95 | £8.99
new in 2014
9781623561833 $14.95 | £8.99
9781623562588 $14.95 | £8.99
new in 2014
9781623564230 $14.95 | £8.99
bloomsbury.com • 333sound.com • @333books
Bloomsbury Collections delivers instant access to quality research and
provides libraries with a flexible way to build ebook collections.
Including 1,500+ titles in 12 subject areas across the humanities and social sciences, the platform
features content from Bloomsbury’s latest research publications as well as a 100+ year legacy
including Continuum, Berg, Bristol Classical Press, T&T Clark and The Arden Shakespeare.
■ Music & Sound Studies collection
available in 2014, including ebooks
from the Continuum archive
■ Instant access to 100s of key works,
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BC ad A5 (music).indd 1
www.bloomsburycollections.com
08/10/2013 14:19
MUSIC &
SOUND
STUDIES
2013-14

Bloomsbury_MUSIC Cat.indd

Transcription

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