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Author: Doyle Greene
Publisher: McFarland
ISBN: 0786478098
Category : Music
Languages : en
Pages : 215
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Book Description
Cover songs operate as a form of cultural discourse across various musical genres and different societal, historical and political conditions. Case studies include a comparative analysis of Jimi Hendrix's and Whitney Houston's versions of "The Star-Spangled Banner" as well as a mapping of the trajectory of "(I Can't Get No) Satisfaction" from the original version by the Rolling Stones through cover versions by Otis Redding, Devo, and Britney Spears. The radical deconstruction of pop and rock songs by the Residents and Laibach is also examined, with additional studies of cover songs by such as Van Halen, Kim Wilde, Rufus Harley, the Four Tops, Pat Boone and Johnny Cash. Rather than questions of quality or how a cover song measures up as "better or worse" than other versions, this book focuses on the ideological implications and social stakes of the "same old songs" as they are reconfigured to consider, comment on and confront political issues of gender, sexuality, race, the nation-state and the generation gap.
Author: Doyle Greene
Publisher: McFarland
ISBN: 0786478098
Category : Music
Languages : en
Pages : 215
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Book Description
Cover songs operate as a form of cultural discourse across various musical genres and different societal, historical and political conditions. Case studies include a comparative analysis of Jimi Hendrix's and Whitney Houston's versions of "The Star-Spangled Banner" as well as a mapping of the trajectory of "(I Can't Get No) Satisfaction" from the original version by the Rolling Stones through cover versions by Otis Redding, Devo, and Britney Spears. The radical deconstruction of pop and rock songs by the Residents and Laibach is also examined, with additional studies of cover songs by such as Van Halen, Kim Wilde, Rufus Harley, the Four Tops, Pat Boone and Johnny Cash. Rather than questions of quality or how a cover song measures up as "better or worse" than other versions, this book focuses on the ideological implications and social stakes of the "same old songs" as they are reconfigured to consider, comment on and confront political issues of gender, sexuality, race, the nation-state and the generation gap.
Author: P.D. Magnus
Publisher: Open Book Publishers
ISBN: 1800644256
Category : Science
Languages : en
Pages : 203
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Book Description
Cover songs are a familiar feature of contemporary popular music. Musicians describe their own performances as covers, and audiences use the category to organize their listening and appreciation. However, until now philosophers have not had much to say about them. In A Philosophy of Cover Songs, P.D. Magnus demonstrates that philosophy provides a valuable toolbox for thinking about covers; in turn, the philosophy of cover songs illustrates some general points about philosophical method. Lucidly written, the book is divided into three parts: how to think about covers, appreciating covers, and the metaphysics of covers and songs. Along the way, it explores a range of issues raised by covers, from the question of what precisely constitutes a cover, to the history and taxonomy of the category, the various relationships that hold between songs, performances, and tracks, and the appreciation and evaluation of covers. This unique and engaging book will be of interest to those working in philosophy of art, philosophy of music, popular music studies, music history, and musicology, as well as to readers with a general interest in popular music, covers, and how we think about them.
Author: Ray Padgett
Publisher: Union Square + ORM
ISBN: 1454930659
Category : Music
Languages : en
Pages : 480
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Book Description
“A music-snob’s dream come true . . . One of the best multi-subject music books to come down the pike in years . . . a fresh and deeply informed approach.” —Variety A great cover only makes a song stronger. Jimi Hendrix’s version of Bob Dylan’s “All Along the Watchtower.” The Beatles rocking out with “Twist and Shout.” Aretha Franklin demanding “Respect.” Without covers, the world would have lost many unforgettable performances. This is the first book to explore the most iconic covers ever, from Elvis’s “Hound Dog” and Joe Cocker’s “With a Little Help from My Friends” to the Talking Heads’ “Take Me to the River” and Adele’s “Make You Feel My Love.” Written by the founder of the website covermesongs.com, each of the nineteen chapters investigates the origins of a classic cover—and uses it as a framework to tell the larger story of how cover songs have evolved over the decades. Cover Me is packed with insight, photography, and music history. “Delves into the complicated legacy of artists performing other people’s music . . . his research adds fresh context and intriguing background to many of these songs . . . Astute ruminations on evolving cultural perceptions of the cover’s place in the music canon.” —AV Club “This engaging nostalgia trip is sure to appeal to discophiles and cultural historians.” —Library Journal
Author: Mickey Hess
Publisher: Bloomsbury Publishing USA
ISBN: 1567207219
Category : Music
Languages : en
Pages : 207
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Book Description
Hip hop is remarkably self-critical as a genre. In lyrics, rappers continue to debate the definition of hip hop and question where the line between underground artist and mainstream crossover is drawn, who owns the culture and who runs the industry, and most importantly, how to remain true to the culture's roots while also seeking fame and fortune. The tension between the desires to preserve hip hop's original culture and to create commercially successful music promotes a lyrical war of words between mainstream and underground artists that keeps hip hop very much alive today. In response to criticisms that hip hop has suffered or died in its transition to the mainstream, this book seeks to highlight and examine the ongoing dialogue among rap artists whose work describes their own careers. Proclamations of hip hop's death have flooded the airwaves. The issue may have reached its boiling point in Nas's 2006 album Hip Hop is Dead. Nas's album is driven by nostalgia for a mythically pure moment in hip hop's history, when the music was motivated by artistic passion, instead of base commercialism. In the course of this same album, however, Nas himself brags about making money for his particular record label. These and similar contradictions are emblematic of the complex forces underlying the dialogue that keeps hip hop a vital element of our culture. Is Hip Hop Dead? seeks to illuminate the origins of hip hop nostalgia and examine how artists maintain control of their music and culture in the face of corporate record companies, government censorship, and the standardization of the rap image. Many hip hop artists, both mainstream and underground, use their lyrics to engage in a complex dialogue about rhyme skills versus record sales, and commercialism versus culture. This ongoing dialogue invigorates hip hop and provides a common ground upon which we can reconsider many of the developments in the industry over the past 20 years. Building from black traditions that value knowledge gained from personal experience, rappers emphasize the importance of street knowledge and its role in forging a career in the music business. Lyrics adopt models of the self-made man narrative, yet reject the trajectories of white Americans like Benjamin Franklin who espoused values of prudence, diligence, and delayed gratification. Hip hop's narratives instead promote a more immediately viable gratification through crime and extend this criminal mentality to their work in the music business. Through the lens of hip hop, and the threats to hip hop culture, author Mickey Hess is able to confront a range of important issues, including race, class, criminality, authenticity, the media, and personal identity.
Author: Mike Cidoni Lennox
Publisher: Chronicle Books
ISBN: 164896091X
Category : Biography & Autobiography
Languages : en
Pages : 344
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Book Description
Introduction by Richard Carpenter The definitive biography of one of the most enduring and endeared recording artists in history—the Carpenters—is told for the first time from the perspective of Richard Carpenter, through more than 100 hours of exclusive interviews and some 200 photographs from Richard's personal archive, many never published. After becoming multimillion-selling, Grammy-winning superstars with their 1970 breakthrough hit "(They Long to Be) Close to You," Richard and Karen Carpenter would win over millions of fans worldwide with a record-breaking string of hits including "We've Only Just Begun," "Top of the World," and "Yesterday Once More." By 1975, success was taking its toll. Years of jam-packed work schedules, including hundreds of concert engagements, proved to be just too much for the Carpenters to keep the hits coming—and, ultimately, to keep the music playing at all. However, Richard and Karen never took their adoring public, or each other, for granted. In Carpenters: The Musical Legacy, Richard Carpenter tells his story for the first time. With candor, heart, and humor, he sheds new light on the Carpenters' trials and triumphs—work that remains the gold standard for melodic pop. This beautifully illustrated definitive biography, with exclusive interviews and never-before-seen photographs, is a must-have for any Carpenters fan.
Author: Jez Quayle
Publisher:
ISBN: 9781794798373
Category :
Languages : en
Pages : 112
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Book Description
Author: Mel Stanfill
Publisher: University of Michigan Press
ISBN: 0472903624
Category : Music
Languages : en
Pages : 241
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Book Description
Any and all songs are capable of being remixed. But not all remixes are treated equally. Rock This Way examines transformative musical works—cover songs, remixes, mash-ups, parodies, and soundalike songs—to discover what contemporary American culture sees as legitimate when it comes to making music that builds upon other songs. Through examples of how popular discussion talked about such songs between 2009 and 2018, Mel Stanfill uses a combination of discourse analysis and digital humanities methods to interrogate our broader understanding of transformative works and where they converge at the legal, economic, and cultural ownership levels. Rock This Way provides a new way of thinking about what it means to re-create and borrow music, how the racial identity of both the reusing artist and the reused artist matters, and the ways in which the law polices artists and their works. Ultimately, Stanfill demonstrates that the extent to which a work is seen as having new expression or meaning is contingent upon notions of creativity, legitimacy, and law, all of which are shaped by white supremacy.
Author: Hal Leonard Corp.
Publisher: Hal Leonard Corporation
ISBN: 1458432432
Category : Music
Languages : en
Pages : 578
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Book Description
(Fake Book). An invaluable collection of over 250 of the best rock songs of all time, with nearly 70 new songs added for this spectacular 2nd Edition! For piano, voice, guitar and all C instruments, this fake book includes melody, lyrics and chords for: All Right Now * Amanda * American Woman * Angie * Another One Bites the Dust * Baby, I Love Your Way * Back in the U.S.S.R. * Barracuda * Beast of Burden * Can't You See * Carry On Wayward Son * Centerfold * Cocaine * Come Sail Away * Don't Do Me Like That * Don't Stop * Dream On * Dust in the Wind * Every Breath You Take * Free Ride * Hurts So Good * I Shot the Sheriff * Imagine * I Want You to Want Me * Imagine * It's Still Rock and Roll to Me * Killer Queen * Lay Down Sally * Layla * Lucy in the Sky with Diamonds * Maggie May * My Generation * Nights in White Satin * Owner of a Lonely Heart * Piano Man * Point of Know Return * Refugee * Rhiannon * Rock and Roll All Nite * Roxanne * Something * Summer of '69 * Sunshine of Your Love * Susie-Q * Take the Long Way Home * Tears in Heaven * Walk This Way * We Will Rock You * White Room * Wonderful Tonight * You Ain't Seen Nothin' Yet * and lots more! Features two tables of contents: one by artist, and one alphabetical by song title.
Author: Professor George Plasketes
Publisher: Ashgate Publishing, Ltd.
ISBN: 1409494004
Category : Music
Languages : en
Pages : 284
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Book Description
Covering—the musical practice of one artist recording or performing another composer's song—has always been an attribute of popular music. In 2009, the internet database Second Hand Songs estimated that there are 40,000 songs with at least one cover version. Some of the more common variations of this "appropriationist" method of musical quotation include traditional forms such as patriotic anthems, religious hymns such as Amazing Grace, Muzak's instrumental interpretations, Christmas classics, and children's songs. Novelty and comedy collections from parodists such as Weird Al Yankovic also align in the cover category, as does the "larcenous art" of sampling, and technological variations in dance remixes and mash-ups. Film and television soundtracks and advertisers increasingly rely on versions of familiar pop tunes to assist in marketing their narratives and products. The cover phenomenon in popular culture may be viewed as a postmodern manifestation in music as artists revisit, reinterpret and re-examine a significant cross section of musical styles, periods, genres, individual records, and other artists and their catalogues of works.The cover complex, with its multiple variations, issues, contexts, and re-contextualizations comprises an important and rich popular culture text. These re-recordings represent artifacts which embody artistic, social, cultural, historical, commercial, biographical, and novel meanings. Through homage, allusion, apprenticeship, and parody, among other modes, these diverse musical quotations express, preserve, and distribute popular culture, popular music and their intersecting historical narratives. Play it Again represents the first collection of critical perspectives on the many facets of cover songs in popular music.
Author: Siobhán Donovan
Publisher: Boydell & Brewer
ISBN: 1640140603
Category : Germany
Languages : en
Pages : 199
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Book Description
Volume 13 deals with the interaction of music and politics, considering a broad range of genres, authors, composers, and artists in Germany since the nineteenth century. A particularly iconic image of German Reunification is that of Mstislav Rostropovich playing from J. S. Bach's cello suites in front of the Berlin Wall on November 11, 1989. Thirty years on, it is timely to reconsider the cross-fertilization of music and politics within the German-speaking context. Frequently employed as a motivational force, a propaganda tool, or even a weapon, music can imbue a sense of identity and belonging, triggering both comforting and disturbing memories. Playing a key role in the formation of Heimat and "Germanness," it serves ideological, nationalistic, and propagandistic purposes conveying political messages and swaying public opinion. This volume brings together essays by historians, literary scholars, and musicologists on topics concerning the increasing politicization of music, especially since the nineteenth century. They cover a broad spectrum of genres, musicians, and thinkers, discussing the interplay of music and politics in "classical" and popular music: from the rediscovery and repurposing of Martin Luther in nineteenth-century Germany to the exploitation of music during the Third Reich, from the performative politics of German punk and pop music to the influence of the events of 1988/89 on operatic productions in the former GDR - up to the relevance of Ernst Bloch in our contemporary post-truth society.
