This follow-up to Carolina Beach Music: The Classic Years looks at performers including the Drifters, the Spinners, Tower of Power, Wild Cherry, and more. Carolina Beach Music from the ’60s to the ’80s: The New Wave covers more of those classic beach music tunes as well as the increasingly self-aware songs that marked the beginning of a new wave of beach music in the late 1970s and early 1980s. This book looks at eighty recordings from the years 1966 through 1982, featuring interviews and insights from the artists who sang them, including Archie Bell, William Bell, Jerry Butler, Clyde Brown of the Drifters, Harry Elston of the Friends of Distinction, Bobbie Smith of the Spinners, Emilio Castillo of Tower of Power, Rob Parissi of Wild Cherry, Billy Scott and many, many others. Includes photos

Radio, the most widely used medium in the world, is a dominant mediator of musical meaning. Through a combination of critical analysis, interdisciplinary theory and ethnographic writing about community radio, this book provides a novel theorization of democratic aesthetics, with important implications for the study of old and new media alike.

Drawing on newly available archival material, key works, and correspondence of the era, Australian Music and Modernism defines "Australian Music" as an idea that emerged through the lens of the modernist discourse of the 1960s and 70s. At the same time that the new "Australian Music" was distinctive of the nation, it was also thoroughly connected to practices from Europe and shaped by a new engagement with the music of Southeast Asia. This book examines the intersection of nationalism and modernism at this formative time. During the early stages of "Australian Music" there was disagreement about what the idea itself ought to represent and, indeed, whether the idea ought to apply at all. Michael Hooper considers various perspectives offered by such composers as Peter Sculthorpe, Richard Meale, and Nigel Butterley and analyzes some of the era's significant works to articulate a complex understanding of "Australian Music" at its inception.

This monograph examines how sampling in U.S. Hip Hop transgresses national and regional boundaries. By contextualizing and comparing the Brazilian source material from the 1960s and 1970s with U.S. Hip Hop from the 1990s onwards, it traces flows of musicians, music, and ideology along the Interamerican U.S.-Brazil axis. The fusion and recontextualization of music styles through sampling shed light on aspects of the African American struggle and result in transcultural musical hybrids that encompass the African diaspora in the Americas, activism, cultural resistance, and 'double consciousness'. Building on postmodern intertextuality, these hybrids become products of a 'sonic cosmopolitanism' for a world shaped by the heritage of the black Atlantic.

This edited volume of case studies presents a selective history of French music and culture, but one with a dynamic difference. Eschewing a traditional chronological account, the book explores the nature of relationships between one main period, broadly the 'long' modernist era between 1860–1960, and its own historical ‘others’, referencing topics from the Romantic, classical, baroque, renaissance and medieval periods. It probes the emergent interplay, intertextualities and scope for reinterpretation across time and place. Notions of cultural meaning are paramount, especially those pertaining to French identity, national and individual. While founded on historical musicology, the approach benefits from interdisciplinary association with philosophy, political history, literature, fine art, film studies and criticism. Attention is paid to French composers’ celebrations and remakings of their predecessors. Editions of and writings about earlier music are examined, together with the cultural reception of performances of past repertoire. Organized into two parts, each of the eleven chapters characterizes a specific cultural network or temporal interplay, which may result in synthesis, disjunction, or historical misreading. The interwar years and those surrounding the Second World War prove particularly rich sources of enquiry. This volume aims to attract a wide readership of musicologists and musicians, as well as cultural historians, other humanities scholars and concert-goers.

Germany is considered a lauded land of music: outstanding composers, celebrated performers and famous orchestras exert great international appeal. Since the 19th century, the foundation of this reputation has been the broad mass of musicians who sat in orchestra pits, played in ensembles for dances or provided the musical background in silent movie theatres. Martin Rempe traces their lives and working worlds, including their struggle for economic improvement and societal recognition. His detailed portrait of the profession ‘from below’ sheds new light on German musical life in the modern era.

Celebrating the legendary studio musicians of Jamaican popular music through personal photographs and interviews This is the first book devoted to the studio musicians who were central to Jamaica's popular-music explosion. With color portraits and interview excerpts, over 100 musical pioneers—such as Prince Buster, Robbie Shakespeare, Sly Dunbar, Lee "Scratch" Perry, and many of Bob Marley's early musical collaborators—provide new insights into the birth of Jamaican popular music in the recording studios of Kingston, Jamaica, in the 1950s, 1960s, and 1970s. Includes a listening guide of selected songs.

She's So Fine explores the music, reception and cultural significance of 1960s girl singers and girl groups in the US and the UK. Using approaches from the fields of musicology, women's studies, film and media studies, and cultural studies, this volume is the first interdisciplinary work to link close musical readings with rigorous cultural analysis in the treatment of artists such as Martha and the Vandellas, The Crystals, The Blossoms, Brenda Lee, Dusty Springfield, Lulu, Tina Turner, and Marianne Faithfull. Currently available studies of 1960s girl groups/girl singers fall into one of three categories: industry-generated accounts of the music's production and sales, sociological commentaries, or omnibus chronologies/discographies. She's So Fine, by contrast, focuses on clearly defined themes via case studies of selected artists. Within this analytical rather than historically comprehensive framework, this book presents new research and original observations on the 60s girl group/girl singer phenomenon.