Rock & Pop Books
Cider with Roadies is the story of a boy's obsessive relationship with pop. A life lived through music from Stuart's audience with the Beatles (aged 3); his confessions as a pubescent prog rocker; a youthful gymnastic dalliance with northern soul; the radical effects of punk on his politics, homework and trouser dimensions; playing in naff bands and failing to impress girls; writing for the NME by accident; living the sex, drugs (chiefly lager in a plastic glass) and rock and roll lifestyle; discovering the tawdry truth behind the glamour and knowing when to ditch it all for what really matters. From his four minutes in a leisure centre with MC Hammer to four days in a small van with Napalm Death it's a life-affirming journey through the land where ordinary life and pop come together to make music.
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For a time, the Isle of Wight Festivals transformed a sleepy English island into the rock'n'roll capital of the world. From promoting a one-nighter in 1968, to raise funds for a local swimming pool, the young Foulk brothers were able to out-perform Woodstock, by signing the world-exclusive appearance of rock's poet laureate, Bob Dylan. The de facto leader of the counterculture had been hidden away in the artist-town of Woodstock, rarely seen after a motor cycle accident three years earlier. He turned his back on the eponymous festival, put there to persuade him to come out and play, but Dylan left for Europe on the day their event began. For the Foulk brothers - lacking experience, resources and time - the coup and ensuing public response was almost overwhelming, but with audacious bravado and steely determination they delivered the most awaited event of the era. Devotees from hippies to celebrities flocked to the Island from mainland Britain, Europe, the Americas and as far away as Australia. As well as changing the lives of Ray and his brothers the phenomenon played its part in a highly transformative period for Bob Dylan, in which the Isle of Wight remained his one and only full concert appearance in seven-and-a-half years.
- RRP £22.95
On the Sunset Strip in Los Angeles in 1965 and 1966 an electrifying scene appeared out of nowhere, exploded into creativity, and then, just as suddenly, vanished. So much remarkable music, art, and social revolution came from one place at one time, it's difficult now to grasp how it all happened. This book tells the story of the astonishing time when rock'n'roll displaced movies as the centre of action in Hollywood. From the moment The Byrds debuted at Ciro's on March 26th 1965-with Bob Dylan joining them onstage-right up to the demonstrations of November 1966, Sunset Strip nightclubs nurtured and broke The Doors, Love, Buffalo Springfield (featuring Neil Young and Stephen Stills), Frank Zappa's Mothers Of Invention, Captain Beefheart and His Magic Band, The Turtles, The Mamas and The Papas, and many others. The Strip was a hotbed for garage punk bands such as The Standells, The Electric Prunes, and The Leaves. Folk-rock and psychedelia were born there, while it was also a favourite hangout and inspiration for The Beatles, The Rolling Stones, and The Velvet Underground. Republished to coincide with the 50th anniversary of these incredible times, Riot On Sunset Strip: Rock'n'Roll's Last Stand In Hollywood captures the excitement of this great artistic awakening, telling how the scene came together and then fell apart at the Monterey Pop festival, the tragic grand finale of the Summer of Love. It serves as a startling evocation of the social and artistic revolution that was the 60s.
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To be launched in conjunction with an exhibition at Orleans House in Twickenham in August 2013, a film and live music events. Have you heard about Eel Pie Island? The home of the British Beat explosion? Anyone with an interest in the history of UK rock n'roll is familiar with The Cavern Club and the role that Merseyside played in the story of the British Beat scene. But on a far less-celebrated but no less significant path, over a small bridge onto an island in the middle of the Thames, another great 60s club night played host to acts that would later make a global name for themselves. THE ROLLING STONES, THE WHO, PINK FLOYD, THE SMALL FACES, DAVID BOWIE, THE KINKS and THE YARDBIRDS are amongst the many acts who performed at the legendary Eel Pie Hotel during its 50s and 60s heyday, as did jazz greats like KEN COLYER, KENNY BALL and ACKER BILK as well as more avant-garde performers like IVOR CUTLER. But how did The Eel Pie Club become such a popular venue? What motivated its founder, Arthur Chisnall to create a space where young people could enjoy the music they wanted to, in an environment free from the usual constraints? Why has this thriving West London scene been omitted from rock history when its influence has spread far and wide? Recently, bands like THE MYSTERY JETS have paid homage to Arthur Chisnall's fabulous club, playing gigs on the island that launched careers and cemented rock's infamous relationships. The latest incarnation of the EEL PIE CLUB is alive and well. This book traces the origins of a scene that is long overdue for recognition.
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Think 'Woodstock' and the mind turns to the seminal 1969 festival. But Woodstock itself was over sixty miles away, and already a key location in the rock landscape as a community of brilliant, dysfunctional musicians, opportunistic hippie capitalists, scheming dealers, and freaks dazed and confused by the search for spiritual truth. Central to this was the power and presence of Albert Grossman - manager for Dylan, Janis Joplin, Richie Havens, The Band and Todd Rundgren - who turned Woodstock into his own personal fiefdom. Drawing on first-hand interviews with all the remaining key players, Small Town Talk is a classic study of a vital music scene in a revolutionary time and place.
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In 1967, a 17-year-old aspiring photographer named Ed Caraeff found himself front row at the Monterey Pop Festival, California. Caraeff had never seen Hendrix before, nor was he familiar with his music. But Caraeff had his ever-present camera and as Hendrix lit his guitar, he snapped a photo. That picture - Hendrix burning his guitar at Monterey - has become one of the most iconic images of rock and roll. A photo that defined Hendrix as an artist, appeared on the cover of Rolling Stone magazine not once, but twice, and launched Caraeff's photographic career. Timed to celebrate the 50th anniversary of the Monterey Pop Festival, Burning Desire reveals never-before published images from the magnificent, Hendrix-dedicated archive that Caraeff has compiled. From onstage to backstage, Jimi Hendrix was as electric in front of the camera as he was when he strummed his guitar. In Burning Desire, Caraeff showcases more than 100 images, including rare shots and contract sheets, and discusses his experiences with this incredible musician.
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In May 1970, The Stooges were in the middle of recording their celebrated album, Fun House at Elektra Records Recording Studio in Los Angeles. That same month, they appeared at the Whisky a Go-Go on Sunset Boulevard for two incredible nights. Ed Caraeff, a new rock photographer who had burst onto the scene three years prior with his now-iconic image of Jimi Hendrix burning his guitar onstage at Monterey, happened to be in that crowd, and took a plethora of wonderful pictures. Only a few stills from that phenomenal gig were ever reproduced. Most famously, one was used on the cover of Fun House. The rest were filed away. Until now. Ed Caraeff's coverage of this monumental moment is reprinted here for the first time in book form. He not only captures the energy, madness and raw power of Iggy Pop's performance, but also the preceding minutes before the band stepped onto stage and made history. Along with images and contact sheets, original interviews shed new light on that unforgettable night.Interviewed by pop-culture historian Jennifer Otter Bickerdike, names include Jac Holzman, Head of Elektra Records during the recording of Fun House; Mikael Magliere, son of Mario Maglieri, owner of the Whisky a Go-Go when The Stooges played in 1970; Danny Fields, a DJ/publicist credited for signing MC5 and The Stooges; and Jeff Gold, music historian and noted Iggy Pop biographer. A tribute to the band that rocked the world, Iggy Pop & The Stooges: One Night at the Whisky, 1970 will revolutionise your view of music.
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Combining the exhaustive research of an encyclopaedia with the narrative drive of creative nonfiction, Bruce Pollock s Bob Dylan FAQ delves deeply into the life and expanding discography of rock s most gifted and prolific songwriter and performer. Chapters assessing individual songs and albums, concert tours, and periods of inactivity are matched with sections on best Dylan websites, covers, bootlegs, his memoir, novel, boutique record label, output as a painter, and touring bands. An award-winning journalist, Pollock rates Dylan s 10 Benchmark Songs and Best 25 Songs Since Blonde on Blonde, as well as Dylan s Top 10 TV, Video, and movie performances. In the chapter Hey Hey Woody Guthrie, the five artists that formed Bob Dylan and the one album (Harry Smith s Anthology of Folk Music) that transformed him are revealed. In the chapter Positively Bleecker and MacDougal Street, the Greenwich Village men s club Dylan joined in the 60s is discussed, including that generation s luminaries from Dave Van Ronk to David Blue to Phil Ochs. Later on, in Leave Your Stepping Stones Behind, Dylan s influence on the musicians of his and future generations is analysed, from Neil Young and Bruce Springsteen to Dan Bern and Conor Oberst
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Bursting onto the Los Angeles rock scene in the mid-1980s, Guns N Roses redefined rock n roll turning back the tide on the excesses of glam metal and the banality of MTV-spawned New Wave/synth pop by infusing the blistering hard rock of Led Zeppelin and Aerosmith with a punk sensibility that hearkened back to the onstage anarchy of the Stooges, New York Dolls, and Sex Pistols. In 1987, GN R released the seminal album Appetite for Destruction, which reached number one on the U.S. charts and to date has sold more than 30 million copies, making it the bestselling debut album of all time in the United States. However, GN R s outrageous excesses and self-destructiveness led to turmoil in the early 1990s as the original band members went their own ways all except lead singer Axl Rose, who forged on through a series of lineup changes to finally release the long-awaited album Chinese Democracy in 2008. Guns N Roses FAQ charts the amazing journey of the band from their early West Hollywood club days to their skyrocketing success in the late 1980s and their downfall in the 1990s- all the way to their 2012 induction into the Rock and Roll Hall of Fame and the reunion of three of the five classic band members during the 2016 Not in This Lifetime Tour. Readers will discover a treasure trove of interesting material in Guns N Roses FAQ, such as the band s earliest influences and venues, most notorious concerts, opening acts, highlights of their seemingly endless Appetite for Destruction and Use Your Illusion tours, bizarre TV appearances (like the time they destroyed the set of MTV s Headbangers Ball!), feuds, the story behind their music videos, best and worst covers (Pat Boone, anyone?), and much more.
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A muggy night in Abu Dhabi, 2011. Under the stadium lights a 30,000-strong sea of Libyans, Palestinians, Syrians and Egyptians wait in anticipation. Alongside them are Saudis, Iranians and Israelis. Defiance and excitement course through the crowd like electricity. Standing together, they are waiting for Metallica's first ever show in the Middle East. Many have faced untold violence, but for tonight, nothing else matters...This is the untold story of that crowd. Of the young men and women and the music they make in the backrooms of shabby houses in al-Zarqa and al-Qatif, Nazareth and Cairo. Of illegal shows in Tehran and Riyadh. Of songs that ousted a dictator in Cairo. Of exiles that have ended in glory, in isolation, and in blood. Journalist and lifelong heavy metal fan, Orlando Crowcroft, spent six years penetrating the rock and metal scene in the Middle East. Rock in a Hard Place is a different voice, one that is at odds with the Middle East of violence, extremism, war and ISIS: a voice recognizable to anyone who has ever turned up a speaker or an amp to drown out the din of the everyday, and a voice that may help unite us when we need it most.
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From the beginning of the American Occupation in 1945 to the post-bubble period of the early 1990s, popular music provided Japanese listeners with a much-needed release, channeling their desires, fears, and frustrations into a pleasurable and fluid art. Pop music allowed Japanese artists and audiences to assume various identities, reflecting the country's uncomfortable position under American hegemony and its uncertainty within ever-shifting geopolitical realities. In the first English-language study of this phenomenon, Michael K. Bourdaghs considers genres as diverse as boogie-woogie, rockabilly, enka, 1960s rock and roll, 1970s new music, folk, and techno-pop. Reading these forms and their cultural import through music, literary, and cultural theory, he introduces readers to the sensual moods and meanings of modern Japan. As he unpacks the complexities of popular music production and consumption, Bourdaghs interprets Japan as it worked through (or tried to forget) its imperial past. These efforts grew even murkier as Japanese pop migrated to the nation's former colonies. In postwar Japan, pop music both accelerated and protested the commodification of everyday life, challenged and reproduced gender hierarchies, and insisted on the uniqueness of a national culture, even as it participated in an increasingly integrated global marketplace. Each chapter in Sayonara Amerika, Sayonara Nippon examines a single genre through a particular theoretical lens: the relation of music to liberation; the influence of cultural mapping on musical appreciation; the role of translation in transmitting musical genres around the globe; the place of noise in music and its relation to historical change; the tenuous connection between ideologies of authenticity and imitation; the link between commercial success and artistic integrity; and the function of melodrama. Bourdaghs concludes with a look at recent Japanese pop music culture.
Ian Wallis is a writer and promoter of authentic rock'n'roll music. His previous book, "American Rock'n'Roll: The UK Tours 1956-72", was published by Music Mentor Books in 2003, since when it has become universally accepted as the first serious study of live rock'n'roll music in Britain. Now at last, "More American Rock'n'Roll: The UK Tours 1973-84" is here to continue the story and, as with the first volume, is crammed full of information about every American or Canadian rock'n'roller who visited Britain during that period. Each tour is examined in detail, with data culled from contemporary reports and eyewitness accounts. Extensive research ensures a high level of accuracy and there is a mouth-watering array of rare and unpublished photographs, show programmes, adverts, flyers and tickets to fully reflect the flavour of the time. If you love rock'n'roll, you will wish to relive memories of all those nights spent in hot, sweaty clubs amongst the honking saxes, pounding pianos and twanging guitars. It is 'the greatest music in the world' and all those wonderful memories can be found again within these pages.
If we remember them at all, the Sheffield pop group Pulp are remembered for jolly class warfare ditty 'Common People', for the celebrity of their interestingly-named frontman, for the latter waving his arse at Michael Jackson at the Brit awards, for being part of a non-movement called 'Britpop', and for disappearing almost without trace shortly after. They made a few good tunes, they did some funny videos, and while they might be National Treasures, they're nothing serious. Are they? This book argues that they should be taken seriously - very seriously indeed. Attempting to wrest Pulp away from the grim jingoistic spectacle of Britpop and the revivals-of-a-revival circuit, this book charts the very strange things that occur in their records, taking us deep into a strange exotic land; a land of acrylics, adultery, architecture, analogue synthesisers and burning class anger. This is book about pop music, but it is mainly a book about sex, the city and class via the 1990s finest British pop group.
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Second-generation Irish musicians have played a vital role in the history of popular music in England. This book explores the role of Irish ethnicity in the lives and work of these musicians, focusing on three high-profile projects: Kevin Rowland and Dexys Midnight Runners, Shane MacGowan and The Pogues, and Morrissey/Marr and The Smiths. The book locates these musicians in a hyphenated 'Irish-Englishness' marked by 'in-between-ness' and explores the different ways that they engaged with this in-betweenness through their creative work and their engagements with audiences, the media and the music industry. The book draws on extensive archival research of print and audio-visual media as well as original interviews with the key figures, including Shane MacGowan, Johnny Marr, Kevin Rowland and Cait O'Riordan. Combining its assiduous research with fresh critical insights, the book offers new analyses of the musicians, as well as previously undocumented accounts of their lives and work. The book highlights the diversity and complexity of second-generation Irish identities and experience and details the diverse ways in which this generation has shaped popular music in England. Accessible and original, 'Irish Blood, English Heart' will be of interest to students and scholars in the fields of popular music, media/cultural studies, and ethnic/migration studies. It will also appeal to a wider audience of those interested in the musicians with whom it deals.
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This volume is an engaging and exceptional history of the independent rock 'n' roll record industry from its raw regional beginnings in the 1940s with R & B and hillbilly music through its peak in the 1950s and decline in the 1960s. John Broven combines narrative history with extensive oral history material from numerous recording pioneers including Joe Bihari of Modern Records; Marshall Chess of Chess Records; Jerry Wexler, Ahmet Ertegun, and Miriam Bienstock of Atlantic Records; Sam Phillips of Sun Records; Art Rupe of Specialty Records; and many more.
Listening for the Secret is a critical assessment of the Grateful Dead and the distinct culture that grew out of the group's music, politics, and performance. With roots in popular music traditions, improvisation, and the avant-garde, the Grateful Dead provides a unique lens through which we can better understand the meaning and creation of the counterculture community. Marshaling the critical and aesthetic theories of Adorno, Benjamin, Foucault and others, Ulf Olsson places the music group within discourses of the political, specifically the band's capacity to create a unique social environment. Analyzing the Grateful Dead's music as well as the forms of subjectivity and practices that the band generated, Olsson examines the wider significance and impact of its politics of improvisation. Ultimately, Listening for the Secret is about how the Grateful Dead Phenomenon was possible in the first place, what its social and aesthetic conditions of possibility were, and its results. This is the first book in a new series, Studies and Texts of the Grateful Dead Phenomenon.
To this day, they were, their fans believe, the best band in the world. Critics and sales figures told a similar story. Yet for all their brilliance and adoration - their famously energetic live shows routinely interrupted by stage invasions - The Smiths were continually plagued by their reticence to play the game, and by the time of 1987's Strangeways Here We Come, they had split. Tony Fletcher's A Light That Never Goes Out - part celebration, part paean - moves from Manchester in the nineteenth-century to the present day to tell the complete story of The Smiths. The product of extensive research and unprecedented access, it will serve to confirm The Smiths as one of the most important and influential rock groups of all time.
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Created in the late 1960s, fashionable in the early 1970s and hated in the 1980s, Progressive Rock has a colourful and eventful story. Many of the genre's main protagonists, including Genesis, Yes, King Crimson and Emerson, Lake & Palmer, remain as popular as ever, while lesser-known names like Camel, Caravan, Renaissance, Van der Graaf Generator and Gentle Giant retain cult status. In this completely revised and updated edition, Stephen Lambe guides the reader through the early years as the music developed out of the British Progressive Music boom of the late 1960s into its own genre, and reached full maturity in the early 1970s. He also discusses how the music was received and developed outside the UK, particularly in the USA and Europe. Received wisdom has it that punk swept Progressive Rock away in the late 1970s, yet the genre never died. An early 1980s revival, spearheaded by major label signings Marillion, IQ and Pallas, burned brightly but fell away sharply later in the decade. However, in the early 1990s, the movement began to re-establish itself, largely below the radar, led by Swedish band The Flower Kings and American group Spock's Beard. The rise of the internet and the decline of the worldwide pop industry allowed niche music - as Progressive Rock had now become - to flourish once again in the new millennium. Stephen Lambe has been co-promoter of the Summer's End Progressive Rock festival since 2006. He helps promote Welsh band Magenta, and is Secretary of the Classic Rock Society, whose patrons include Steve Hackett and Roger Hodgson. He writes regularly for the magazine Rock Society.
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ELO (The Electric Light Orchestra) were devised by Roy Wood and Jeff Lynne of The Move as a fusion of rock and contemporary classical-style music, combining orchestral instruments, guitars, keyboards and drums in the same line-up. Their aim was to continue from where The Beatles' 'I Am The Walrus' left off. After the release of their debut eponymous album in 1971 and a few live dates at home and in Europe, it became increasingly apparent that both leaders' objectives were incompatible. Wood left Lynne in charge of the group to refine their sound, and their ambitious progressive rock epics gradually giving way to a more accessible style. With keyboard player Richard Tandy and drummer Bev Bevan the only other constant members in an ever-changing line-up, by the end of the decade the group were rarely out of the British and American charts. After disbanding in 1986, ELO Part II (minus Lynne) returned for two albums, but Lynne reclaimed the name with an album in 2001 and a long-awaited reappearance as Jeff Lynne's ELO in 2014. This book provides a comprehensive examination of all the group's studio albums.
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The Show That Never Ends is the behind-the-scenes story of the extraordinary rise and fall of progressive ("prog") rock, epitomised by such classic, chart-topping bands as Yes, Genesis, Pink Floyd, Jethro Tull and Emerson Lake & Palmer, and their successors Rush, Styx and Asia. With inside access to all the key figures, The Washington Post national reporter David Weigel tells the story with the gusto and insight Prog Rock's fans (and its haters) will relish. Along the way, he explains exactly what was "progressive" about Prog Rock, how it arose from psychedelia and heavy metal, why it dominated the pop charts but then became so despised that it was satirised in This Is Spinal Tap and what fuels its resurgent popularity today.
Pink Floyd Song by Song takes a fresh look at the songs which led to Pink Floyd becoming the third best-selling band of all time. From 'Arnold Layne' to 'Louder Than Words', Pink Floyd wrote about anger, isolation, regret, dismay, and fear. These themes, not always obvious starting points in popular music, were married to a rare dynamism in rock music. Pink Floyd's most successful period critically and musically-the eight albums from 1970 to 1983-combine the pithy lyrics of Roger Waters, the soulful voice and breath-taking guitar solos of David Gilmour and, until 1979, the jazz influenced piano and keyboard abilities of the late Richard Wright. These three together wrote the band's best work, usually in combinations of twos and threes but also individually. When working together as equals, the three principals of Pink Floyd were significantly more than the sum of their individual strengths.
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Roots, Radicals & Rockers: How Skiffle Changed the World is the first book to explore this phenomenon in depth - a meticulously researched and joyous account that explains how skiffle sparked a revolution that shaped pop music as we have come to know it. It's a story of jazz pilgrims and blues blowers, Teddy Boys and beatnik girls, coffee-bar bohemians and refugees from the McCarthyite witch-hunts. Billy traces how the guitar came to the forefront of music in the UK and led directly to the British Invasion of the US charts in the 1960s. Emerging from the trad-jazz clubs of the early '50s, skiffle was adopted by kids who growing up during the dreary, post-war rationing years. These were Britain's first teenagers, looking for a music of their own in a pop culture dominated by crooners and mediated by a stuffy BBC. Lonnie Donegan hit the charts in 1956 with a version of 'Rock Island Line' and soon sales of guitars rocketed from 5,000 to 250,000 a year. Like punk rock that would flourish two decades later, skiffle was a do-it-yourself music. All you needed were three guitar chords and you could form a group, with mates playing tea-chest bass and washboard as a rhythm section.
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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.
"Music saturates the city of Austin, always has, and likely always will," observes Louis Black, the founding editor of the renowned alternative newspaper, The Austin Chronicle. Music is more than simply the sound track of Austin, however; it's a force inseparable from the city's culture, economics, politics, and daily life. The very history of Austin can be drafted upon the frequencies that flood its streets, from legendary clubs-Antone's, Emo's, and the Broken Spoke-to internationally renowned events such as South by Southwest and the Austin City Limits Music Festival. Since publishing its first issue in 1981, The Austin Chronicle has evolved alongside the city's sound to define and give voice to "The Live Music Capital of the World." In honor of the Chronicle's thirtieth anniversary, this anthology gathers the weekly's best music writing and photography, with introductions to each decade by the paper's principal voices, Margaret Moser, Raoul Hernandez, and Christopher Gray. Through album and live show reviews, stunning portraits, and in-depth articles, the collection traces the roots of Austin's unique sound, featuring seminal artists ranging from Doug Sahm and Stevie Ray Vaughan to the Butthole Surfers and Spoon. With historical pieces that look back at Twelfth Street's blues beginnings, the Sixties' psychedelic origins, and the definitive progressive country scene of the Seventies, the anthology provides an unparalleled sweep of Austin music history, while also shining light on the integral but often overlooked figures of the music scene with a thoroughness and honesty that's hallmark to the Chronicle's style. Framing the work from such esteemed music writers as Chet Flippo, Ed Ward, Dave Marsh, Joe Nick Patoski, John T. Davis, Michael Corcoran, and Peter Blackstock, are now-iconic images from photographers Burton Wilson, Scott Newton, John Carrico, and Todd Wolfson, among others.
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