(2009/Sterling) Barry Miles, 23.5x31.1 cm, Gebunden mit Schutzumschlag, Englisch, 304 Seiten, durchgehend, meist farbig illustriert. Klasse gestalteter Schmöker (1.8kg) für alle Sixties Freunde!*****Sonderpreis - This is a fascinating volume that celebrates the United States embracing British music, film, fashion and art in the 1960s. Capturing one of the most exciting artistic periods in recent history, this is an irresistible look back for all. It is filled with photographs of the many stars that crossed the pond, such as The Beatles, Rolling Stones, Sean Connery and Twiggy. This richly illustrated and informative volume celebrates the pivotal cultural moment when the United States took on a British accent. The huge volume of talent crossing the pond included the The Beatles, The Dave Clark Five, The Kinks, The Moody Blues, Them (and Van Morrison), The Yardbirds, The Who and, of course, the Rolling Stones. The invasion wasn´t only musical: Peter O´Toole, Julie Andrews, Sean Connery and Michael Caine made a splash in Hollywood, while films like ´Goldfinger´, ´Alfie´ and ´What´s New, Pussycat?´ topped box-office charts. ´The Avengers´ became cult TV and ´Carnaby Street´ defined hip style, turning Mary Quant, Twiggy and Jean Shrimpton into fashion icons. Filled with photographs that capture one of the most exciting artistic periods in recent history, this is an evocative, irresistible look back.
(2004/MUSIC MENTOR) English, Paperback, 15.5x23.5 cm, 360 page, b&w illustrations - Bill Millar has been involved in music journalism since 1965, when Blues Unlimited published his first article. The author of pioneering books on black vocal groups - ´The Drifters´ (Macmillan, 1971) and ´The Coasters´ (W.H. Allen, 1975) - he was also Consultant Editor on Panther´s Encyclopedia Of Rock (1976) and Orbi´s History Of Rock (1981). His long-running ´Echoes´ column, which celebrated talents as Leiber & Stoller, the Ink Spots and Roy Buchanan, appeared in Record Mirror, Let It Rock and Melody Maker. He has also contributed to Country Music Review, Cream, Time Out, Mojo and many other publications. Millar´s liner notes have likewise informed numerous albums. He compiled most of the major label rockabilly anthologies of the Seventies and continues this work today for Bear Family Records.
Transfer-Papier zum Übertragen von feinen Motiven auf saubere glatte Untergründe wie Holz, Pappe, Keilrahmen, Terrakotta mittels Transfer-Medium oder Transfer-Öl. Die Untergründe können mit Farbe vorbehandelt werden. Inhalt: 2 Stück, DIN Format: A4>
English, Paperback, 21.5x28 cm, 288 pages/Seiten, completely illustr. with hundreds of rare b/w photos, labelshots and article repros; The American rockabilly movement of the mid-1950s captured the imagination and spirit of young people everywhere. The magical blend of country music and the blues-these divergent sounds merged to create rock ´n´ roll-is personified by such vocalists as Carl Perkins, Bill Haley, Gene Vincent, and, of course, Elvis Presley. But Presley soon took other musical paths, and rockabilly sound ultimately faded. In this detailed book, author Randy McNutt de- scribes the music and artists, gives the secrets by behind the songs and tells us how the early rockabilly records were made. Through oral histories and narrative pieces, the author looks closely at why the music was suddenly popular. At the time, the music was only a feel- ing, a seed of youthful rebellion and expression that would not spawn its own poets until late. So this book is a tribute to the rockabillies themselves, known and unknown. May their music lives forever.
460 Seiten Verlag: Blandford Press (11. Februar 1993) Sprache: Englisch This is the fascinating story of the women who have shaped rock and pop music for four decades. She´s A Rebel spans the entire spectrum of rock & roll, from the early rhythm & blues singers of the 1950s such as Big Mama Thornton—who topped the R&B charts with ´´Hound Dog´´ three years before Elvis did—to the women rappers and pop icons of the 1990s such as Queen Latifah and Madonna. In between it covers the girl groups, Motown, folk rock and the counterculture of the 60s, the women´s music scene and the punk explosion of the 70s, and the all-girl bands and rising stars of the 80s and 90s. The book is packed with interviews, facts, and lively personal anecdotes from women performers, writers, and producers in the music industry. Journalist Gillian G. Gaar also provides a provocative commentary on the rock music busi-ness, long dominated by men and controlled by money, and how the emerging power of women has brought about significant changes. Compulsively readable and thoroughly entertaining, She´s A Rebel is a spirited retelling of rock history—from the women´s perspective. ´´Gillian Gaar proves that American rock & roll is not a boys´ club. Even though we hear them on our radio every day, the voices of women in rock have been largely ignored by our pop-culture´s chroniclers. At last, they have a historian of their own.´´ - Susan Faludi, author of Backlash ´´She´s A Rebel shakes us out of the pervasive attitude that women´s place in rock & roll is to provide anonymous backup scenery. At last we have a lively history of our rock heroines whose raw talent and bravado liberate the rock & roll rebel in every woman.´´ - Naomi Wolf, author of The Beauty Myth ´´Gillian Gaar is a demon researcher whose book graphically documents the stupid, nasty sexism that so many women have encountered in the pop music business. At the same time, she splendidly captures all the flash, trash and energy that make rock & roll so alluring in the first place.´´ - Lindsy Van Gelder, contributing editor, Ms. Magazine ´´At last—a long-overdue antidote to the male-dominated view of rock history, by an author who combines scholarship, insight and readability in equal doses.´´ - Peter Doggett, Record Collector
Taschenbuch - 260 Seiten - Rockhistory Ltd - 2014 - Englisch The underbelly of the last fifty years of the British music scene is laid bare by people who were there, The Beatles, The Stones, The Who, Floyd, Bowie, Bolan, Reg, Queen, etc., all have fascinating parts of their stories being told here for the very first time. Included are numerous musicians, songwriters, managers, agents, I. pluggers, record company executives, DJs, roadies, music publishers, producers, engineers, journalists and entrepreneurs alike, and their anecdotes range from the hilarious to the salacious, the unlikely, the Midownright ridiculous, and the near-slanderous. But now the inevitable has begun to happen....i.e. the march of time has intervened, and now some interviewees have sadly died, which renders Op their stories all the more poignant and this book more important. Classic examples being Bryan Morrison´s bitter-sweet memories of his attempt to manage a dysfunctional Syd Barrett, or his inadvertently working with the Kray Twins. Kevin Ayers recalling touring with Jimi Hendrix, Neil Christian on finding a young Jimmy Page, EMI Records boss Bob Mercer´s time with John Lennon & Keith Moon, manager Matthew Sztumpf trying to make sense of Madness and The Smiths, and ´Big´ Jim Sullivan´s route to playing pi on all those hit records. All these stories and more are captured before they slip away. It makes for a compelling read, and at last you can hear, first hand, some of Rock Music´s eternal myths and facts either confirmed or quashed, by the people who were actually there when they happened
Paperback - 320 pages - Publisher: Billboard Books - 1994 - English Rock and roll wasn´t supposed to last. From the days in 1953 when Bill Haley and His Comets´ ´´Crazy Man Crazy´´ became the first rock record to enter the Billboard charts, through the arrival of Elvis Presley, Chuck Berry, and Little Richard later in the decade, the music and its stars were often dismissed as a passing phase, a garish blip on the screen of constantly changing teen tastes. In fact, ten years after rock´s inception, even the biggest stars of the era downplayed their signifi-cance. In 1963, in the first flush of the mania that would be named for them, the Beatles often talked of what they would do ´´when the bubble burst´´: at the time, George Harrison mentioned something about becoming an electrician; Ringo Starr said he dreamed of owning a string of ladies´ hair salons. But the bubble didn´t burst, for the Beatles or for rock and roll. Rock and roll did last. It enters its fifth decade as a multibillion-dollar-a-year industry whose reach extends beyond teenagers to generations who have grown up, and older, with it. Along the way, it has infiltrated the culture of the world. Its songs have provided the soundtracks for political campaigns and social movements, for wars and revolutions. Its heroes have been at the forefront of constantly evolving tastes, mores, trends, and aes-thetics. From Elvis shaking the Eisenhower years from their secure slumber with a wag of his hips; to Bob Dylan galvanizing the civil rights movement of the 1960s with ´´Blowin´ in the Wind´´; to the Beatles changing the look and sound of virtually everything by the sheer power of their presence; to Bob Geldof raising tens of millions of dollars for starving Ethiopians with Band Aid and Live Aid; to the heavy metal of Van Halen, which U.S. military pilots used to pump themselves up for combat in the Gulf War, rock and roll has proved that is has not merely last-ed—it has mattered. That rock has done all this is hardly news. And outlining the role and importance of rock isn´t the purpose of this book. Instead, Pioneers of Rock and Roll is an examination of artists whose music and careers have defined and redefined rock in the course of its history and, in the process, made it a crucial component of the culture of its time. ´´Artists´´ is the key word in all of this and is used intentionally in place of ´´performers,´´ ´´musicians,´´ or ´´acts.´´ Each of the individuals or groups includ-ed in this book has contributed in one or more ways to establishing rock as an art form. While the latter point—rock as art—could still be open to debate in some aesthetic spheres, the case for such status can certainly be made. If art can be defined as a creative expression of a particular time, for all time, then rock is art. It would be impossible, or at least misleading, to discuss or study or evaluate the social history of the West in the second half of this century without factoring in the impact of rock and roll. The point of all this as it pertains to this book is that if rock and roll had simply been a commercial device to separate teens (or their parents) from their money, or just another form of entertainment, it would never have lasted. It has lasted because, in its highest forms—in the music of people who are included in this book—it is more than those other aspects. It is art. And this book is about how they have made it thus. On to practical matters. The artist entries have several components. Each includes an analysis of music and impact of the indi-vidual artist or group that explains why and how they became ´´pioneers.´´ And each includes a discus-sion of the artist´s career, providing pertinent dates and facts to place the analysis in a historical context.