Contents: Preface; Getting back to business; Live music and the state; A snapshot of Bristol in October-November 1962; Being a musician; Do-it-yourself!; A snapshot of Glasgow in October-November 1962; Youth; The recording industry; A snapshot of Sheffield in October-November 1962; Venues, audience and promoters; The Rolling Stones, Richmond 1963; Bibliography; Index.
Simon Frith is Tovey Professor of Music at the University of Edinburgh. His work is collected in Taking Popular Music Seriously (Ashgate 2007) and, with Simon Zagorski-Thomas, he edited The Art of Record Production (Ashgate 2012). He chairs the judges of the Mercury Music Prize and is a fellow of the British Academy. Matt Brennan is the Chancellor’s Fellow of Music at the University of Edinburgh. He specialises in popular music studies combining historical, sociological, and business perspectives. His work has previously appeared in the journals Popular Music, Popular Music History, and Jazz Research Journal. Martin Cloonan is Professor of Popular Music Politics at the University of Glasgow. His research interests cover all areas of music and politics including censorship, regulation and music policy. Previous books include Popular Music and The State in the UK (Ashgate, 2007) and Dark Side of The Tune: Popular Music and Violence (Ashgate, 2008). Emma Webster received her PhD from the University of Glasgow in November 2011; her thesis was concerned with live music promotion. Before returning to academia, she worked for a number of years in music and theatre in a variety of roles and genres including opera, ’world’ music, and acid techno.
'...This engagingly written, carefully documented study should interest scholars and students of popular music history and cultural history and might well provide fruitful avenues for further research...Highly recommended.' Choice '... absolutely fascinating... It is a magnificent read for anyone with a broad interest in the live music scene in Britain. Roll on the next volume and the one after.' Folk North West ’... this 'social history of music in Britain' written by a team of popular music scholars has a lot to offer to any 'certified' historian with an interest in post-war popular culture and music in particular’. Sehepunkte ’The four authors should be congratulated for achieving a near seamless synergy in terms of style and argument throughout this volume, especially given its breadth. Clear introductions and conclusions help to draw the multiple threads of each chapter together and the text is eminently readable. ... This book sets a very high standard for future work and I await further instalments with interest’. Popular Music
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