The Rock Cover Song: Culture, History, Politics by Doyle Greene
By Doyle Greene
Conceal songs function as a kind of cultural discourse throughout a number of musical genres and varied societal, ancient and political stipulations. Case experiences contain a comparative research of Jimi Hendrix's and Whitney Houston's types of "The Star-Spangled Banner" in addition to a mapping of the trajectory of "(I Can't Get No) Satisfaction" from the unique model by means of the Rolling Stones via disguise types through Otis Redding, Devo, and Britney Spears. the novel deconstruction of father and rock songs through the citizens and Laibach can also be tested, with extra reports of canopy songs by means of resembling Van Halen, Kim Wilde, Rufus Harley, the 4 Tops, Pat Boone and Johnny money. instead of questions of caliber or how a canopy music measures up as "better or worse" than different types, this e-book specializes in the ideological implications and social stakes of the "same outdated songs" as they're reconfigured to think about, touch upon and confront political problems with gender, sexuality, race, the geographical region and the iteration hole.
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Additional info for The Rock Cover Song: Culture, History, Politics
Example text
Mary Magdalene. It was a quiet end to a quiet life. ” His grave sits a few feet from a robust English oak, overlooking the lush Warwickshire countryside. Devoted fans routinely deposit tiny gifts at its base: a white candle, strings of beads, flowers, letters, drawings. The circumstances of Nick Drake’s overdose are as much a part of his legacy as his songs. His death is inextricable: No matter how hard we try to eschew the cult of Drake, to divorce his art from his disease, it is pervasive, omnipresent.
They both were two troubled geniuses. Nick rarely played live and, if I am correct, there are no filmed performances of him. Truly a shame, as this would be a wonderful thing to see. David Leto Rye Coalition Pink Moon: A wild record of enlightenment for the kinda people who don’t like to get wild. Almost everyone I know who digs music and/or plays music has had some sorta connection with Drake at some point. For me it is this record, along with his other stark compositions/modal downers found in early live boots/lost tapes, that I really get off on.
I wasn’t sure what song it was, but I knew I loved the sound of his voice and the harmonic language and the idiosyncratic way he played the guitar. I was home in Los Angeles and I went out and got Fruit Tree because I wanted to have all the Nick Drake music I could get 31 my hands on. I went onto the Internet and found the various home recording things, trying to get every scrap I could. I just think he’s extraordinary. The harmony can sometimes be simple, but it’s very sensual. There’s a real French sense of harmony overlaid onto what, in the English music history line, can probably be traced back to John Dowland and all the really great songwriters and musicians of the fifteenth century.