Bob Stanley--musician, music critic, and unabashed fan--recounts the progression from the Beach Boys to the Pet Shop Boys to the Beastie Boys; explores what connects doo wop to the sock hop; and reveals how technological changes have affected pop production.Read more...
Bob Stanley--musician, music critic, and unabashed fan--recounts the progression from the Beach Boys to the Pet Shop Boys to the Beastie Boys; explores what connects doo wop to the sock hop; and reveals how technological changes have affected pop production. Working with a broad definition of "pop"--one that includes country and metal, disco and Dylan, skiffle and glam--Stanley teases out the connections and tensions that animate the pop charts and argues that the charts are vital social history.
Yeah Yeah Yeah is like the world's best and most eclectic jukebox in book form. All the hits are here: the Monkees, Metallica, Patsy Cline, Patti Smith, new wave, New Order, "It's the Same Old Song," The Song Remains the Same, Aretha, Bowie, Madonna, Prince, Sgt. Pepper, A Tribe Called Quest, the Big Bopper, Fleetwood Mac, "Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini," Bikini Kill, the Kinks, Mick Jagger, Michael Jackson, Jay-Z, and on and on and on. This book will have you reaching for your records (or CDs or MP3s) and discovering countless others.
For anyone who has ever thrilled to the opening chord of the Beatles' "A Hard Day's Night" or fallen crazy in love for Beyonce, Yeah Yeah Yeah is a vital guide to the rich soundtrack of the second half of the twentieth century.
Publishers Weekly® Reviews
- Reviewed in: Publishers Weekly, page .
- Review Date: 2014-04-21
- Reviewer: Staff
For anyone who’s unfamiliar with the terrain of pop music, critic Stanley’s survey offers a solid introduction to many facets of popular music. While fans of musicians mentioned will not find much new, the author nevertheless provides an intriguing view of the shifting ground of pop music. Of the Lindsey Buckingham and Stevie Nicks incarnation of Fleetwood Mac, for example, he writes: Buckingham’s guitar “felt like a continuation of the Macs that had gone before... they still felt like a walk beside a seashore on a windy day, collar pulled up against the spray.” Paul Revere and the Raiders’ “noise was the most commercially successful variant of garage punk.” Stanley covers every musical style that makes up pop music, including country and western, new wave, hip hop, and grunge, and he devotes individual chapters to groups and individuals—the Monkees, the Beach Boys, the Bee Gees, Michael Jackson, Prince, Madonna—that changed the shape of pop music. In the end, he observes, that “pop music doesn’t have the desirability it once had; it’s not as wantable.” (July)