Hostname: page-component-cd9895bd7-dk4vv Total loading time: 0 Render date: 2024-12-26T07:39:38.265Z Has data issue: false hasContentIssue false

Five Years Ahead of My Time: Garage Rock from the 1950s to the Present By Seth Bovey. London: Reaktion Books, 2019.

Published online by Cambridge University Press:  22 December 2021

Leah Branstetter*
Affiliation:
Independent Scholar, Atlanta, GA, USA

Abstract

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Book Review
Copyright
Copyright © The Author(s), 2021. Published by Cambridge University Press on behalf of the Society for American Music

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 See, for example, the documentary directed by Brown, Jim, Free to Rock: How Rock & Roll Brought Down the Wall (Pottstown, PA: MVD Visual, 2017)Google Scholar; Ryback, Timothy W., Rock around the Bloc: A History of Rock Music in Eastern Europe and the Soviet Union (Oxford: Oxford University Press, 1990)Google Scholar; and—too recent for Bovey's publication—András Simonyi, Rocking Toward a Free World: When the Stratocaster Beat the Kalashnikov (New York: Grand Central Publishing, 2019).

2 Blecha, Peter, Sonic Boom: The History of Northwest Rock, from “Louie Louie” to “Smells Like Teen Spirit” (New York: Backbeat Books, 2009)Google Scholar; Joyson, Vernon, Fuzz, Acid and Flowers: A Comprehensive Guide to American Garage, Psychedelic and Hippie Rock (1964–1975) (Telford: Borderline, 2004)Google Scholar.

3 See Abbey, Eric James, Garage Rock and Its Roots: Musical Rebels and the Drive for Individuality (Jefferson, NC: McFarland, 2006)Google Scholar. This text does not come up in Bovey's book, but it essentially takes the opposite tactic: devoting chapters to theorizing garage rock but sticking to a more limited range of examples.

4 For just a few of many examples of scholarship on rock history narratives, see: Brooks, Daphne A., “The Write to Rock: Racial Mythologies, Feminist Theory, and the Pleasures of Rock Music Criticism,” Women and Music: A Journal of Gender and Culture 12, no. 1 (2008): 5462CrossRefGoogle Scholar; Coates, Norma, “Teenyboppers, Groupies, and Other Grotesques: Girls and Women and Rock Culture in the 1960s and Early 1970s,” Journal of Popular Music Studies 15, no. 1 (2003): 6594CrossRefGoogle Scholar; Hamilton, Jack, Just around Midnight: Rock and Roll and the Racial Imagination (Cambridge, MA: Harvard University Press, 2016)CrossRefGoogle Scholar; Mahon, Maureen, “Listening for Willie Mae ‘Big Mama’ Thornton's Voice: The Sound of Race and Gender Transgressions in Rock and Roll,” Women and Music: A Journal of Gender and Culture 15, no. 1 (2011): 117CrossRefGoogle Scholar; and the essays in Whiteley, Sheila ed., Sexing the Groove: Popular Music and Gender (New York: Routledge, 1997)Google Scholar.

5 Kheshti, Roshanak, “Musical Miscegenation and the Logic of Rock and Roll: Homosocial Desire and Racial Productivity in ‘A Paler Shade of White,’American Quarterly 60, no. 4 (December 31, 2008): 1037–55CrossRefGoogle Scholar, https://doi.org/10.1353/aq.0.0040, 1050.

6 Jack Hamilton, Just around Midnight, 7.