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Yeah! Yeah! Yeah! The Story of Pop Music from Bill Haley to Beyoncé Bob Stanley 9780393242690 Books

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Yeah! Yeah! Yeah! The Story of Pop Music from Bill Haley to Beyoncé Bob Stanley 9780393242690 Books

This is not a review of the book content, but a comparison between the US pink-to-red hardcover edition and the UK black-and-white covered paperback, to help you to make an informed choice as to which version of this no doubt soon-to-be-classic book you may wish to buy.

I purchased the US hardcover edition from Amazon initially, and was later gifted the UK paperback shortly after. I am keeping both versions, but here is what I have noticed that I have not read in any of the many mostly glowing reviews of Bob Stanley's ace book.

The UK paperback numbers 776 pages not including its 14-page introduction and prologue. The US version has 599 pages not including an abridged 11-page introduction and prologue. The UK edition also has 65 chapters, whereas the US has only 59. There are six chapters extra in the UK edition, numbering - by my rudimentary math - an additional 184 pages not in the US edition.

The chapters included in the UK edition, but absent from the US edition, are as follows, with the chapter titles in parentheses;

Chapter one: (Feet Up: The First British Hit Parade), chapter five: (Fifteen Miles from Middlesborough: British Skiffle), chapter twenty-seven: (An English Pastoral: British Folk Rock), chapter thirty-one: (Deluxe and Delightful: Glam), chapter forty-five: (Back to the Future: Two Tone and Mod), and chapter sixty-one: (Bassline Changed My Life: Dance Music).

I note that chapter five in the UK edition has been combined with chapter six to make one larger re-titled chapter in the US version, here named Rock With the Cavemen: Skiffle and British Rock n' Roll. The other five chapters from the UK edition are absent.

Also I noted a slightly different wording to some parts of the text from UK to US, leading me to wonder if the author had contributed a rewritten version for the US. I have no idea, and I would not blame him if he wanted to reach a wider audience in this way. You simply cannot go wrong with either edition of this book. It is a most impressive work indeed.

Thank you.


Tags : Yeah! Yeah! Yeah!: The Story of Pop Music from Bill Haley to Beyoncé [Bob Stanley] on Amazon.com. *FREE* shipping on qualifying offers. <strong>An addictively readable, encyclopedic history of pop music in chapters as short and adrenaline-fueled as the best pop songs themselves.</strong> As much fun to argue with as to quote,Bob Stanley,Yeah! Yeah! Yeah!: The Story of Pop Music from Bill Haley to Beyoncé,W. W. Norton & Company,0393242692,Genres & Styles - Pop Vocal,History & Criticism,Popular music - History and criticism,Popular music;History and criticism.,History & Criticism - General,History and criticism,MUSIC Genres & Styles Pop Vocal,MUSIC History & Criticism,Music,MusicGenres & Styles - Pop Vocal,MusicSongbooks,Popular Music,Rock & Pop music,SOCIAL SCIENCE Popular Culture

Yeah! Yeah! Yeah! The Story of Pop Music from Bill Haley to Beyoncé Bob Stanley 9780393242690 Books Reviews

One of the better chronicles of pop music. My only complaints are 1) The omission of post-punk and alternative rock bands like Wire and Simple Minds, respectively; 2) Passing reference to Vivian Stanshall and Neil Innes (of Bonzo Dog Band fame), and 3) Dismissive comments about bands like ELO. Jeff Lynne regurgitating Beatles music? Despite the occasional elitist comments, this book contains a wealth of knowledge about pop music and the industry that manages it.
Great book.
The book started in the 1950s with the great rock stars that weren't the cliche looking rock stars. Bill Hailey was middle aged. Of course Elvis at Sun studios dressed weird. Covers versions of songs were cleaned up and geared toward teens. We go into the 60s and the many differing styles of music from Motown, pop, hard rock blues, and jazz.
The differences between British rock and American rock became evident in the 70s. I know a lot of British rock so I could keep up with the musicians. I think this may be why this very good book didn't sell as well as it should've in the States.
I knew much of the music but still looked plenty up on iTunes. I learned a little and wasn't lost in a flood of information.
I liked that.
The end was good. How did music change to today? Who was to blame? how did music stores lose out? Why did labels go bankrupt? In the end music is important and varied. Attempts by the gatekeepers of agents and labels couldn't stop a music fan. There were disagreements about pop, but the listener won in the end.
Very good book.
Although there is a definite British bias to this book, because the author is British, this is still an excellent and well written and researched book.

To me, the book seemed to have four major parts (although officially there are five) prior to 1960, 1960-1970, 1970-1975 and after 1975.

Prior to 1960, the author does an excellent job of covering the start of pop (rock and roll, R&B, etc.) from Bill Haley and Comets, the official first hit - Rock Around the Clock, through Elvis Presley, Jerry Lee Lewis, Buddy Holly, etc. This period ends when Elvis goes into the army and Buddy Holly dies in the plane crash.

After 1960 there is a lull, but a number of groups and organizations take over from there. The story about the Brill Building in NYC is especially interesting to me, because I was unaware of it. This building had cubicles with song writer groups churning out top 20 hits. This is where Carol King got her start with "Will you still love me tomorrow". Then there was the Motown organization in Detroit and the numerous acts, Four Tops, Supremes, etc and top 10 songs created by that organization. Also, there was the "British invasion" with the Beatles, Rolling Stones, and numerous other acts that followed (Kinks, Dave Clark Five, etc.). Finally, there was the US groups that responded to this including the Byrds, Paul Revere and the Raiders, etc. And, then there was Bob Dylan. This period, from 1960-1970, is arguably the best and most creative period of pop with numerous excellent acts and songs being created. (Of course, having grown up in this period, I'm biased - but the reader who disagrees should read the book and then listen to the songs created.) The author does and excellent job of covering this period.

The author rightly states that 1970 is a turning point in the period of pop - the second one after 1960 - with the disbanding of the Beatles. Although other bands, e.g. Kinks and Dave Clark Five, and individuals, Bob Dylan, lose some of their creative genius at about this time. However, pop music continues on with acts from Britain - Rod Stewart, Jethro Tull, etc., and acts from the US. In this later section, the author discusses the "Laurel Valley" area of California, near Los Angeles. This area had Crosby, Stills and Nash, the Eagles, Neil Young, Joni Mitchell, the Mamas and the Papas and other acts. The creativity of these British and US groups disappates in 1975, and pop music splinters.

This is the first place where the author shows his British bias by criticizing the "Laurel Valley" groups but not the British groups for losing their creativity. OK, so Stephen Stills was self-absorbed. But, then again, how would you describe John Lennon, George Harrison and Paul McCartney. It seems to me, and this was a key take away for me through the whole book, that these creative acts lose their drive after 5-7 years probably because they get popular, and make a lot of money and are no longer motivated to create.

After 1975, music splinters into many different types disco, electronic, punk, heavy metal, hip hop. One interesting story in this section describes how hip hop got started in the Bronx in the late 1970s. However, to me, most of this section which took up more than half the book was mainly British centric, describing bands which were not popular in the US and not covering US bands to the same level. Consequently, in my opinion, the book interest declined after 1975.

Prior to 1975, however, this is an excellent book, and afterwards, not so much. (Maybe that is because I was not as interested in pop music after that year, but I'll let you make that determination on what you think.)

In spite of that, I do recommend the book for anyone interested in the birth and development of popular music.
This is not a review of the book content, but a comparison between the US pink-to-red hardcover edition and the UK black-and-white covered paperback, to help you to make an informed choice as to which version of this no doubt soon-to-be-classic book you may wish to buy.

I purchased the US hardcover edition from initially, and was later gifted the UK paperback shortly after. I am keeping both versions, but here is what I have noticed that I have not read in any of the many mostly glowing reviews of Bob Stanley's ace book.

The UK paperback numbers 776 pages not including its 14-page introduction and prologue. The US version has 599 pages not including an abridged 11-page introduction and prologue. The UK edition also has 65 chapters, whereas the US has only 59. There are six chapters extra in the UK edition, numbering - by my rudimentary math - an additional 184 pages not in the US edition.

The chapters included in the UK edition, but absent from the US edition, are as follows, with the chapter titles in parentheses;

Chapter one (Feet Up The First British Hit Parade), chapter five (Fifteen Miles from Middlesborough British Skiffle), chapter twenty-seven (An English Pastoral British Folk Rock), chapter thirty-one (Deluxe and Delightful Glam), chapter forty-five (Back to the Future Two Tone and Mod), and chapter sixty-one (Bassline Changed My Life Dance Music).

I note that chapter five in the UK edition has been combined with chapter six to make one larger re-titled chapter in the US version, here named Rock With the Cavemen Skiffle and British Rock n' Roll. The other five chapters from the UK edition are absent.

Also I noted a slightly different wording to some parts of the text from UK to US, leading me to wonder if the author had contributed a rewritten version for the US. I have no idea, and I would not blame him if he wanted to reach a wider audience in this way. You simply cannot go wrong with either edition of this book. It is a most impressive work indeed.

Thank you.