Download Access All Eras by Shane Homan PDF

April 11, 2017 | Software Office Software | By admin | 0 Comments

By Shane Homan

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Moreover, in many cases individual members of tribute bands attempt to emulate as closely as possible the image and persona of the musician they are portraying. Where a tributed act has a prominent front-person, the individual assuming this role will work particularly hard to ‘be’ that person, often perfecting his/her onstage posturing, and in many cases popular onstage phrases, the latter being learned verbatim by repeated listening to live albums and/or viewings of film and documentary footage of the tributed act.

Consider Bjo ¨ rn Again’s various phases as an Australian Abba tribute: We had a lawyer worried about our dress, [saying] ‘You’re trading on them, and you’re going to get sued’. I thought that would be fantastic, but at that point we weren’t making any money . . our logo, if you see the reflection on our logo, it is ‘ABBA’, and our lawyer told us that we were using the exact trademark, but we still use that trademark today. , they didn’t want us advertising the ‘ABBA’ logo just down the road [from them].

1979) All You Need Is Ears. London: Macmillan. F. (1993) Rock: The Primary Text – Developing a Musicology of Rock. Buckingham: Open University Press. Negus, K. (1992) Producing Pop: Culture and Conflict in the Popular Music Industry. London: Edward Arnold. Oakes, J. (1995) The song remains the same: tribute bands perform the rock text. Paper presented to the 1995 International Association for the Study of Popular Music International Conference, University of Strathclyde, Glasgow, July. Redhead, S.

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