The Rock History Reader

Routledge

Third edition published in 2018.

This book includes two section that refer to the Grateful Dead and other Bay Area bands: Rock and the Counterculture by Chester Anderson and Electric Kool-Aid Acid Test by Tom Wolfe (an extract from the book of the same name).

Publishers description:

These days "rock music" courses are ubiquitous at most universities and colleges, but until recently instructors seeking an anthology of readings on the History of Rock have looked in vain. The Rock History Reader aims to fill that gap. Through a variety of primary source materials, the Rock History Reader introduces students to the conflicts, critical tensions and inspired creativity that have defined rock music as a social practice throughout its five decade history. Featuring nearly sixty chapters, the Reader ranges from the vivid autobiographical accounts of such rock icons as Chuck Berry, Ronnie Spector and David Lee Roth to the writings of noted rock critics like Lester Bangs and Simon Reynolds. Beyond this, readers will find selections from the pens of media critics, musicologists, fanzine writers, legal experts, sociologists and prominent political figures like Tipper Gore. Many entries also deal specifically with distinctive styles such as Motown, punk, disco, grunge, rap and indie pop. With numerous readings that delve into the often explosive issues surrounding censorship, copyright, race relations, feminism, youth subcultures and the meaning of musical value, the Rock History Reader will appeal to scholars and students from a variety of disciplines.

This eclectic compilation of readings tells the history of rock as it has been received and explained as a social and musical practice throughout its six decade history. This third edition includes new readings across the volume, with added material on the early origins of rock 'n' roll as well as coverage of recent developments, including the changing shape of the music industry in the twenty-first century. With numerous readings that delve into the often explosive issues surrounding censorship, copyright, race relations, feminism, youth subcultures, and the meaning of musical value, The Rock History Reader continues to appeal to scholars and students from a variety of disciplines. New to the third edition: Nine additional chapters from a broad range of perspectives, Explorations of new media formations, industry developments, and the intersections of music and labor, and for the first time, a companion website providing users with playlists of music referenced in the book.