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010 _a2017055297
020 _a9781477316238
_qPDF
024 7 _a10.7560/316221
_2doi
035 _a(DE-B1597)9781477316238
035 _a(DE-B1597)588661
035 _a(OCoLC)1269268284
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 0 0 _aML420.S81127
_bA3 2018
050 4 _aML420.S81127
_bA3 2018
072 7 _aMUS000000
_2bisacsh
082 0 4 _a781.66092
_aB
_223
084 _aonline - DeGruyter
100 1 _aStamey, Chris
_eautore
245 1 2 _aA Spy in the House of Loud :
_bNew York Songs and Stories /
_cChris Stamey.
264 1 _aAustin :
_bUniversity of Texas Press,
_c[2021]
264 4 _c©2018
300 _a1 online resource (277 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aAmerican Music Series
505 0 0 _tFrontmatter --
_tContents --
_tPreface The Story behind the Painting --
_t1 Don’t Stop to Think --
_t2 I Love the Sound of the Traffic --
_t3 In Our Wildest Dreams --
_t4 Have You Seen the Last Elite? --
_t5 The More You Learn, the Less You Know --
_t6 Pavement Slapping My Feet --
_t7 Eyes Submerge Your Face --
_t8 Caress and Spite --
_t9 I Loved You, and You Did, Too --
_t10 Exhilaration; or, Gorging a Neuronic Aperture --
_t11 Just Like Yesterday --
_t12 Who Will Baudelaire? --
_t13 Cut It Hot, Cut It Up, Cut It Clean, Cut It Slow --
_t14 Your Ballerina Curls --
_t15 She Took the Soda Pop --
_t16 Wine in Plastic Cups --
_t17 The Distance That Surrounds Us --
_t18 The Air Is Full of Air --
_t19 Like a Party Balloon on the Strand --
_t20 Never a Time --
_t21 Anyone Who Had to Laugh --
_t22 The Whole World’s Dirt --
_t23 Newspapers Collect on the Street --
_t24 I Want to Break Your Heart --
_t25 All Around You Now the Stars Are Falling Down --
_tAfterword --
_tAcknowledgments --
_tAppendix A Listener’s Guide --
_tNotes --
_tSelected Discography
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aPopular music was in a creative upheaval in the late 1970s. As the singer-songwriter and producer Chris Stamey remembers, “the old guard had become bloated, cartoonish, and widely co-opted by a search for maximum corporate profits, and we wanted none of it.” In A Spy in the House of Loud, he takes us back to the auteur explosion happening in New York clubs such as the Bowery’s CBGB as Television, Talking Heads, R.E.M., and other innovative bands were rewriting the rules. Just twenty-two years old and newly arrived from North Carolina, Stamey immersed himself in the action, playing a year with Alex Chilton before forming the dB’s and recording the albums Stands for deciBels and Repercussion, which still have an enthusiastic following. A Spy in the House of Loud vividly captures the energy that drove the music scene as arena rock gave way to punk and other new streams of electric music. Stamey tells engrossing backstories about creating in the recording studio, describing both the inspiration and the harmonic decisions behind many of his compositions, as well as providing insights into other people’s music and the process of songwriting. Photos, mixer-channel and track assignment notes, and other inside-the-studio materials illustrate the stories. Revealing another side of the CBGB era, which has been stereotyped as punk rock, safety pins, and provocation, A Spy in the House of Loud portrays a southern artist’s coming-of-age in New York’s frontier abandon as he searches for new ways to break the rules and make some noise.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650 0 _aRock musicians
_zNew York (State)
_zNew York
_vBiography.
650 7 _aMUSIC / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7560/316221
856 4 0 _uhttps://www.degruyter.com/isbn/9781477316238
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9781477316238/original
942 _cEB
999 _c218600
_d218600