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Bitoun, J. (2018). Guitars and Heroes: Mythic Guitars and Legendary Musicians. Richmond Hill, Richmond Hill, Ontario, Canada: Firefly Books.
Abstract: "An encyclopedia of more than 100 guitars and the musicians who have mastered them.
Guitars and Heroes is organized by era, from the rockabilly pioneers to the guitar heroes of the future. Each chapter contains portraits of guitarists (past and present) and their favorite instruments. The authoritative text describes the musician's favored guitar or guitars and why they prefer them, often revealing a hidden facet of the musician's artistic approach.
Special photo spreads include The Beatles, The Rolling Stones, Van Halen, Prince, Billie Joe Armstrong, AC/DC, Les Paul, anatomy of a Stratocaster, 5 Replica Guitars; Burst, the world's most expensive guitar; 5 Most Desirable Amplifiers, 5 Pedals That Changed the World, 5 Groundbreaking Sounds, The Chicago Blues in 5 Albums, 5 Essential Hard Rock Albums and 5 Design Gibson Mistakes.
The book is organized into three sections (Birth of an Art, The Golden Age, Modern Times) and nine chapters, each with a selection of artists and their guitars..."
[SOURCE: https://www.fireflybooks.com/BookDetails?Pid=771]
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Boman, B. (2026). Masks, Slipknot, and Nu-metal: Beyond Transformation, Originality, and Mimicking. In Masks In Music and Film: Perspectives from the West and East Asia (pp. 121–134). London, U.K.: Palgrave Macmillan Cham.
Abstract: << With the emergence of Slipknot as both a discursive node and point of departure, the chapter focuses on the next wave of alternative metal, often described as nu-metal due to bringing a new flavor to metal by mixing the genre’s typical elements such as groovy guitar riffs with other genres such as hip-hop, industry, and pop-style choruses. Besides Slipknot, other masked bands, for instance Mushroomhead and Mudvayne, are highlighted in the same context. Moreover, the predecessor of masked nu-metal, Mr. Bungle, is also accentuated. Attention is also paid to originality vis-à-vis mimicking earlier groups, as well as the function and meaning of masks in the context of transformation.
The findings underline that the transformative characteristics of masks in metal music are often exaggerated as band members often act “normal” and agreeable when they wear their masks. However, in live settings some of the transformative features might be a part of specific stage persona. In the nu-metal scene, it appears as if fans are more concerned about being the first to wear masks than the band members themselves. >>
[source: https://link.springer.com/chapter/10.1007/978-3-032-16978-5_12]
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Boman, B. (2026). The First Wave of Masks in Rock and Heavy Metal and Their Successors. In Masks In Music and Film: Perspectives from the West and East Asia (pp. 103–119). London, U.K.: Palgrave Macmillan Cham.
Abstract: << Black and white makeup of Kiss influenced later heavy metal acts such as King Diamond and, even later in the 1990s onward, Scandinavian black metal. The current chapter sketches a brief history of the usage of makeup and masks in heavy metal and related sub-genres. Black metal and to lesser extent death metal artists, use corpse paint, and occasionally masks, to portray a potentially transformative dimension of artistic personas, antinomian sociocultural values, and aggressive stage performances.
However, experts on black metal and death metal are skeptical about the extent to which these artists and values represent authentic transformation and not just superficial genre paraphernalia. Furthermore, in relation to Ghost, a popular heavy metal band from Sweden, intertextual influences from film characters are highlighted in a context signified by entertainment. Thus, masks and makeup in heavy metal might be seen as performative but with both entertaining and antagonistic elements. >>
[source: https://link.springer.com/chapter/10.1007/978-3-032-16978-5_11]
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Groccia, M., & Bruno-Mattier, É. (2025). Hard Rock / Heavy Metal dans les fanzines des années 80. Rendre compte d’une expérience sensible et donner sens à l’objet musical. Archiv für Textmusikforschung, 9(2), s.p.
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Guesdon, J. - M., & Margotin, P. (2018). Led Zeppelin All the Songs: The Story Behind Every Track. New York, New York: Black Dog & Leventhal Publishers.
Abstract: << Take a deep dive into the innovative recording history of Led Zeppelin, in this newest addition to the fan-favorite All the Songs series.
Fifty years after their first practice in a Soho basement, Led Zeppelin continues to fascinate new generations of listeners. While their legendary back-stage debauchery has been written about extensively in other books, All the Songs is all about the music, detailing the studio magic and inspiration that made all nine albums go platinum, including Led Zeppelin IV which was certified x23 platinum and has sold more than 37 million copies worldwide.
Studio stories will include their productive time at Headley Grange in Wales, a poorly-heated former poorhouse where they recorded parts of Led Zeppelin III, Led Zeppelin IV, Houses of the Holy and Physical Graffiti. Andhow the first album was recorded in three weeks but their second took six months, done while the band was on a world tour. They carried the masters of the recording session in a steamer trunk wherever they went. Out of these chaotic sessions came the “Whole Lotta Love,” which was finished in New York with Hendrix engineer Eddie Kramer helping create the psychedelic middle part, as well as “The Lemon Song,” which was cut live in the studio. Page worked feverishly with Kramer to mix the LP on a primitive 12-channel Altec board in a two-day span.
Fans will also learn the genesis of their lyrics, the inspiration for their album covers, the instruments used, and the contributions of engineers such as Andy Johns, who helped create the iconic drum sound on “When the Levee Breaks” by recording Bonham at the bottom of a stairwell. >>
[Source: Publisher (per Google Books)]
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Hill, R. L. (2013). Representations and Experiences of Women Hard Rock and Metal Fans in the Imaginary Community. Ph.D. thesis, University of York, York, England.
Abstract: This thesis questions dominant representations of women hard rock and metal
fans, and contributes to the undeveloped area of scholarship on women’s
pleasure in music. I address the questions: how does the metal media represent women fans?; what is the impact of that representation?; and what can a consideration of women’s musical pleasure tell us? I work within the fields of popular music, subcultures, gender and metal studies and build upon feminist studies of rock music (e.g., Schippers 2002, Fast 1999 and Wise 1984).
The research sits alongside feminist work exploring the pleasures of metal (Overell 2010, Riches 2011), and Brown’s work on metal media (2007, 2009). A new framework, the imaginary community, allows a consideration of the gendered ideology of the genre and takes into account private modes of fandom. To establish the ideology I examined letters pages in a key hard rock and metal medium, Kerrang! magazine, between 2000-8.
Drawing on Barthes’ Mythologies (1957), I employed a semiotic analysis to expose the representation of women through myths. Using this representation as a comparative tool, I conducted interviews with women fans who liked bands featured in Kerrang!. I analysed the discourses mobilised in their responses to questions about their participation in communal and private activities (e.g. magazine reading, concert attendance); their interpretations of the groupie stereotype; and their preferences for particular bands. I argue that women fans are misrepresented as groupies and this impacts upon women’s ability to express their fandom. Considering women’s pleasure in the music draws out the ways in which women’s fandom challenges both the myth of the woman fan as groupie, and the reading of metal as a masculine genre. I conclude that exploring women’s fandom can provide fresh perspectives on hard rock and metal: we must be prepared to take women’s fandom seriously. (Source: PDF of PhD thesis)
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Mechelinck, G. (2024). Underground Akkoorden: LGBTQ+ fans in Vlaamse Metal- en Hardrockgemeenschappen [Underground Accords: LGBTQIA+ Fans in Flemish Metal and Hard Rock Communities]. Master's thesis, Universiteit Gent, Ghent.
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Rettman, T. (2010). Why Be Something That You're Not: Detroit Hardcore 1979-1985. Huntington Beach, California: Revelation Records.
Abstract: << In the early 70s, Detroit was the musical hub of America, but by the early eighties, it was a wasteland. It took a group of skateboarders, a teacher and a census clerk to wake the city up and start one of the first hardcore punk scenes in America.
“Why Be Something That You're Not” chronicles the first wave of Detroit hardcore from its origins in the late 70s to its demise in the mid-80s. Through oral histories and extensive imagery, the book proves that even though the California beach towns might have created the look and style of hardcore punk, it was the Detroit scene – along with a handful of other cities – that cultivated the music's grassroots aesthetic before most cultural hot spots around the globe even knew what the music was about.
The book includes interviews with members of The Fix, Violent Apathy, Negative Approach, Necros, Pagans, Bored Youth, and L-Seven along with other people who had a hand in the early hardcore scene like Ian MacKaye, Tesco Vee and Dave Stimson. >>
SOURCE: https://revhq.com/products/tony-rettman-why-be-something-that-youre-not-detroit-hardcore-1979-1985-book
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Vaughn, E. M. (2015). Harmonic resources in 1980s hard rock and heavy metal music. Master's thesis, Kent State University, Ann Arbor.
Abstract: The first objective of this work was to review the existing literature relating to popular music analysis to determine if standards of harmonic practice within hard rock and heavy metal music have been considered and established. This led to the review of the analytical methods of Guy Capuzzo, Christopher Doll, Walter Everett, Allen Moore, and Ken Stephenson. For the needs of this study, Everett's work (and to a lesser degree, Stephenson's work) is primary as it best summarizes the harmonic schemes used in the pieces analyzed.
Three songs were selected within different subgenres of hard rock and heavy metal: thrash metal (Metallica, “Master of Puppets”), neo-classical metal (Yngwie Malmsteen, “Far Beyond the Sun”), and commercial hard rock (Guns-N-Roses, “Welcome to the Jungle”). These pieces were analyzed extensively to understand the primary harmonic resources that are at work in each. Additionally, the three pieces were compared with regard to their formal elements, melodic materials, texture, and dynamics to draw conclusions about what similarities they share and also how they differ. Depending on the piece and the section under consideration, these three examples exhibited a reliance on modal structures, blues-based materials, and common-practice influences.
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