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Anderton, C., & Burns, L. (2025). Introduction: Reflections on The Literary Imagination in Progressive Rock and Metal. In The Routledge Handbook of Progressive Rock, Metal, and the Literary Imagination (pp. 1–14). Routledge Music Handbooks. Oxfordshire, England: Routledge.
Abstract: << This an outstanding collection of chapters that explore the intersections between progressive rock, metal and the literary imagination. Each contribution here is a must-read and the editors have done an incredible job framing the
Handbook.
Karl Spracklen, PhD, AcSS
Leeds Beckett University, Portland >>
"This Handbook illustrates the many ways that progressive rock and metal music forge striking engagements with literary texts and themes.
The authors and their objects of analytic inquiry offer global and diverse perspectives on these genres and their literary connections: from ancient times to the modern world, from children’s literature to epic poetry, from mythology to science fiction, and from esoteric fantasy to harsh political criticism.
The musical treatments of these literary materials span the continents from South and North America through Europe and Asia. The collection presents critical perspectives on the enduring and complex relationships between words and music as these are expressed in progressive rock and metal.
The book is aimed primarily at an academic market, valuable for second through final year students on undergraduate courses devoted to both popular music and to literary studies, and to postgraduate programs and researchers in a range of fields, including: popular music studies, musicology, creative music performance and composition, songwriting, literary studies, narrative studies, folklore studies, science fiction studies, cultural studies, liberal studies, and sociology, and for media and history courses that have an interest in the intersection of narratives, music and society."
Source for both: https://www.routledge.com
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Anderton, C., & Goodge, P. (2025). Alone in the Crowd? Live Music Audiences and Individual Experience. Popular Music, First View, 1–15.
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Apter, J. (2021). Bad Boy Boogie: The true story of AC/DC legend Bon Scott. Australia: Allen & Unwin.
Abstract: “Bad Boy Boogie is the first biography to focus on Bon's remarkable gifts as a lyricist, frontman and rascal. In short, the real Bon Scott.” (Source: Allen & Unwin)
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Ayoub, M. L. (2016). O rock progressivo: uma releitura dos mitos nórdicos. Notícias Asgardianas. Boletim do Núcleo de Estudos Vikings e Escandinavos, 11, 106–116.
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Berger, G. (2009). The Story of Crass. (320). Binghamton, New York: PM Press.
Abstract: << Crass was the anarcho-punk face of a revolutionary movement founded by radical thinkers and artists Penny Rimbaud, Gee Vaucher, and Steve Ignorant. When punk ruled the waves, Crass waived the rules and took it further, putting out their own records, films, and magazines and setting up a series of situationist pranks that were dutifully covered by the world’s press. Not just another iconoclastic band, Crass was a musical, social, and political phenomenon.
Commune dwellers who were rarely photographed and remained contemptuous of conventional pop stardom; their members explored and finally exhausted the possibilities of punk-led anarchy. They have at last collaborated on telling the whole Crass story, giving access to many never-before-seen photos and interviews. >>
(SOURCE: https://pmpress.org/index.php?l=product_detail&p=101)
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Berkland, D. G. (2015). Androcentrism and misogyny in late twentieth century rock music. Master's thesis, Nelson Mandela Metropolitan University, Port Elizabeth.
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Biamonte, N., & Cain, J. (2025). The Tool Album as Gesamtkunstwerk. In C. Anderton, & L. Burns (Eds.), The Routledge Handbook of Progressive Rock, Metal, and the Literary Imagination (pp. 415–430). Routledge Music Handbooks. Oxfordshire, England: Routledge.
Abstract: << This an outstanding collection of chapters that explore the intersections between progressive rock, metal and the literary imagination. Each contribution here is a must-read and the editors have done an incredible job framing the
Handbook.
Karl Spracklen, PhD, AcSS
Leeds Beckett University, Portland >>
"This Handbook illustrates the many ways that progressive rock and metal music forge striking engagements with literary texts and themes.
The authors and their objects of analytic inquiry offer global and diverse perspectives on these genres and their literary connections: from ancient times to the modern world, from children’s literature to epic poetry, from mythology to science fiction, and from esoteric fantasy to harsh political criticism.
The musical treatments of these literary materials span the continents from South and North America through Europe and Asia. The collection presents critical perspectives on the enduring and complex relationships between words and music as these are expressed in progressive rock and metal.
The book is aimed primarily at an academic market, valuable for second through final year students on undergraduate courses devoted to both popular music and to literary studies, and to postgraduate programs and researchers in a range of fields, including: popular music studies, musicology, creative music performance and composition, songwriting, literary studies, narrative studies, folklore studies, science fiction studies, cultural studies, liberal studies, and sociology, and for media and history courses that have an interest in the intersection of narratives, music and society."
Source for both: https://www.routledge.com
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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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