Notes on Contributors Preamble Introduction Jon Stratton with Jon Dale (University of South Australia, Australia) 1. The Missing Links, The Missing Links Jon Stratton (University of South Australia, Australia) 2. Wendy Saddington and The Copperwine, Wendy Saddington and The Copperwine Live Julie Rickwood (Australian National University, Australia) 3. Coloured Balls, Ball Power Paul 'Nazz' Oldham (University of South Australia, Australia) 4. The Scientists, Blood Red River Jon Stratton (University of South Australia, Australia) 5. The Plums, Gun; Deadstar, Deadstar; Milk; Over The Radio Caroline Kennedy (Monash University, Australia) 6. Shakaya, Shakaya Panizza Allmark (Edith Cowan University, Australia) 7. Striborg, Spiritual Catharsis Catherine Hoad (Massey University, Aotearoa/New Zealand) 8. Curse ov Dialect, Wooden Tongues Sarah Attfield (University of Technology, Sydney, Australia) 9. The Drones, I See Seaweed Adam Trainer (Edith Cowan University, Australia) 10. Roger Knox & The Pine Valley Cosmonauts, Stranger In My Land; Roger Knox, Give It a Go Liz Dean (University of Melbourne, Australia) with Roger Knox 11. Dami Im, Dami Im Sarah Keith (Macquarie University, Australia) 12. Courtney Barnett, Sometimes I Sit and Think, and Sometimes I Just Sit John Encarnacao (University of Western Sydney, Australia) 13. Sia, This Is Acting Laura Glitsos (Curtin University, Australia) 14. Flume, Skin Ed Montano and Gene Shill (RMIT University, Australia) 15. A.B.Original, Reclaim Australia Suzi Hutchings (RMIT University, Australia) and Dianne Rodger (University of Adelaide, Australia)
An evaluation of Australian popular music through a chronological analysis of significant albums over the past fifty years.
Jon Dale is a writer and researcher based in Melbourne, Australia. He teaches across a number of fields (popular music, experimental writing, media studies, criminology, sociology, screen studies) at a number of institutions. He also writes for the English music magazine Uncut, and contributes liner notes and essays to a number of record labels and other publications. He is currently working on several books about DIY and post-punk music, and texts on experimental film and diary film making. He also runs the record labels Tristes Tropiques and Rose Hobart. Jon Stratton is Adjunct Professor in the School of Creative Industries at the University of South Australia. His most recent publications include Black Popular Music in Britain since 1945 (edited with Nabeel Zuberi, 2014) and When Music Migrates: Crossing British and European Racial Faultlines 1945-2010 (2014). Tony Mitchell is an honorary research associate at the University of Technology, Sydney, Australia. He is the author of Popular Music and Local Identity: Rock, Pop and Rap in Europe and Oceania (1994), editor of Global Noise: Rap and Hip hop outside the USA (2001), co-editor of North Meets South: Popular Music in Aotearoa New Zealand (2004), Sounds of Then, Sounds of Now: Popular Music in Australia (2007), Home, Land and Sea: Situating Music in Aotearoa New Zealand (2011) and Sounds Icelandic (2017).
[It] provides a timely collection of rural, urban and even national
shifts that perversely reveals parallel changes in what constitutes
‘the mainstream’.
*Popular Music History*
An Anthology of Australian Albums: Critical Engagements is a
welcome addition to the growing body of work that examines
Australian popular music from a critical and scholarly perspective
... a valuable contribution to the literature on Australian popular
music. It illustrates a remarkable variety of Australian popular
music across its history, particularly in the past decade, and is
useful for providing general scholarly insight to a
multidisciplinary audience of popular music scholars. Given that it
does not feature detailed music analysis and is written in a
straightforward academic tone, it would also be useful in promoting
discussion of any of the albums featured, as well as the general
development and current landscape of Australian popular music, in
both scholarly and classroom contexts.
*Context*
Girl meets boy; girl meets girl, girls beat boys; hippies to
hip-hop, brothers to others... The close readings of Australian
albums since 1965 here show how work in these force fields plays
out. Enjoy these symptoms, this creativity and attitude!
*Peter Beilharz, Professor of Critical Theory, Sichuan University,
China, and Professor of Culture and Society, Curtin University,
Australia*
One of those publications that, when it appears, causes the
reaction, 'Fantastic! - about time there was a book on this!' And
what a welcome publication it is: stellar authors celebrating, with
scholarly rigour, the diversity and dynamism of Australia's
landmark rock/post-punk/metal rock/electronica/Indigenous hip-hop
(and beyond) albums over the last half-century, with particular
focus on developments in the new millennium.
*Linda Kouvaras, Associate Professor of Music, University of
Melbourne, Australia*
Here is a collection of essays that opens readers' ears to the
history of popular music in Australia. It's not the reinforcement
of a canon (there's no AC/DC here), but rather an eclectic playlist
aimed at broadening our understanding of the Australian music
industry, its musicians and its audiences, from 1965 to the present
day.
*Sarah Hill, Senior Lecturer in Music, Cardiff University, UK*
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