Provides an alphabetical listing of artists of the "New Wave of American Heavy Metal" (NWoAHM), including name, official World Wide Web site address, and band member line-up, followed by a biography and discography. Additional information available via the Rock & Metal database at www.rockdetector.com.

In the late 1970s, aggressive, young bands are forming across Britain. Independent labels are springing up to release their music. But this isn't the story of punk. Forget punk. Punk was a flash in the pan compared to this. This is the story of the New Wave of British Heavy Metal, a musical movement that changed the world. From this movement - given the unwieldy acronym NWOBHM - sprang streams that would flow through metal's subsequent development. Without NWOBHM there is no thrash metal, no death metal, no black metal. Without the rise of Iron Maiden, NWOBHM's standard bearers, leading the charge to South America and to South Asia, metal's global spread is slower. Without the NWOBHM bands - who included Def Leppard, Motorhead, Judas Priest, Diamond Head and many others - the international uniform of heavy metal - the 'battle jacket' of a denim jacket with sleeves ripped off, and covered with patches (usually sewn on by the wearer's mum), worn over a leather biker jacket - does not exist: 'Denim and leather brought us all together,' as Saxon put it. No book has ever gathered together all the principals of British heavy rock's most fertile period: Jimmy Page, Rick Allen, Michael Schenker, Robert John 'Mutt' Lange, Ritchie Blackmore, Rick Savage, Phil Collen, David Coverdale, Cronos, Biff Byford, Joe Elliott, Rob Halford, Ian Gillan, Phil Mogg, Robert Plant, Tony Wilson, Lars Ulrich, Pete Waterman to name a few. In Denim and Leather, these stars tell their own stories - their brilliant, funny tales of hubris and disaster, of ambition and success - and chart how, over a handful of years from the late 1970s to the early 1980s, a group of unlikely looking blokes from the provinces wearing spandex trousers changed heavy music forever. This is the definitive story about the greatest days of British heavy rock.

Metaldata: A Bibliography of Heavy Metal Resources is the first book-length bibliography of resources about heavy metal. From its beginnings in the late 1960s and early 1970s, heavy metal has emerged as one of the most consistently popular and commercially successful music styles. Over the decades the style has changed and diversified, drawing attention from fans, critics, and scholars alike. Scholars, journalists, and musicians have generated a body of writing, films, and instructional materials that is substantial in quantity, diverse in approach, and intended for many types of audiences, resulting in a wealth of information about heavy metal. Metaldata provides a current and comprehensive bibliographic resource for researchers and fans of metal. This book also serves as a guide for librarians in their collection development decisions. Chapters focus on performers, musical instruction, discographies, metal subgenres, metal in specific places, and research relating metal to the humanities and sciences, and encompass archives, books, articles, videos, websites, and other resources by scholars, journalists, musicians, and fans of this vibrant musical style.

Music and Heritage provides new thinking about the diverse ways people engage with heritage. By exploring the relationships that exist between music, place and identity, the book illustrates how people form attachments to place and how such attachments are represented by sound and music-making. Presenting case studies and perspectives from across a range of genres, the volume argues that combining music with heritage provides an alternative and productive opportunity to think about heritage values and place attachment. Contributions to this edited collection use a diversity of methods, perspectives, cues and genres to reflect critically on issues related to these and other interconnections in ways that encourage new thinking about the character, meaning and purpose of cultural heritage, and the various ways in which people can interact with it through sound – thus re-encountering the supposedly familiar world around them. Taking heritage studies, musicology and place-making research in new directions, Music and Heritage will be of interest to academics and students engaged in the study of heritage, history, music, geography and anthropology. It will also be relevant to those with an interest in how music relates to place-making and place attachment, as well as to practitioners and policymakers working in the planning, design and creative sectors.

RUSTED METAL is a definitive guide to Heavy Metal and Hard Rock music in the Pacific Northwest (Oregon, Washington, Idaho and Vancouver BC) from 1970 to 1995 by local authors and music fans James R. Beach, Brian L. Naron, James D. Sutton and James Tolin. Featuring a comprehensive guide to the bands, clubs, music and more (including interviews with members of: Metal Church, Heart, Rail, TKO, Culprit, Sanctuary, Black N' Blue, Wild Dogs, Pearl Jam, Q5, Heir Apparent, Shadow, Overlord, Panic, Malice, Glacier, Coven, Cruella, Forced Entry, Whizkey Stik, High Voltage, Widow, Wehrmacht, Gargoyle, Lipstick and many others - around 100 brand new interviews in all!). Features over 500 band bios, discography, concert listings, tons of photos, flyers, covers, merchandise, etc. as well.

In Heavy Metal Music in Latin America: Perspectives from the Distorted South, the editors bring together scholars engaged in the study of heavy metal music in Latin America to reflect on the heavy metal genre from a regional perspective. The contributors’ southern voices diversify metal scholarship in the global north. An extreme musical genre for an extreme region, the contributors explore how issues like colonialism, dictatorships, violence, ethnic extermination and political persecution have shaped heavy metal music in Latin America, and how music has helped shape Latin American culture and politics.

The year is 1983, and Chuck Klosterman just wants to rock. But he's got problems. For one, he's in the fifth grade. For another, he lives in rural North Dakota. Worst of all, his parents aren't exactly down with the long hairstyle which rocking requires. Luckily, his brother saves the day when he brings home a bit of manna from metal heaven, SHOUT AT THE DEVIL, Motley Crue's seminal paean to hair-band excess. And so Klosterman's twisted odyssey begins, a journey spent worshipping at the heavy metal altar of Poison, Lita Ford and Guns N' Roses. In the hilarious, young-man-growing-up-with-a-soundtrack-tradition, FARGO ROCK CITY chronicles Klosterman's formative years through the lens of heavy metal, the irony-deficient genre that, for better or worse, dominated the pop charts throughout the 1980s. For readers of Dave Eggers, Lester Bangs, and Nick Hornby, Klosterman delivers all the goods: from his first dance (with a girl) and his eye-opening trip to Mandan with the debate team; to his list of 'essential' albums; and his thoughtful analysis of the similarities between Guns 'n' Roses' 'Lies' and the gospels of the New Testament.