This page is here to provide the background of and some suggestions for the anthology Rock and Romanticism. It is not a list of proposed or accepted essays, and the people listed at the bottom are not part of a contributor list. The list below is a list of suggested topics for essays seeking connections between rock and Romanticism, and the people listed at the bottom of this page are people who contributed topics on NASSR-L — and they have my gratitude.
The anthology Rock and Romanticism began when I suggested an exhibit about Ohio rock and roll to Prof. Lee Fearnside, curator of the Diane Kidd Art Gallery at Tiffin University. I then decided to develop a course about rock and roll and Romanticism for the Spring 2016 semester, so I asked my colleagues on NASSR-L for music recommendations that pair well with Romantic-era poetry and prose. They responded generously with numerous suggestions both for pairings between rock and roll and Romantic texts and for the course in general.
The list of suggestions that I received is below, which as you see very broadly defines both Romanticism and rock and roll. Please email me with further suggestions at jamesrovira at gmail dot com, and I will add your suggestions to the list and credit you below. Many thanks to all who contributed.
Following the list of pairings is a short bibliography and a list of NASSR-L members who suggested ideas about the intersections of rock and Romanticism. It is not a list of contributors to the anthology, however.
|William Blake, general responses
Note: Donald Fitch’s Blake Set to Music provides a comprehensive list up to 1989.
Zoamorphosis is an excellent source of material on Blake and popular culture.
If you’re interested in more on William Blake in popular culture, check out the online gallery for the Blake in the Heartland exhibit.
Check out Artsy’s page on William Blake, which has links to Blake images not normally emphasized on Blake pages.
|William Blake, An Island in the Moon||Live performance, stage adaptation by Joe Viscomi|
|William Blake, The Marriage of Heaven and Hell||Ulver, Themes from William Blake’s The Marriage of Heaven and Hell|
|William Blake, Milton a Poem, “And did those feet…”||Jimi Hendrix, “Voodoo Chile”
Emerson, Lake and Palmer, “Jerusalem“
|William Blake, Poetical Sketches||The Fugs, “How Sweet I Roamed“|
|William Blake, Songs of Innocence and of Experience||Anda al Sinaia, Songs of Innocence and Experience, “The Clod and the Pebble”
Daniel Amos, “Instruction Thru Film” (“The Chimney Sweeper,” Innocence)
Daniel Amos, “Sleep Silent Child”
David Axelrod, Song of Innocence
David Axelrod, Songs of Experience
William Bolcom, Songs of Innocence and Experience (2.5 hr. orchestral performance of all of the Songs from the 1950s, highly diverse musically)
The Fugs, “Ah! Sunflower”
The Man on the Margin (Italian band), “Songs of Innocence and Experience”
Van Morrison, “Let the Slave”
Someone Still Loves You Boris Yeltsin, “The Clod and the Pebble”
Terry Scott Taylor, Knowledge and Innocence
U2, Songs of Innocence and “Beautiful Ghost/Introduction to the Songs of Experience“
Van Morrison, “You Don’t Pull No Punches, But You Don’t Push the River”
Victor Vertunni, “Little Boy Lost” (Part of his Songs of Innocence and Experience Project)
Walter Zimmerman, Songs of Innocence & Experience (1949 string quartet, not remotely rock and roll)
See Martha Redbone above for several individual songs.
|Robert Burns, general responses||Hugh Morrison, Robert Burns Rocks|
|Robert Burns, “My Heart’s in the Highlands”||Bob Dylan, “Highlands“|
|George Gordon, Lord Byron||David Bowie, “Jazzin’ for Blue Jean“|
|George Gordon, Lord Byron, “So We’ll Go No More A-Roving”||Leonard Cohen, “So We’ll Go No More A-Roving“|
|Emily Brontë, Wuthering Heights||Kate Bush, “Wuthering Heights”
Michael Penn, “No Myth“
|Samuel Taylor Coleridge, “Rime of the Ancient Mariner”||Iron Maiden, “Rime of the Ancient Mariner”
Ian McKellen reading “Rime“
|Samuel Taylor Coleridge, “Kubla Khan”||Rush, “Xanadu”
Olivia Newton-John and ELO, “Xanadu“
|John Keats, “Lamia”||Genesis, “The Lamia“|
|John Keats, “Ode on Melancholy”||Nick Cave & the Bad Seeds feat. Kylie Minogue, “Where the Wild Roses Grow“|
|Jack Kerouac, On the Road||The Waterboys, Modern Blues, especially “Long, Strange, Golden Road“|
|Edgar Allan Poe, Miscellaneous Poems||Jeff Buckley, “Ulalume”
Marianne Faithfull, “Annabel Lee”
Iggy Pop, “Tell Tale Heart”
Lou Reed, The Raven
Christopher Walken, “The Raven“
|Mary Shelley, Frankenstein||Edgar Winter, “Frankenstein” (maybe more a reference to James Whales’s film?)
Grateful Dead, “Ramble on Rose”
New York Dolls, “Frankenstein“
|Percy Shelley, “Adonais”||The Cure, “Adonais”
Mick Jagger reading “Adonais”
Vincent Price reading “Adonais” (Yes, Vincent Price is rock and roll — links appreciated if available)
|Percy Shelley, The Masque of Anarchy||Scritti Polliti, “Lions After Slumber“|
|Percy Shelley, “Ozymandias”||Glass Hammer, “Ozymandias”
Walter White/Heisenberg reading “Ozymandias” (he’s officially rock and roll now too)
Vincent Price reading “Ozymandias“
|Percy Shelley, “To a Skylark”||The Cure, liner notes to Disintegration|
|William Wordsworth, general responses||Joy Division, “Heart and Soul”
Van Morrison, “Summertime in England” (with references to Coleridge, Yeats, and T.S. Eliot)
|William Wordsworth, “My Heart Leaps Up”||Anton Corbjin, Control, reading of Wordsworth’s poem by Ian Curtis of Joy Division|
|William Butler Yeats, general responses||The Waterboys, An Appointment with Mr. Yeats, “September 1913” and others|
|William Butler Yeats, “The Stolen Child”||The Waterboys, “The Stolen Child“|
|References to Byron, Shelley, and Keats||Natasha Bedingfield, “These Words“|
|References to John Keats, William Butler Yeats, and Oscar Wilde||The Smiths, “Cemetry Gates“|
|“Romantic in tone, mood, or spirit”||The Clash
The Dropkick Murphys
Bob Dylan, Highway 61 Revisited. See D.A. Pennebaker’s film Don’t Look Back
Echo and the Bunnymen
Edward Sharpe and the Magnetic Zeros
King Crimson, In the Court of the Crimson King, In the Wake of Poseidon
The Kinks, Arthur
The Moody Blues, On the Threshold of a Dream and A Question of Balance
Ritchie Blackmore’s Night
Pink Floyd, The Wall: Film, Full Album, Soundtrack, Live
The Pogues, “Lorelei”
Simon and Garfunkel
The Tragically Hip, “Poets”
The Waterboys, A Pagan Place, “A Church Not Made with Hands”
The Who, Tommy, Quadrophenia, Who’s Next
|The “New Romanticism” of the 1980s||Spandau Ballet|
Dettmar, Kevin. Is Rock Dead?
Dettmar, Kevin. Think Rock.
Dettmar, Kevin and Willem Richey. Reading Rock and Roll: Authenticity, Appropriation, Aesthetics. 1999.
Doughty, Howard. “Rock: A Nascent Protean Form.” Popular Music and Society 2.2 (1973).
Eisen, Jonathan. The Age of Rock: Sounds of the American Cultural Revolution (Random House) and The Age of Rock 2: Sights and Sounds of the American Cultural Revolution (Vintage Books).
Lewis, George H. Side Saddle on the Golden Calf: Social Structure and Popular Culture in America (Goodyear Pub. Co.).
Maddocks, Melvin. “The New Cult of Madness.” Time Magazine (March 13, 1972).
Marshall, Lee. “Metallica and Morality: The Rhetorical Battleground of the Napster Wars.” ESLJ 1.1 (2004).
Passmore, John. “Paradise Now: The Logic of the New Mysticism.” Encounter (November 1970). CIA funded source.
Prendergast, Mark. The Ambient Century – from Mahler to Moby, the Evolution of Sound in the Electronic Age (Bloomsbury, 2003)
Reynolds, Simon. “Ecstasy is a Science: Techno-Romanticism.” Stars Don’t Stand Still in the Sky: Music and Myth. Ed. Karen Kelly and Evelyn McDonnell. New York: New York UP, 1999. 199-205.
Ross, Alex. The Rest is Noise: Listening to the Twentieth Century.
Weinstein, Deena. “Art Versus Commerce: Deconstructing a (Useful) Romantic Illusion.” Stars Don’t Stand Still in the Sky: Music and Myth. Ed. Karen Kelly and Evelyn McDonnell. New York: New York UP, 1999. 57-69.
Clark, Steve, Tristanne Connolly, and Jason Whittaker. Blake 2.0: William Blake in 20th-Century Art, Music, and Culture. Palgrave Macmillan, 2012.
Finch, Donald. Blake Set to Music.
Barfield, Steven, ‘ “The Time of Our Great Undoing”: Love, Madness, Catastrophe and the Secret Afterlife of Romanticism in Nick Cave’s Love Songs’, in John..H..Baker (ed.) The Art of Nick Cave: New Critical Essays (Bristol, UK. Intellect Book, 2012) 239-260.
Welberry, Karen. “Nick Cave and the Australian Language of Laughter.” Cultural Seeds: Essays on the Work of Nick Cave. Farnham: Ashgate, 2009. 47-64.
The Doors/Jim Morrison
Paunovic, Zoran. Istorija, fikcija, mit (Geopoetika, Beograd 2006). In Serbian. Essay on Blake and Morrison.
Corcoran, Neil. Do You, Mr. Jones? Bob Dylan with the Poets and Professors. Chatto.
Dettmar, Kevin ed. The Cambridge Companion to Bob Dylan.
Dylan, Bob. Chronicles. 2 volumes. Simon and Schuster.
Ricks, Christopher. Dylan’s Visions of Sin. Harper Perennial.
McCutcheon, Mark A. Techno, Frankenstein, and Copyright. Popular Music 26.2 (2007): 259-280.
Hearty thanks to the following NASSR-L members who suggested connections, in alphabetical order:
William Christopher Brown
Joseph M. Johnson
Aaron J. Ottinger
Teresa Romero Sánchez-Herrero