Musical responses to oppression and alienation: Blues, spirituals, secular thrash, and Christian thrash metal music

  • Charles M. Brown
Multi-Culture/Music Culture: Two Studies


Social Psychology Metal Music Musical Response 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.


  1. Anthrax. 1988. “Be all, End all” on “State of Euphoria”. New York NY: Atlantic Records, 91–104.Google Scholar
  2. Baker, Paul. 1979.Contemporary Christian Music. Crossway books: Westchester, Illinois.Google Scholar
  3. Bowcott, Nick. 1991. “How to Play Thrash” inGuitar World. August.Google Scholar
  4. Carlin, Richard. 1985.Rock and Roll: 1955–1970. Facts on File Publications: New York, New York.Google Scholar
  5. Cone, James. 1972.The Spirituals and the Blues: An Interpretation. Seabury Press: New York, New York.Google Scholar
  6. Curtis, Jim. 1987.Rock Eras: Interpretations of Music and Society, 1954–1984. Bowling Green State University Popular Press: Bowling Green, Ohio.Google Scholar
  7. Deliverance. 1990. “Flesh and Blood” on “Weapons of our Warfare.” Santa Anna CA: Intense Records, CD 09089.Google Scholar
  8. —. 1990. “Slay the Wicked” on “Weapons of our Warfare”. Santa Anna CA: Intense Records, CD 09089m.Google Scholar
  9. Denisoff, Serge. 1985. inNewsweek. December 30, P. 54.Google Scholar
  10. Enroth, Ronald M.; Ericson, Edward E.; and Peters B. C. 1972.The Jesus People: Old-Time Religion In The Age Of Aquarius. Grand Rapids: William B. Eerdmans Pub. Co.Google Scholar
  11. Ferris, William. 1978.Blues From the Delta. Anchor Press/Doubleday: Garden City, New York.Google Scholar
  12. Johnson, Robert. 1990. “Crossroad Blues” on “The Complete Recordings” Disc #1. New York NY: CBS Records, CK 46233.Google Scholar
  13. —. 1990. “Kindhearted Woman Blues” on “The Complete Recordings” Disc #1. New York NY: CBS Records, CK 46233.Google Scholar
  14. Megadeth. 1990. “Dawn Patrol” On “Rust in Peace”. Hollywood CA: Capitol Records, C4-91935.Google Scholar
  15. Metallica. 1985. “Fade to Black” on ”Ride the Lightning”. Los Angeles CA: Elektra/Asylum Records, 60396.Google Scholar
  16. Pearson, Barry Lee. 1984. “Sounds So Good to Me.” Univ. of Pennsylvania Press: Philadelphia, Pennsylvania.Google Scholar
  17. Peters, Dan; Peters, Steve & Merril, Cher. 1986.What About Christian Rock? Bethany House Pub: Minneapolis Minn.Google Scholar
  18. Rabey, Steve. 1987. “Heavy Metal Mania: In the Record Bins and on the Concert Stage, Christian Heavy Metal is Hot. But What Hath Stryper Wrought?”Newsound, Spring, 10ff.Google Scholar
  19. Seay, Davin & Neely, Mary. 1986.Stairway to Heaven. Ballatine/Ephiphany Book: New York, New York.Google Scholar
  20. Testament. 1987. “The Haunting” on “The Legacy”. New York: Atlantic Recording Corporation.Google Scholar
  21. Tourniquet. 1991. “Stereotaxic Atrocities” on “Psycho Surgery”. Santa Anna CA: Intense Records, FLD 9244.Google Scholar
  22. Van Pelt, Doug. 1989. “Mosh for the Master?” in Contemporary Christian Music Magazine. February.Google Scholar
  23. Vengeance. 1988. “Beheaded” on “Human Sacrifice”. Chatsworth CA: Intense Records, SSC 8115.Google Scholar
  24. Weinstein, Deena. 1991.Heavy Metal: A Cultural Sociology. New York: Lexington Books.Google Scholar
  25. Wicke, Peter. 1987.Rock Music: Culture, Aesthetics and Sociology. Cambridge University Press.Google Scholar

Copyright information

© Human Sciences Press, Inc 1995

Authors and Affiliations

  • Charles M. Brown

There are no affiliations available

Personalised recommendations