ABSTRACT
A central concept in the discourses surrounding popular music, authenticity is imbued with considerable symbolic value. As commonly used, the term authenticity assumes that the producers of music texts undertook the ‘creative’ work themselves; that there is an element of originality or creativity present, along with connotations of seriousness, sincerity, and uniqueness; and that, while the input of others is recognized, it is the musicians’ role that is regarded as pivotal. Important in identifying and situating authenticity is the commercial setting in which a recording is produced, with a tendency to dichotomize the music industry into (more authentic, less commercial) independent labels and the majors (more commercial, less authentic). Perceptions of authenticity (or non-authenticity) are also present in the degree to which performers and records are assimilated and legitimized by particular subcultures or communities. As I outlined in Chapter 3, authenticity is traditionally associated with live performance, a view undermined by the rise of disco and later dance cultures. Here I want to further consider the nature and uses of authenticity through a discussion of the distinction often made between ‘rock’ and ‘pop’; the nature and status of ‘covers’; and its relationship to the concept of a ‘rock canon’ of recordings and artists.
