Here are 51 books that Dance Music Manual fans have personally recommended if you like
Dance Music Manual.
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Having started DJing at the age of 15 (my mum had to drive me to gigs!) and DJed professionally since 1991, I've seen and done most things in this game, from DJing at Privilege in Ibiza (at the time, the biggest nightclub in the world), to co-promoting an award-winning club night of my own in my home town of Manchester, England, for many years, to other types of DJing like playing on the radio, a stint as a mobile DJ, live streaming (in Covid), podcasting andāsince 2010ārunning Digital DJ Tips, the world's largest online DJ school.
Definitely dated, UK-centric, and undeniably highly opinionated, this is nonetheless essential. It is a fascinating read, a historical document of the height of the 90s dance scene, and it's both honest and humorous to boot. If you want a pile of hints and tips about how to DJ well while at the same time finding yourself falling in love with how special dance music can be and what it can mean to those who dedicate their lives to it, add this one to your list.
Not one to leave lying around, though, as it is pretty honest about the underbelly of the dance scene in placesāas is another book we're getting to later in this list.
DJs have gone from being underpaid live jukeboxes to becoming premier entertainers, producers, businessmen, and musicians capable of commanding admiration from thousands and earning serious money. Bill Brewster and Frank Broughton's Last Night a DJ Saved My Life was the definitive history of the DJ. Now they gather their mastery of the artistic and technical aspects of being a DJ into a clear, accessible, and entertaining guide. How to DJ is the perfect guide -- from the most basic keys to establishing a music collection and a distinctive sound, to elementary record-spinning, to the complex skills of scratching, hot-mixing, andā¦
Having started DJing at the age of 15 (my mum had to drive me to gigs!) and DJed professionally since 1991, I've seen and done most things in this game, from DJing at Privilege in Ibiza (at the time, the biggest nightclub in the world), to co-promoting an award-winning club night of my own in my home town of Manchester, England, for many years, to other types of DJing like playing on the radio, a stint as a mobile DJ, live streaming (in Covid), podcasting andāsince 2010ārunning Digital DJ Tips, the world's largest online DJ school.
I have to declare an interest here as I was John's technical editor for the most recent edition of this book (which isn't that recent, to be honestābut trust me, a lot of this advice is timeless). Therefore, this book remains a great guide to DJing if you're more interested in learning how it was done before laptops, subscription music services, sharing your mixes online, and all the other bells and whistles that digital has brought to the table.
One of the central skills of DJing is being able to "beatmix" tunes effectively, and John is particularly good at teaching systematically how to do this without using any of the aids modern DJing affords the beginner. Dated, then, but still undeniably useful.
The bestselling guide to spinning and scratching is back! If you've ever spent hours in your bedroom with two turntables and an earful of tracks that sound off-beat or out of key, DJing For Dummies is the go-to guide for taking your skills to the next level. Inside, John Steventon, a successful club DJ, walks you through the basics of mixing, the techniques and tricks you need to create your own DJ style and how to make DJing work for you.
Covering both digital and old-school vinyl-based instruction, this guide covers all theā¦
Having started DJing at the age of 15 (my mum had to drive me to gigs!) and DJed professionally since 1991, I've seen and done most things in this game, from DJing at Privilege in Ibiza (at the time, the biggest nightclub in the world), to co-promoting an award-winning club night of my own in my home town of Manchester, England, for many years, to other types of DJing like playing on the radio, a stint as a mobile DJ, live streaming (in Covid), podcasting andāsince 2010ārunning Digital DJ Tips, the world's largest online DJ school.
As a DJ tutor who's been in this game for 30+ years, I'm amazed at how often students really want me to tell them a bit about what it was like to DJ on the club scene "back in the day." When they do, I send them to this book.
Written by an anonymous DJ who toured the world playing in the best clubs for long enough to experience many highs and some considerable lows, it is part memoir, part Spinal Tap, as it lifts the lid on the hedonism, stupidity, and craziness of the club/rave scene at its height. Certainly harrowing in parts, but it is also laugh-out-loud funny - and is nothing if not brutally honest.
DISCOVER THE REALITY OF LIFE AS A SUPERSTAR DJ IN THIS SENSATIONAL EXPOSE OF WHAT REALLY GOES ON BEHIND THE BPMs.
The glamour, the parties, the excess, the highs and, of course, the lows. In The Secret DJ, a globally renowned DJ takes us on a breakneck journey, plunging us into a life lived in the hedonistic fast lane of club culture over the last thirty years, from the dawn of acid house to the dusk of EDM. Whether playing to ten thousand fans in Ibiza's superclubs or in a local pub function room, this DJ's experiences are a cautionaryā¦
Tap Dancing on Everest, part coming-of-age memoir, part true-survival adventure story, is about a young medical student, the daughter of a Holocaust survivor raised in N.Y.C., who battles self-doubt to serve as the doctorāand only womanāon a remote Everest climb in Tibet.
Having started DJing at the age of 15 (my mum had to drive me to gigs!) and DJed professionally since 1991, I've seen and done most things in this game, from DJing at Privilege in Ibiza (at the time, the biggest nightclub in the world), to co-promoting an award-winning club night of my own in my home town of Manchester, England, for many years, to other types of DJing like playing on the radio, a stint as a mobile DJ, live streaming (in Covid), podcasting andāsince 2010ārunning Digital DJ Tips, the world's largest online DJ school.
It's a good book to own alongside the same authors' "how-to" guide listed above. I always recommend this one for my students when they want to understand a bit more about what it is actually like to DJ professionally and why people dedicate their lives to it.
The book is in the form of a series of interviews with DJs, many of whom are well known (or at least, were at the time it was writtenāit is quite old), but many of whom certainly weren't ever famous, and historically it covers a large timespan. Success in DJing means something very different depending upon your outlook, where you are in the world, and so on, and this book empowers the learning DJ to have confidence in their dreams by sharing a wide range of stories and experiences of the life of the DJ.
'Literally changed the course of my life' James Murphy
'The chapter on Larry Levan alone transformed me into wanting to be your favorite DJ' Questlove
'The original and still the best' Gilles Peterson
'We can't tell the story of dance music without speaking the names of Sharon White and Judy Weinstein, so I welcome this vital update' The Blessed Madonna
When someone says, 'You have to know your history...' this is it. This classic book is the whole unruly story of dance music in one volume. It recreates the dancefloors that made history, conjuring their atmosphere with loving detail andā¦
Having been a professional singer for about five decades and having grown up with, and studied the early recordings of operatic singers for just as long, I feel that I am in an unusual position when it comes to analyzing their art. The ability to describe a singerās voice on paper is a unique challenge but one that I enjoy solvingāespecially since each voice is a law unto itself. When done correctly, analysis like this should make the reader want to go and find the recording so that they can listen for themselves. This is especially true for my expanded Kindle version of Early 20th Century Opera Singers.
Herman Klein wrote for the magazine, Gramophone during the 1920s and his reviews of the then-current 78 r.p.m. recordings are among the best you can read. This book from Amodeus Press contains all his reviews and articles for that magazine and is a fascinating, essential read. This is another book that I have read and re-read over the years, scribbled in the margins, and quoted from in my own writing.
From Klein's comments on early recordings that remain available today, the reader can get a glimpse of what legendary singers such as Patti and Lind sounded like more than a century ago. The essays of Herman Klein that appeared in The Gramophone from 1924 until 1934 are indispensable sources of information on the singers of the Golden Age.
Iāve long had an ambivalent relationship with airports. They have been the starting point for my adventures, but I have also known well the discomfort, boredom, stress, surveillance, bad food, and other unpleasantries that often define airport experiences. Despite my ambivalence, Iāve found airports to be fascinating places where differently situated people (travelers and workers) encounter one another. Iāve learned that those encounters, as well as airport operations and design, tell us something about the places where they are located and the broader societies in which we live. Iāve since become aware that reading (and writing) about airports are also great ways to gain such insights.
This account of how LAX shaped its surrounding environment usefully affirmed my own decision to focus on a particular place. Its careful focus on how jet noise catalyzed relationships among a wide array of people and social forces in Los Angeles helped me understand better how such relationships had developed about 400 miles to the north.
Beyond all of that, this book has a lot of smart things to say about how noise more generally shapes our urban environments and attunes us to them.
In Atmospheric Noise, Marina Peterson traces entanglements of environmental noise, atmosphere, sense, and matter that cohere in and through encounters with airport noise since the 1960s. Exploring spaces shaped by noise around Los Angeles International Airport (LAX), she shows how noise is a way of attuning toward the atmospheric: through noise we learn to listen to the sky and imagine the permeability of bodies and matter, sensing and conceiving that which is diffuse, indefinite, vague, and unformed. In her account, the "atmospheric" encompasses the physicality of the ephemeral, dynamic assemblages of matter as well as a logic of indeterminacy. Itā¦
Truth told, folks still ask if Saul Crabtree sold his soul for the perfect voice. If he sold it to angels or devils. A Bristol newspaper once asked: āAre his love songs closer to heaven than dying?ā Others wonder how he wrote a song so sad, everyone who heard itā¦
I believe laughing together is a big part of the glue that bonds people together. Humor has gotten me through my toughest timesāand given me much joy in the good times. Laughing over my books with one or both of my toddler grandsons will always be cherished memories for me. Likewise, I love hearing about moments of connection for other readers bonding over Applesauce Is Fun to Wear, Babyās Opposites, Babyās Firsts, and Pirate Jack Gets Dressed.
Picture books should appeal to the ear as well as the eye. Coming from a family of musicians, Iām partial to rhyme, as you might guess from most of my picks here.
This book is full of unexpected delights from beginning to end.
The first spread states, āROAR!! Goes theā¦ā opposite a cutout that shows a tiger driving. The next spread says, āā¦TRUCK that rumbles up the road,ā and shows the tiger driving a truck with a crate of tacks tumbling onto the road.
Likewise, āHissā¦goes the CAR that gets a flat tire,ā driven by a snake. A parade of vehicles gets held up behind them until a coyote-driven police car (Awooo!) and beaver-driven tow truck (chomp!) save the day.
Cushmanās illustrations contain even more visual jokes. The sloth passing the pile-up on the sidewalk while pushing a tennis-ball-footed walker made me laugh out loud, even without a vehicle- or animal-loving toddler to read it to.
With a nod to Richard Scarry, this inventive picture book surprises readers with every turn of the page!
Hiss! Screech! Roar! It's a noisy day in Bumperville! But are the sounds what you think they are? That Honk! must surely be a goose. But turn the page and it's the taxi that a goose is driving! Using cleverly placed die-cuts, this inventive book hints at what is making the sound, but with each turn of the page, it's an eye-opening surprise and part of an unfolding story that is part guessing game and part giggle-inducing caper. Abi Cushman is theā¦
Richard Niles was born in Hollywood but grew up in London where his 50-year professional career as a composer, arranger, record producer led to work with some of the most acclaimed artists of our time, including Paul McCartney, Ray Charles, James Brown, Tina Turner, Cher and jazz icon Pat Metheny. He has worked on 20 Gold and 28 Platinum records. He has published many books on music including The Pat Metheny Interviews, The Invisible Artist, From Dreaming to Gigging, Piano Grooves, Songwriting ā The 11-Point Plan, Adventures in Arranging, Adventures in Jazz Composition, What is Melody?, and How to be an Employable Musician. Dr. Niles' PhD is from Brunel University and he has lectured internationally.
Known as āthe man who invented the ā80sā, Trevor Horn is considered one of the most innovative producers of modern pop.
He revolutionized production from his group The Buggles Video Killed the Radio Star to Band Aidās Do they Know Itās Christmas?, to hits for Frankie Goes to Hollywood, ABC, Yes, Rod Stewart, and Seal. I can tell you this book is the real deal because I worked with him on hits for The Pet Shop Boys, Grace Jones, Frankie, and ABC.
This book takes you inside his unique process, and reveals his production concept - at once mind-blowing and surprisingly down-to-earth.
As a renowned recording-studio maven, Trevor Horn has been dubbed 'the man who invented the '80s'.
His production work since the glory days of ZTT represents a veritable 'who's who' of intelligent modern pop, including the likes of ABC, Frankie Goes to Hollywood, Paul McCartney, Rod Stewart, Pet Shop Boys, Seal, Simple Minds, Grace Jones and Yes - among many others.
This book is Trevor's story in his own words, as told through the prism of twenty-three of his most important songs - from the ones that inspired him to the ones that definedā¦
I love the outdoors, and there are so many benefits to playing, imagining, and being outside. I grew up on a fruit farm in Southern Ontario, so I spent much of my growing years playing outdoors and enjoying the natural world. When I became a professional educator, I read the research about the very concrete benefits being outside every day has on young learners. Bring on the recess! Books have a way of sparking action. When we read about how someone else enjoys the outdoors, it makes us want to do the same. Books are inspiring.
Ten Ways to Hear Snow commemorates the sounds of winter. Lina sets off alone to visit her grandmother (another Little Red Riding Hood reference!) the morning after a blizzard. As she walks through the neighbourhood, she notices the sounds snow makes while building a snowman, shoveling snow, and more. At her grandmaās place, they form a new point of connection because her grandma canāt see well and so relies on listening.
One winter morning, Lina wakes up to silence. It's the sound of snow - the kind that looks soft and glows bright in the winter sun. But as she walks to her grandmother's house to help make the family recipe for warak enab, she continues to listen.
As Lina walks past snowmen and across icy sidewalks, she discovers ten ways to pay attention to what might have otherwise gone unnoticed.
Music has been a passion ever since I joined my motherās hippie jam sessions as a toddler. During my 17 years as a professional cellist-in-training, I tried Yo-Yo Maās Stradivarius and played Pachelbelās Canon at a gazillion weddings. I even made it to Carnegie Hall, performing in a university orchestra on the gilded stage. But injuries, both physical and psychological, put an end to my classical music career. Trying to forget my cello years, I entered journalism, eventually becoming a staff health reporter at Canadaās national newspaper, The Globe and Mail. Later, when a percussion workshop triggered a dramatic shift in my perspective, I answered the call to explore music in a more expansive way.
In the words of Joni Mitchell, you ādonāt know what you got till itās gone.ā Only a person who has gone deaf partway through life knows what it means to live with and without sound. And music.
In this evocative book, British journalist Bella Bathurst chronicles her profound loss of hearing starting at age 27āand twelve years later, its dramatic return. The health reporter in me gave a thumbs-up to her skillful exploration of the lesser-known science of hearing.
She introduces expert lip readers, soldiers who accept deafness as an occupational hazard, and the copper āear trumpetsā used by Beethoven as his greatest joy ebbed. When Bathurst regains her hearing, I was awed by her description of hearing music anew: āIt was a thousand volts of birdsong.ā
In 1997, Bella Bathurst began to go deaf. Within a few months, she had lost half her hearing, and the rest was slipping away. She wasn't just missing punchlines, she was missing most of the conversation - and all of the jokes. For the next twelve years deafness shaped her life, until, in 2009, everything changed again.
Sound draws on this extraordinary experience, exploring what it is like to lose your hearing and - as Bella eventually did - to get it back, and what that teaches you about listening and silence, music and noise. She investigates the science behindā¦