Here are 100 books that Living Colour's Time's Up fans have personally recommended if you like
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I’m a journalist whose work is often heard on NPR's national news magazines, and read in publications such as The New York Times, New York Magazine’s Vulture, BBC Culture, Wired, and Bandcamp. I'm most interested in stories about people, communities, and scenes that have been overlooked, forgotten, seen through a distorted lens, or perhaps never seen at all. I’m on a mission to get to a deeper understanding of what’s at stake in the way we see music and art- and the way we see ourselves.
Daphne A. Brooks’ book is a revolutionary work, centering more than a century of innovations by Black women in popular music who have been marginalized, overlooked, or erased.
Situating Zora Neale Hurston as a sound archivist and performer and Lorraine Hansberry as a cultural critic alongside blues pioneers such as Bessie Smith and Mamie Smith and contemporary artists like Janelle Monáe and Valerie June, Brooks doesn’t merely fill in blind spots.
She exposes how those blind spots reflect the partial, subjective view of white male critics and historians.
Showing us a different way of seeing and listening to culture, Brooks has informed and inspired my thinking, and some of the best work I’ve done as a journalist, including this piece about Elizabeth Cotten, whose music fueled the 1960s folk revival.
Winner of the PEN Oakland-Josephine Miles Award Winner of the MAAH Stone Book Award A Rolling Stone Best Music Book of the Year A Pitchfork Best Music Book of the Year
"Brooks traces all kinds of lines, finding unexpected points of connection...inviting voices to talk to one another, seeing what different perspectives can offer, opening up new ways of looking and listening by tracing lineages and calling for more space." -New York Times
An award-winning Black feminist music critic takes us on an epic journey through radical sound from Bessie Smith to Beyonce.
I’m a journalist whose work is often heard on NPR's national news magazines, and read in publications such as The New York Times, New York Magazine’s Vulture, BBC Culture, Wired, and Bandcamp. I'm most interested in stories about people, communities, and scenes that have been overlooked, forgotten, seen through a distorted lens, or perhaps never seen at all. I’m on a mission to get to a deeper understanding of what’s at stake in the way we see music and art- and the way we see ourselves.
With amazing illustrations by Rachelle Baker, the journalist Clover Hope spotlights dozens of women who have played an integral role in hip-hop’s story, from legends such as Roxanne Shanté and Lil’ Kim to less often celebrated trailblazers like Bytches with Problems.
Documenting women's often unrecognized influence, Hope leaves you with a sense of how deeply they have nevertheless left their mark, and keeps their legacy alive for future generations of music-makers.
An illustrated highlight reel of more than 100 women in rap who have helped shape the genre and eschewed gender norms in the process
The Motherlode highlights more than 100 women who have shaped the power, scope, and reach of rap music, including pioneers like Roxanne Shante, game changers like Lauryn Hill and Missy Elliott, and current reigning queens like Nicki Minaj, Cardi B, and Lizzo-as well as everyone who came before, after, and in between. Some of these women were respected but not widely celebrated. Some are impossible not to know. Some of these women have stood on their…
I’m a journalist whose work is often heard on NPR's national news magazines, and read in publications such as The New York Times, New York Magazine’s Vulture, BBC Culture, Wired, and Bandcamp. I'm most interested in stories about people, communities, and scenes that have been overlooked, forgotten, seen through a distorted lens, or perhaps never seen at all. I’m on a mission to get to a deeper understanding of what’s at stake in the way we see music and art- and the way we see ourselves.
Sinéad O’Connor rose to fame in the early 1990s, before social media, when tabloids made millions taking women down, as did the music press.
Back then there were few mechanisms to clap back, so much of what we thought we knew about her, before and after SNL, was warped by that perspective. Left with little sense of who O’Connor really was, we also had limited awareness of the great music she made long after she stopped making hits.
Unlike a lot of celebrity memoirs, O’Connor’s isn’t a victory lap or a bitter tell-all. Nor does it try to gloss over the difficult parts. Instead, it’s a chance for her to tell her story herself, and for us to finally see her for the brilliant and complicated artist she truly is.
From the acclaimed, controversial singer-songwriter Sinéad O’Connor comes a revelatory memoir of her fraught childhood, musical triumphs, fearless activism, and of the enduring power of song.
Blessed with a singular voice and a fiery temperament, Sinéad O’Connor rose to massive fame in the late 1980s and 1990s with a string of gold records. By the time she was twenty, she was world famous—living a rock star life out loud. From her trademark shaved head to her 1992 appearance on Saturday Night Live when she tore up Pope John Paul II’s photograph, Sinéad has fascinated and outraged millions.
I’m a journalist whose work is often heard on NPR's national news magazines, and read in publications such as The New York Times, New York Magazine’s Vulture, BBC Culture, Wired, and Bandcamp. I'm most interested in stories about people, communities, and scenes that have been overlooked, forgotten, seen through a distorted lens, or perhaps never seen at all. I’m on a mission to get to a deeper understanding of what’s at stake in the way we see music and art- and the way we see ourselves.
Nashville-based singer-songwriter Margo Price is the real deal.
Her beginnings were humble, and her struggles have been many. Her memoir takes you on the road with her through bad low-paying, low-attended early gigs, drinking, and drugs. Price's marriage/creative partnership is tender and beautiful, yet becomes fragile as it shoulders the unbearable loss of a newborn son.
Through it all, you can feel Price’s grit and determination to survive with her soul intact, making it in an industry that pressures artists to conform to its priorities and sets them up to fail when they resist- or simply try to be themselves.
Price’s music is the soundtrack to her courageous story in progress. In the best possible way, this book reads like the liner notes: honest, heartfelt, and profound.
"[An] engaging and beautifully narrated quest for personal fulfillment and musical recognition...This is a fast-paced tale in which music and love always take center stage...A truly gifted musician, Price writes about her journey with refreshing candor."-Kirkus, starred review
"Brutally honest...a vivid and poignant memoir."-The Guardian
Country music star Margo Price shares the story of her struggle to make it in an industry that preys on its ingenues while trying to move on from devastating personal tragedies.
When Margo Price was nineteen years old, she dropped out of college and moved to Nashville to become a…
A recovering newspaper journalist, I’ve lived and worked in Raleigh, North Carolina, since 1991, after growing up in Texas and Colorado. Professionally, I spent 28 years at Raleigh’s daily paper the News & Observer, primarily as a music critic, before taking my leave of the newspaper industry in 2019. Since then, I have gotten by as a freelancer writing for magazines, arts councils, alumni publications, and such. I also host a podcast – Carolina Calling, about North Carolina’s music history – while writing the occasional book. I’m also a member of the University of Colorado’s Trivia Bowl Hall Of Fame.
In its ambition and sweep across time and political upheavals as well as musical styles, this book may have been the closest thing I had to a model for my book.
Part musical memoir and part capsule history of the American South’s era of integration, Dixie Lullaby was written by longtime music journalist Mark Kemp – a man who grew up in Asheboro, North Carolina in the 1960s and ’70s and has the Lynyrd Skynyrd and Allman Brothers records to prove it.
In ""Dixie Lullaby"", a veteran music journalist ponders the transformative effects of rock and roll on the generation of white southerners who came of age in the 1970s - the heyday of disco, Jimmy Carter, and Saturday Night Live. Growing up in North Carolina, Mark Kemp burned with shame and anger at the attitudes of many white southerners - some in his own family - toward the recently won victories of the civil rights movement. ""I loved the land that surrounded me but hated the history that haunted that land,"" he writes. Then the down-home, bluesy rock of the Deep…
Hi, my name is Nick, and I’m a recovering rockist. I’ve collected records and vintage gear; I’ve owned Ray Coleman biographies. I’ve played in garage bands that did terrible punk-rock covers of songs like Cream’s “Sunshine of Your Love.” I even used to subscribe to Rolling Stone magazine. And most embarrassingly, I believed in the power of rock – to effect political change, to free people’s bodies and minds. But if once I was a true believer, today I’ve become a rock ’n’ roll skeptic. And I hope that this list might help you rethink everything you thought you knew about rock, too.
Some time in the 1960s, rock ’n’ roll became rock, and rock became white. That moment forms the core of Jack Hamilton’s exploration of the fraught racial politics of this music in the United States.
Putting different artists into dialogue – such as Dylan and Cooke, or Janis and Aretha – allows Hamilton to excavate the original complexity of genre labels that, over the fifty years since, have too often effaced the original, more complicated story about race, music, and American society.
By the time Jimi Hendrix died in 1970, the idea of a black man playing lead guitar in a rock band seemed exotic. Yet a mere ten years earlier, Chuck Berry and Bo Diddley had stood among the most influential rock and roll performers. Why did rock and roll become "white"? Just around Midnight reveals the interplay of popular music and racial thought that was responsible for this shift within the music industry and in the minds of fans.
Rooted in rhythm-and-blues pioneered by black musicians, 1950s rock and roll was racially inclusive and attracted listeners and performers across the…
I became a young man near the end of the sixties, and I have always been enthralled by the era's various idiosyncrasies, both good and bad. For instance, I loved the complex yet pleasant rock music and the freewheeling lifestyle. On the downside, the war in Vietnam cast its pall over the times, and I narrowly escaped being drafted and sent off to Southeast Asia. Overall, it was an era in which good and evil were starkly defined, and many people were attempting to create a better, more peaceful world. There is still much we can learn from this time.
In my opinion, the Grateful Dead's music forms an important part of the soundtrack of the psychedelic sixties–and into the seventies and beyond.
They first performed under this name at Ken Kesey's acid tests in San Francisco and gained an exponentially-growing reputation as cutting-edge performers of acid rock–so much so that loyal "Dead Heads" would follow them around from concert to concert. McNally was the band's official historian, and his inside track gave him access to fascinating details about the individual band members, their music, their drug trips, their metaphysical meanderings, and much more.
This book brings me back to the days of my youth when I lived for a time in the San Francisco Bay Area and saw the Dead perform at Fillmore West.
The complete history of one of the most long-lived and legendary bands in rock history, written by its official historian and publicist—a must-have chronicle for all Dead Heads, and for students of rock and the 1960s’ counterculture.
From 1965 to 1995, the Grateful Dead flourished as one of the most beloved, unusual, and accomplished musical entities to ever grace American culture. The creative synchronicity among Jerry Garcia, Bob Weir, Phil Lesh, Bill Kreutzmann, Mickey Hart, and Ron “Pigpen” McKernan exploded out of the artistic ferment of the early sixties’ roots and folk scene, providing the soundtrack for the Dionysian revels…
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 – 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.
One of the most legendary producers in music history, Visconti enabled the talent and genius of ground-breaking artists such as David Bowie, Iggy Pop, T Rex, Thin Lizzy, Wings, and U2.
This is an insider’s view from a brilliant musician and arranger, an intimate view from a man whose talent earned the trust of the talented. The book is filled with fascinating personal tales of his work, and photos from his private collection.
A name synonymous with ground-breaking music, Tony Visconti has worked with the most dynamic and influential names in pop, from T.Rex and Iggy Pop to David Bowie and U2. This is the compelling life story of the man who helped shape music history, and gives a unique, first-hand insight into life in London during the late 1960s and '70s.
This memoir takes you on a roller-coaster journey through the glory days of pop music, when men wore sequins and pop could truly rock. Featuring behind-the-scenes stories of big names such as Bowie, Visconti's unique access to the hottest talent, both…
My tenure as editor-in-chief of Guitar magazine is well behind me now, but it always lights me up to create content for musicians, and to absorb it. These are my people, you see, a community of curious, empathic, chronically late daydreamers and night owls, good listeners all. I’m not qualified to comment on Adorno’s Aesthetic Theory or Stravinsky’s Poetics of Music, but neither do I want to talk about rock-star memoirs or fawning fictionalizations. No fanfare here, thank you. Instead, these are five books in which musicians may recognize some element of their creative self and come away with a little more fuel for the fire.
That’s right; it’s an entire book of musical notation. Like I said, this list is for players, not civilians.
I love that every note on every original Beatles record is transcribed here, right down to Ringo’s drum fills on “You Won’t See Me” and the guy saying “number nine” a hundred times on “Revolution 9.”
I love sitting down with my kid, who plays guitar, and discovering exactly how to recreate the parts we can’t work out by ear. I love seeing how the Beatles fit the gears together to make the wheels turn on these songs and how they used chords and notes that I have on the piano at my house, too.
(Transcribed Score). A fitting tribute to possibly the greatest pop band ever - The Beatles. This outstanding edition features full scores and lyrics to all 210 titles recorded by The Beatles. Guitar and bass parts are in both standard notation and tablature. Also includes a full discography. Songs include: All You Need Is Love * And I Love Her * Baby You're a Rich Man * Back in the U.S.S.R. * The Ballad of John and Yoko * Blackbird * Can't Buy Me Love * Come Together * Drive My Car * Eleanor Rigby * From Me to You *…
My interests as a historian involve examining how Americans organize to
change policy or politics through affiliations beyond political parties
and, by extension, thinking about how culture is made and supported
through institutions and businesses. These messy networks and
relationships ultimately define how we relate to one another in the U.S.
Indie music scenes are one way to trace all of these relationships,
from federal policy governing radio stations and what goes out over the
airwaves to the contours of local music scenes, to the business of
record labels, to ordinary DJs and music fans trying to access
information and new sounds that they love.
No one combines the business of indie scenes – from production to labels to distribution – better than Holly Kruse. In this accessible yet rich book, she details the complicated structure of the alternative system that Azerrad nods to in his history of the bands that occupied the airwaves and whose products circulated through these systems.
To say that these independent music labels and distributors operated completely absent of the corporate music industry from the beginning is a canard, as Kruse demonstrates, but she also reveals the personal and particular practices that shaped these emerging commercial relationships and consumption patterns that undergirded music fans’ ability to participate in music scenes locally, as well as to access sounds from across the nation, and indeed the world.
Site and Sound: Understanding Independent Music Scenes examines how independent pop and rock music scenes of the 1980s and 1990s were constituted within social and geographical spaces. Those active in the production and consumption of «indie» pop and rock music thought of their practices as largely independent of the music mainstream – even though some acts recorded for major labels. This book explores the web of personal, social, historical, geographical, cultural, and economic practices and relationships involved in the production and consumption of «indie» music.
