100 books like Major Labels

I’ve spent a lot of time with this remarkable book over the years.

I suppose my greatest takeaway is the way Ward explores music’s meaning from a variety of angles and intersections: musical, economic, legal, racial, gender, class, and generational.

The airwaves could not be segregated; music gave insight into the Black freedom struggle and a shared sense of humanity that helped topple Jim Crow barriers nationwide. I particularly appreciate how Ward unpacks the ways Black audiences shaped the sounds of the era. Black music reflected an optimism and an assertion of racial pride, and you’ll find the modern Civil Rights Movement at the heart of his book.

Crossroads: African American freedom struggle, Postwar America, the South

Yes, the title is spelled correctly. I’ve known Stanley Booth from our days in Memphis. He has written about The Rolling Stones, B. B. King, Al Green, and Keith Richards. Keith wrote that “The interesting thing about music to me is that music has always seemed streaks ahead of any other Art form or any other form of social expression.” It has never been said any better.

Stanley Booth’s Rythm Oil contains studies of numerous, forgotten musicians and singers. It is a study of remote history. Stanley Booth doesn’t write with ink. He writes with grit.

Is music as universally positive and life-affirming as we think?

This book made me think twice about that idea. Yes, music lubricates our identities and can generate fellow feeling and a sense of well-being, but it can just as easily drive us apart. Think about pop’s repertoire of overtly sexist and racist songs, the booing of national anthems at sports events, and music reserved for the status acquisition practices of the elite, like opera.

What I like about David Hesmondhalgh’s exploration of why music matters is that it takes a balanced view of these questions. I use it a lot in teaching as an antidote to the somewhat lazy idea that music is *always* a force for social good. I also admire David’s ability to move from the somewhat abstract realms of moral philosophy to dancing bodies without losing sight of basic but important questions like social inequality.

The essential biography of Umm Kulthum for the English reader. Danielson tells the story of the Arab world’s most famous singer, one of the greatest performers of the 20th century. This book charts her life from the small village in the Nile Delta where she grew up to the heights of global superstardom. It also paints a picture of the world that she moved through, which intersected with the world depicted in Midnight in Cairo. This is a necessary read for anyone interested in Arabic music.

Few books on popular music history include analysis of the evolving conditions of live concerts. Most inventory the top shows and offer quirky anecdotes, but Steve Waksman’s Live Music in America: A History from Jenny Lind to Beyoncé refuses to separate the actual performance from the numerous behind-the-scene individuals that shaped the shows. Readers will come to appreciate diverse influences over a turbulent 170-year history that have led to today’s modern music festival.

David Hewitt’s On the Road: Recording the Stars in a Golden Era of Live Music is an important contribution to the extensive annals of popular music history in that it focuses on the business of live recording that was an integral component to the explosion of rock ‘n’ roll from the 1960s through the 1980s. Hewitt was a top live recording engineer and his expertise permeates the pages of the richly detailed book.

Revolution in the Head should come with a warning. This one is only for the most serious of Beatle fanatics. It’s an encyclopedic tome listing every song they ever recorded, who played on it, and even what days it was recorded (Strawberry Fields was recorded over five different sessions through November 1966). There are also many longer sections dealing with the particular cultural moments surrounding the writing of the songs and a whole lot of controversial opinion-making about just which ones are good songs and which are not.

Lighters in the Sky: The All-Time Greatest Concerts takes on the tall task of trying to chronicle the greatest live popular music concerts in history. Corbin Reiff offers intricacies of the cultural and historical context for the legendary shows as well as details about the specific performances. Designed to entertain fans of all genres and certain to foment a bevy of arguments among die-hard fans, this book is delightful.

In Memphis during the 1950s, there was Black and there was White, but the two rarely met. One of the few places where they did was in clubs and recording studios, and the sparks they struck started a fire that came to be called rock ’n’ roll. 

In this wonderfully rich stew of a book, author and filmmaker Robert Gordon walks the streets of Memphis, exploring the sights and sounds and smells of a unique, endlessly fascinating world. 

As Gordon’s publisher says, “This is a book about the weirdos, winos, and midget wrestlers who forged the rock ’n’ roll spirit.” As Rolling Stone says, “If you haven’t read this book, do it now.”

A provocative pre-history of rock music, written to provoke. (Don’t hold your breath waiting for John, Paul, George, and Ringo to show up.)

Wald crafts a fascinating alternative history of commercial popular music in the first half of the twentieth century, asking readers to focus not on big names or influential records but on the everyday practices, technologies, and contexts through which musicians and listeners actually experienced the music. Avoid if you don’t want to see a few sacred cows slaughtered.