74 books like Sun Records

This is a story of Jazz by the musicians who made it. Hear Me Talkin' to Ya is a wide study of the Jazz at its source (New Orleans) through the era of Big Bands and into Modern Jazz, from Kid Ory to Dave Brubeck. This book doesn’t have a narrative or authors’ opinions. This book features passages quoted by Billie Holiday, Mary Lou Williams, Lil Harden Armstrong, Louis Armstrong, Jelly Roll Morton, Othello Tinsley, Dizzy Gillespie, and a hundred other musicians.

We’ve entered a second era of inclusion. Women now play an essential role in creating music. Add Lizzie Miles, Anita O’Day, Ethel Waters, Lena Horne, Mary Ann McCall, Alberta Hunter, and Leora Henderson and we get a different perspective of the evolution of music culture.  

My interest in music takes its roots deep into Louisiana because the first music was vocal.

Not only music but all literature had its beginnings in the words of history and folk songs. This book brought light into my young life. It was the beginning to understand American culture through its clearly defined early music. I carried various printings of Gumbo Ya-Ya with me through my early travels through Memphis, Louisiana, Como, Mississippi, etc. The book opened my mind to the history, and because of the book, the traveling opened my mind to the music.

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.

Tight, vivid writing about the poorest people in America in the richest country in the world. There is dignity and warmth of two sons caring for their blind father, and there is God in also every life, for better or worse. I have to read this book at least once a year to remember what hard times and resolutions are. Every word seems to matter.

You can’t tell the story of rock ’n’ roll without diving into the life of the crazed, flamboyant musical entrepreneur Sam Phillips and his Memphis recording studio, Sun Records. There he discovered rock ’n’ roll pioneers Elvis Presley, Johnny Cash, Jerry Lee Lewis, Carl Perkins, and Roy Orbison, and recorded blues artists such as Howlin’ Wolf, James Cotton, Rufus Thomas, and Rosco Gordon. 

When you finish the book, though, I think you’ll agree that his greatest creation was Sam Phillips. 

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.

When Wald published her thoroughly researched and sensitively written biography of Tharpe, few people outside the world of gospel were familiar with the guitarist and singer or her significant contribution to twentieth-century music. Wald traces Tharpe’s years as an acoustic guitar-playing traveling teenage gospel evangelist, her role as one of the first stars of the fledgling genre of gospel in the 1930s and 1940s, her controversial decision to play gospel music in nightclubs, and her influence as a flashy virtuoso whose intricate licks on the electric guitar inspired musicians in country, rock and roll, and beyond. A well-told story of a fascinating woman, Shout, Sister, Shout! establishes Tharpe as a key figure in the evolution of twentieth-century popular music.   

I stumbled across the first great Rolling Stone record guide around the time I first encountered used record stores: Second Hand Tunes, Dr. Wax and the legendary Wax Trax, all within walking distance of my Chicago high school. I never had sufficient funds to actually purchase the guide, so I snuck it from the shelf at Kroch’s and Brentano’s downtown and memorized as much data as my brain would hold: The best B.B. King albums are the ones on the Crown and Kent labels. Grab any early Kinks LPs you can find. I still quote from Dave Marsh & co. whenever I write about music.

Me and a Guy Named Elvis is a book I couldn’t put down. My sister and I took a road trip to Graceland years ago and ever since we’ve been a bit fascinated by Elvis. Jerry is a regular guy who happens to meet Elvis right before he becomes a star. Jerry is several years younger, but that doesn’t matter. What ensues is a decades-long friendship that takes Jerry on many adventures -- some out of this world and some heartbreaking. It’s an inside look at Elvis the superstar as well as Elvis the “regular guy.”

I was fortunate enough to be able to share a pint with Malachy McCourt some time ago at The Plough & the Stars in Philadelphia where he was promoting this book.

A delightfully true Irishman, he was full of fatalist humor and irony, bringing to mind the famous quote by G.K. Chesterton from his epic poem The Ballad of the White Horse:

“The great Gaels of Ireland are the men that God made mad,
For all their wars are merry, and all their songs are sad.”

And “Danny Boy” is truly a sad song, but there is one enormous flaw regarding its Irishness: it was written by an Englishman who never set foot in Ireland. Frederick Wetherly, a barrister by day, and a lyricist by night, was asked by his sister-in-law to put words to a beautiful tune she had heard. He did, and the song became an enormous hit.… show more.