100 books like The Secret DJ

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 It is a fascinating read, a historical document of the height of the 90s dance scene, and it's both honest and humorous to boot.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 places—as is another book we're getting to later in this list.

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 honest—but 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.

Rick has been the go-to expert in print on how to make dance music for many years, and while techniques and practices in music production change all the time, this book remains an invaluable reference on how to make music for yourself.

Nowadays, if you want success outside of your own town or city, it is practically essential that you make music as well as play it, so if being a "DJ/producer" rather than just a "DJ" is what you're gunning for, this is one you should definitely add to your bookshelf, which will give you the theory and background behind the skills that courses and videos can teach you when it comes to making music the modern way.

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 written—it 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.

Known as ‘the man who invented the ‘80s’, 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 Aid’s Do they Know It’s 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.

A two-volume biography of George Martin’s work as a record producer, full of colourful detail.

You get a full account of George’s work with the Beatles. The sound effects which George had to create for The Goons’ records helped him deal with the Beatles. I also loved reading about George’s spat with his fellow EMI producer, Norrie Paramor.

I wasn’t expecting this! One of the most gifted and quirky songsmiths of the age, the lead singer of art pop band The Talking Heads no less, turns his attention to the technological evolution of music.

I found profound insight and erudition on every page, but it’s not preachy or overly auto-biographical. Instead, Byrne limns out the changing shapes of music and how it comes into being in composition, performance, and education. He is as much at ease with Hume and Adorno as he is with scales, harmonies, and DJ culture, and the payoff is enormous.

Whenever I pick this book up, which is regularly, it takes me on unexpected journeys and provokes new ideas. My favorite quote on the creative process: “The idea is to allow the chthonic material the freedom it needs to gurgle up.” 

In the words of Joni Mitchell, you “don’t know what you got till it’s gone.” 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 27—and 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 “ear trumpets” used by Beethoven as his greatest joy ebbed. When Bathurst regains her hearing, I was awed by her description of hearing music anew: “It was a thousand volts of birdsong.”

Going back 125 years in recording history, Milner’s book will make you question what “good recorded sound” is, and how that notion, surprisingly, is a political one that has changed over time. A diversity of genres and artists are brought in to prove his points. He demonstrates why technological innovations such as the cylinder, the 78RPM record, magnetic tape, albums, transistors, the cassette, the CD, ProTools and of course MP3s changed the sound and content of music forever. And also how such changes greatly affected the bottom line of the music business, increasing or decreasing revenue as the case may be. Might change how you view your music collection.

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.