100 books like There Was a Time

This is an in-depth look at the life and career of the magnetic Otis Redding Jr., soul singer extraordinaire. We learn tons about Redding’s family background and his hometown of Macon, Georgia (also the hometown of Little Richard). Redding died at 26 in a 1967 plane crash just as he was starting to climb to the heights of the music industry. Even so, he left behind a much-admired body of work though his time was cut so tragically short. The author did an enormous amount of research for the book, then crafted an energetic and easy-reading story that captures the remarkable journey that was Otis Redding’s—from preacher’s son to charismatic soul singer who touched millions.

Joni Mitchell’s career extended long after the 1960s, but that was the decade when she burst on the scene with her distinctive voice and incredible song-writing and musical abilities. This book provides in-depth details of how she went from being an unknown blonde girl from Saskatchewan to an undisputed folk music superstar with songs like no one else. As Leonard Cohen put it: “She was like a storm.” To present Joni’s story, the author conducted interviews with Mitchell and her childhood friends, and with the many others who played important roles in her life—including Cohen, Joan Baez, Judy Collins, and David Crosby. Along the way, David Yaffe reveals the backstory behind all of Joni’s songs. It’s a fascinating book.

If you know the music of the 1960s, you know that Lamont Dozier was at the heart of the hit-producing machine that was Motown Records. He was one-third of the Holland-Dozier-Holland songwriting team that came up with hit after hit for an amazing number of celebrated artists. Later, after leaving Motown, Dozier continued to be a creative musical force (and still is today). He contributed his song-writing talents to over 100 Top 10 singles and was inducted into both the Songwriters Hall of Fame and the Rock & Roll Hall of Fame. This book is a window into Dozier’s musical world—in the 1960s and beyond. Dozier recalls what it was like to grow up in Detroit when he did and then reveals his experiences collaborating with some of the greatest musical talents of the era.

The title of this book might suggest that it will be a book of lists. It is not, not even close. Instead, Greil Marcus offers something closer to a philosophical meditation on what rock ‘n’ roll is. Or aspires to be when played and sung as a heartfelt, life-altering, reckless abandon musical genre. It’s largely about attitude and feeling. The book is a fascinating read as one travels along with the author while he ruminates on different artists and their work and how some songs have resonated deeply with (and influenced) later musicians across the span of time. 

As I was writing my book, I delved more into the professional singing career of Harry Belafonte. I knew him as the singer of familiar, toe-tapping, globally-inspired hits (i.e. “The Banana Boat Song,” “Jump In the Line,” “Matilda”). I didn’t know about the depth and breadth of his commitment to racial justice. Nor did I realize, more importantly, how his Civil Rights activism informed and shaped his artistic career as an actor and a musician. An eye-opening read about a cultural icon.

For anyone who is performing at any level really, this book will help them enhance their performance and manage the stress that sometimes seems to appear in the performance situation. The book looks at ways to approach the music that we have decided to perform a variety of practice strategies and some particularly interesting techniques for all-around improvement taking in both the physical side of playing and the musical side. It’s a serious and quite academic book but well worth the effort.

The story of how Warner Bros Records, perhaps the best, most profitable yet artist-friendly record label in the 1970s and 1980s became heavily damaged when it was bought out in the 1990s and put under corporate auspices and expectations. Goodman communicates the financial details in a clear and accessible way, as well as the music executives’ singular personalities. Also offers a close-up view of how the corporate execs, especially with their short-term focus on quarterly results, failed to deal with the challenges of Napster and downloads at the turn of the century. An insightful view of the changing components of the music business in our time.

A century ago, the record industry sent representatives all over the country to do field recordings of vernacular artists playing folk, blues, and early country for “hillbilly” and “race” records (the sort that Rounder would start putting out in the 1970s).

One of these scouts was Ralph Peer from the Victor Talking Machine Company, for which he oversaw 1927’s legendary “Bristol Sessions.” It was the first time that Hall of Fame titans the Carter Family and Jimmie Rodgers recorded, generally cited as the beginning of the country music industry.

As explained in Barry Mazor’s excellent biography, Peer went on to become one of the giants of the recording and publishing industry, laying the groundwork that pretty much every record label including Rounder has followed since.

As a professional record producer turned neuroscientist, Daniel Levitan drew me in with his yin-yang mind. Was the intersection of creativity and science really navigable? Could he dispel the notion, at last, that inspiration is beamed down from a cloud? And how did a guy who worked with Stevie Wonder and Rosanne Cash get to be such a nerd?

I lapped up his explanations about musical ideas traveling along neurons and brain chemicals and how it’s possible that physical sound waves elicit an emotional response. I also realized that science and art are not so opposite.

I think people who make music recognize it as an experiment with variables and environmental factors and failures along the way, and that we’ll celebrate when we solve it, and that then the questions will change.  

There are lots of great books about music in human evolution, but this one conjures up such beautiful images and makes such a strong argument that it’s still my favourite.

The human species is over 230,000 years old, and we’ve probably been using singing as a form of social bonding for that whole time, and previous hominid species probably were as well. The book makes the point really well that singing is something we take for granted, but is really quite a remarkable human evolutionary adaptation.