The most recommended books on Frank Sinatra

I’ve been intrigued by drums, drummers, and drumming since the age of 12 when my sister gave me some brushes and told me to swish them around on a vinyl album sleeve. I was fortunate to begin my drumming career at the top, which gave me options as to how I could manage whatever came next. I spent 41 years playing the music I wanted with whom I wanted and where and when I wanted, in an endless search for the unusual and the unlikely. This brought me into contact with the great, the good, and the downright hopeless, from all of whom I learned that life isn’t about ‘finding’ things or ‘finding yourself,’ it’s about creating things and thus creating yourself.

When I was a kid, my biggest escape was my father’s record collection. Growing up in 1990s NJ, music was a huge part of my experience. Springsteen was from a few miles south, Bon Jovi was from the town next to mine, and Whitney Houston was from the same state but a different county. Music told stories. Inspired my the music of my youth, I now make my living as a storyteller— I tell stories onstage, write books about storytelling and teach others how to tell stories effectively. I have no musical gifts except for the mass consumption of any book with juicy tales about the world of music. Here are a few of my favorites.

Stuart Coupe is an Australian music journalist, author, band manager, promoter, publicist, and music label founder. He's best known for his work as a rock writer with Roadrunner, RAM (Rock Australia Magazine), The Sun Herald, and Dolly magazine; the music labels, GREEN Records and Laughing Outlaw; and the author of books including The Promoters, Gudinski, Paul Kelly and Roadies. Coupe is a former manager of the Australian bands the Hoodoo Gurus and Paul Kelly and is currently a presenter on Sydney radio stations 2SER and FBi Radio. He's also known for his writing as a reviewer of crime fiction for the Sydney Morning Herald and for founding the Australian crime fiction magazine, Mean Streets.

I spent 34 years writing for daily papers, most of them at the News & Observer in Raleigh, North Carolina. I’ve also freelanced for numerous magazines, primarily about music, while hosting a podcast and writing the occasional book. Through it all I’ve had a particular fascination for the music business and its peculiar ways, especially record companies. The industry’s darker side was the subject of my first book way back in 2000, the novel Off The Record, which was a notebook dump of thinly fictionalized war stories I’d accumulated over the years. The record business is the subject of my latest book, too, although it’s a much more positive story.

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.

I’ve been interested in classic Hollywood movies for as long as I can remember, starting especially with the MGM musicals, the comedies of Abbott and Costello, and anything by Alfred Hitchcock. When I became a musicologist, I started to understand more about how the music of these films contributed to my interest in them, so it seemed like a natural research project for me to explore the music in more depth. I slowly realized that what made the films of the 1950s unique was the combination of new styles of acting with new styles of music. The films continued to suck me in and now my interest has resulted in this book.

I started buying records 70 years ago. I worked in a car factory for a decade, then landed a job in publishing, having written a couple of magazine articles, and finally got a chance to do what I was born to do: write about my favorite subject. Music has been the most important thing in the world to me ever since I heard the hits of the 1940s on the radio, playing on the kitchen floor while my mother did the ironing. I believe music is a mystery, more important than we can know, in every way: intellectual, psychological, emotional, philosophical. That is why it is such a big business, even if the business itself is often less than salubrious.

Kristina Parro is a long-time Taylor Swift fan who dove deep into the stories and lyrics of folklore to help her overcome the tumultuous period she spent as a front-line healthcare worker during the pandemic. She discovered layers of deep meaning and surprising connections in the album, as well as throughout Taylor’s entire collection, that led her down a rabbit hole of her own. A quest that brought her to a more enlightened state of being. Lucky is Parro’s first novel. She's currently working on another adult-fiction manuscript. You can also find her hosting a live, weekly show on Instagram, during which she has insightful conversations with authors, artists, thinkers, creatives, and Taylor Swift fans! 

I've been a working journalist for 50 years, and as a child of TV, especially in the 1960s, I grew up with some of the most memorable TV themes ever written. I started writing about TV in the 1980s, and since moving to Los Angeles in 1986, have used every opportunity to meet and interview all of my favorite composers of movie and TV music. The result is this book, which looks at the history of TV themes and, in a larger sense, music written for TV generally. Every genre of TV, from crime to sitcoms, westerns to adventure, has had fun, often compelling, and truly memorable music, and I've tried to celebrate it here.

After publishing five books of poems, I found myself writing a long work I had no way of classifying. It involved the extensive use of facts but was also fiction. It read in part like a novel but was also lyrical. I decided to just write it and not worry about what genre it belonged to. It became A Monster’s Notes. I suspect in our internet age, the emergence of unclassifiable work is going to become more and more common. You can already see it happening. The web isn’t divided into sections the way a bookstore is; instead, it’s more like a spider’s web—you can follow this thread or that, but somehow they’re all connected.