I am an art school dropout and recovering rock critic who, since 1981, has published a dozen books on Australian music and popular culture, plus worked extensively in television and as a freelance journalist. I'm too old to be called an enfant terrible, but with the way I still seem to be able to court controversy, I must remain some sort of loose cannon! Sydney’s Sun-Herald has called me "our best chronicler of Australian grass-roots culture," and that’s a tag I’m flattered by but which does get at what I’ve always been interested in. I consider myself a historian who finds resonances where most don’t even bother to look, in our own backyard, yesterday, and the fact that so much of my backlist including Inner City Sound, Highway to Hell, Buried Country, Golden Miles, History is Made at Night, and Stranded are still in print, I take as vindication I’m on the right track…
Every Sunday night for nearly a decade between the mid-70s and early 80s, most young Australians could be found in one place – in front of the TV, watching Countdown. Countdown was the most powerful force in the local pop/rock scene, the maker and breaker of hits. Published in 1993 in the afterglow of the show’s long run, Glad All Over, by former Age journalist Peter Wilmoth, is an appropriately loving tribute, which includes acknowledging the many (like me!) who loved to hate the show but still always watched it! As mostly oral history, it’s a sparkling story, and if the Countdown phenomenon still begs harder analysis – because as much as it was a great booster for Australian music, it actually blocked just as much – that’s the nature of a new historiography: the field has to get opened up first, and then is subject to increasingly…
From my earliest days I was surrounded by music, from Friday night family band to our musical Christmas card on a bright red record to trumpet trios played with my dad and brother. I went to the University of Southern California on a trumpet scholarship, then took a detour from music and tried writing. I liked it. To this day, one of my favorite things is combining these two interests to create novels, stories, and plays about music. Since moving to Nashville, I’ve immersed myself in American popular music and have loved returning to my roots.
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.”
Vienna in the 1880s. Paris in the 1920s. Memphis in the 1950s. These are the paradigm shifts of modern culture. Memphis then was like Seattle with grunge or Brooklyn with hip-hop―except the change was more than musical: Underground Memphis embraced African American culture when dominant society abhorred it. The effect rocked the world. We’re all familiar with the stars’ stories, but It Came From Memphis runs with the the kids in that first rock and roll audience, where they befriended the older blues artists, the travails of blazing a rock and roll career path where one had not existed (nor…
I’m a sucker for a good Beatles’ read, and Help! delivered.
It’s my favorite type of music history book: a new lens (songwriting) through which to view a subject I don’t know well (Duke Ellington) alongside one I’m well-acquainted with (the Fabs).
Brothers’ book is packed with detailed explanation of the artist’s songwriting, arranging, publishing, and production processes. His insights taught me a tremendous amount about the larger context and process of songcraft and collaboration.
The Beatles and Duke Ellington's Orchestra stand as the two greatest examples of collaboration in music history. Thomas Brothers delivers a portrait of the creative process at work, demonstrating that the cooperative method at the foundation of these two artist-groups was the primary reason for their unmatched musical success.
While clarifying the historical record of who wrote what, with whom and how, Brothers brings the past to life with photos, anecdotes and more than thirty years of musical knowledge, and analysis of songs from "Strawberry Fields Forever" to "Chelsea Bridge". Help! describes in rich detail the music and mastery of…
More has been accomplished by music to wake us up that any marches, speeches, injustice, and/or wealth. In the beginning, music and its many forms I followed were an accident. Now I see that music is vital for social expression, intimacy, solitude. The walls in my writing room are covered with photos, CDs, 78s, and most certainly live recordings and books. I feel sorry for the soul(s) who will have to pick through this history when I’ve gone to that Upper Room.
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.
A collection of 20 essays centred on Memphis, Tennessee, and comprising a fusion of fact, essays and fiction in which the author describes his encounters with major figures of American blues and soul music. Stanley Booth also wrote "The True Adventures of the Rolling Stones".
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.
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.
"There are no definitive histories," writes Elijah Wald, in this provocative reassessment of American popular music, "because the past keeps looking different as the present changes." Earlier musical styles sound different to us today because we hear them through the musical filter of other styles that came after them, all the way through funk and hiphop. As its blasphemous title suggests, How the Beatles Destroyed Rock 'n' Roll rejects the conventional pieties of mainstream jazz and rock history. Rather than concentrating on those traditionally favored styles, the book traces the evolution of popular music through developing tastes, trends and technologies-including…
Following mysterious trails and uncovering esoteric stories: it’s what I love to do, and it’s also what I love to read about. Before I released Extreme Music, I wrote extensively about unusual music subcultures and audiological anomalies, for example artists who put out hourlong blocks of unchanging white noise. I’ve learned that the most interesting ideas – and tales – exist in these outer fringes.
The definitive book on outsider musicians, from The Shaggs to Jandek to the hyper-obscure likes of Y. Bhekhirst, who left copies of his outrageously bizarre cassette album, Hot In the Airport, at several NYC record stores before permanently disappearing into thin air. A detailed work that required copious original research to dig up murky facts about obscure musicians, it has been an inspiration to me as a writer. In fact, in my book I dedicate an entire chapter to outsider musicians of the digital age, in obvious homage to this magical tome.
Outsider musicians can be the product of damaged DNA, alien abduction, drug fry, demonic possession, or simply sheer obliviousness. This book profiles dozens of outsider musicians, both prominent and obscure—figures such as The Shaggs, Syd Barrett, Tiny Tim, Jandek, Captain Beefheart, Daniel Johnston, Harry Partch, and The Legendary Stardust Cowboy—and presents their strange life stories along with photographs, interviews, cartoons, and discographies. About the only things these self-taught artists have in common are an utter lack of conventional tunefulness and an overabundance of earnestness and passion. But, believe it or not, they’re worth listening to, often outmatching all contenders for…
More has been accomplished by music to wake us up that any marches, speeches, injustice, and/or wealth. In the beginning, music and its many forms I followed were an accident. Now I see that music is vital for social expression, intimacy, solitude. The walls in my writing room are covered with photos, CDs, 78s, and most certainly live recordings and books. I feel sorry for the soul(s) who will have to pick through this history when I’ve gone to that Upper Room.
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.
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.
By the time he became a producer of reissues for Verve Records, Pullman had been immersed in Bud Powell's life and recordings for decades, and produced the best life we have of one of the most important and prodigiously talented pianists who ever lived, and who was one of the inventors of modern jazz. Powell led a chaotic life, complicated by what we would now call a bipolar personality as well as addictions and mistreatment by the law, but Pullman captures it almost day by day, including the club gigs and recording sessions, without ever bogging down in pathos.
I’m deeply interested in the history of music and the industries that surround it.
This book is a magisterial and original look at the history of popular music in the late 20th century, told through a selection of different genres. I learned immense amounts about music I thought I was already quite knowledgeable on, and was introduced to swathes of new artists and ideas as well.
One of Oprah Daily's 20 Favorite Books of 2021 • Selected as one of Pitchfork's Best Music Books of the Year
“One of the best books of its kind in decades.” —The Wall Street Journal
An epic achievement and a huge delight, the entire history of popular music over the past fifty years refracted through the big genres that have defined and dominated it: rock, R&B, country, punk, hip-hop, dance music, and pop
Kelefa Sanneh, one of the essential voices of our time on music and culture, has made a deep study of how popular music unites and divides us,…
I grew up with the music of the 1960s. Going to packed, pheromone-heavy dances featuring The Lincolns—Nova Scotia’s most popular and most soulful band—were a huge part of my teenage years. Those experiences implanted a deep love of R&B, and somehow or other pointed me in the direction of becoming a writer. It’s a bit of a mystery how it all works. In any case, of all my books, none was as much fun to work on as Kings of Friday Night. It has received lots of love, including from readers who grew up far from the time and place I write about. Long live local bands! And live music everywhere!
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.
As part of Motown’s legendary songwriting and production team of Holland-Dozier-Holland, Lamont Dozier is responsible for such classics as “Baby I Need Your Loving,” “You Can’t Hurry Love,” “I Can’t Help Myself (Sugar Pie, Honey Bunch),” “Stop! In the Name of Love,” “Heat Wave,” “Baby Love,” “It’s the Same Old Song,” “Nowhere to Run,” “You Keep Me Hanging On,” “Reach Out I’ll Be There,” “How Sweet It Is (To Be Loved by You),” and many more. After leaving Motown, he continued to make his mark as an influential songwriter, artist, and producer with hits such as “Give Me Just a…