It is 1965, and Swinging London is coming into its prime years. The streets are alive with mods and rockers, playboys and good-time girls, all revelling in the blossoming artistic, creative and cultural energies of the decade. Amid the colour and chaos is a boy sporting drainpipe jeans, an immaculately tailored sports coat and a half-inch wide tie. A devoted fan of The Who, he looks the part in his pristine mod gear. As the lead singer of the Lower Third, his talent is shaping itself into something truly special. His name is Davie Jones. In ten years, he will be unrecognisable as fresh-faced boy of 1965, and in just over fifty years, his death will be mourned by millions, his legacy the story of the greatest rock star of all time. And through Bowie's transition from pop group member to solo performer, Phil Lancaster was by his side. As the drummer in Bowie's band, the Lower Third, Phil was there as the singer's musical stripes began to show, and was witness to his early recording techniques, his first experimental forays into drug-taking, and the band's discovery of his bisexuality in shocking circumstances. In this riveting - and often very funny - memoir, Phil tells the story of life alongside the insecure yet blazingly talented boy who became Bowie, at a critical crossroad of time and place in music history. What follows is an intimate, personal and important perspective on the genesis of one of the most iconic musicians of the twentieth century - one that gets under the skin of the man himself, before the personas and alter-egos masked the fascinating figure beneath them. At the Birth of Bowie is essential reading for anyone who knows what happened on Bowie's journey, but wants to understand how, and why, it ever began.

Robert Vandall combines elements of jazz and blues in these highly popular works for one piano, six hands. Titles are "Blue Threesome" and "In the Groove." A National Federation of Music Clubs Selection for 2004-2007.

_______________ 'A coolly literary masterpiece' - Greil Marcus, Esquire 'Sad, funny, brilliant' - The Daily Telegraph 'In classic fish-out-of-water fashion Young writes with wry amusement alongside a fair bit of affection for his icy boss' - The Times _______________ Fully updated with a new introduction, this is the story of Nico, former model, film actress, singer with the Velvet Underground and darling of Andy Warhol's factory, when the world had all but forgotten her. In 1982 Nico was living in Manchester, interested mainly in feeding her heroin habit. Local promoter Alan Wise ('Dr Demetrius') hired musicians, rented a van and set off with the band on a tour of Italy. James Young played keyboards for Nico throughout this period. Over six years, until her death in 1988, Nico toured the world, encountering poets, artists, gangsters, losers and drifters. Fellow-spirits including John Cale, Allen Ginsberg, Gregory Corso and John Cooper Clarke are among those who appear in this classic memoir of Nico 'the last bohemian'. _______________ 'Stunning ... Nico is so HERE in this wonderful narrative; I recognized her right away. James Young was the keyboard player in Nico's very insane bande a part on the last tours of her life and is a spectacular writer; let him be your perfect witness from the nomadic court of the once and future goddess of the musical underground' - Danny Fields, friend of Nico, and manager of The Ramones, Iggy Pop and The Stooges

Free Jazz: A Research and Information Guide offers carefully selected and annotated sources on free jazz, with comprehensive coverage of English-language academic books, journal articles, and dissertations, and selective coverage of trade books, popular periodicals, documentary films, scores, Masters' theses, online texts, and materials in other languages. Free Jazz will be a major reference tool for students, faculty, librarians, artists, scholars, critics, and serious fans navigating this literature.

In Generation Ecstasy, Simon Reynolds takes the reader on a guided tour of this end-of-the-millenium phenomenon, telling the story of rave culture and techno music as an insider who has dosed up and blissed out. A celebration of rave's quest for the perfect beat definitive chronicle of rave culture and electronic dance music.

The first study of the performance practice, repertoire and context of the modern 'brass ensemble' in the musical world. Whereas the British 'brass band' originated in the nineteenth century and rapidly developed into a nationwide working-class movement, the perceived modern 'brass ensemble' has a less clear foundation and identity. This book is the first to focus exclusively on the performance, practice, repertoire and context of the 'brass ensemble' in the musical world. Following World War II, the brass quintet and other orchestral groupings emerged in the United States and Europe, with musical customs established by professional players playing orchestral instruments. These groups initially played a combination of the music of Gabrieli and his contemporaries as well as newly commissioned works. By the late twentieth century, however, repertory spanned works by Elliott Carter, Maxwell Davies and Lutoslawski, together with music that integrated jazz, commercial elements, and landmark transcriptions. At the book's heart is the story of the London-based, internationally acclaimed, Philip Jones Brass Ensemble. But this is not a story of one ensemble, as the 'brass ensemble' can be defined in several forms. The Modern Brass Ensemble in Twentieth-Century Britain offers a comprehensive account by an author and performer who was involved in many of the key developments of the modern 'brass ensemble'.

In the last few years, the podcast industry has really boomed. Every journalist and celebrity worth their salt now has their own. But what makes Life In The Stocks special? Well, for one thing it's the eclectic pool of speakers from a wide range of creative disciplines. It's also the rawness, honesty, and vulnerability of the conversations that Matt Stocks shares with his guests: the interviews are completely candid, unchecked, and authentic. For the purpose of this book, Life In The Stocks: Veracious Conversations with Musicians & Creatives Volume Two, Matt collected highlights from the first eighteen months of the podcast, and presented the anecdotes, musings, and observations in a new format, to tell new stories and tie them together in a way that takes the reader on an emotional journey-from early childhood memories to the dizzying heights of fame, via creative enterprises, experimentation with mind-altering substances, battles with mental health, spiritual contemplations, the meaning of life, death, and a whole lot more. Full of inspirational, entertaining, shocking, tragic, heart-warming, and hilarious tales, Life In The Stocks: Volume Two is much more than just a collection of interview transcripts: it is an insight into the minds of some of America's most enduring underground artists and an exploration of the history of alternative culture in the US, filtered via the perspective of someone from the UK. In short, it's a unique and special cultural commentary, and one you will not want to put down.

Grunge, also known as the 'Seattle Sound', emerged from the Pacific north-west in the early part of the 1980s. With the unexpected success of Nirvana's single 'Smells Like Teen Spirit' in 1991, grunge became a household word overnight and launched an American music movement on a par with punk and hip-hop. In Everybody Loves Our Town , Mark Yarm draws from exclusive interviews to tell the whole story: the founding of originators like Soundgarden and the Melvins, the early successes of the Sub Pop record label, the rise of powerhouses Nirvana and Pearl Jam, the media hype, the suicide of Kurt Cobain, and finally, the genre's mid-to-late-nineties decline.

The spread of UK music festivals has exploded since 2000. In this major contribution to cultural studies, the lid is lifted on the contemporary festival scene. Gone are the days of a handful of formulaic, large events dominating the market place. Across the country, hundreds of 'boutique' gatherings have popped up, drawing hundreds of thousands of festival-goers into the fields. Why has this happened? What has led to this change? In her richly detailed study, industry insider Dr Roxy Robinson uncovers the dynamics that have led to the formation and evolution of the modern festival scene. Tracing the history of the culture as far back as the fifties, this book examines the tensions between authenticity and commerce as festivals grew into a widespread, professionalized industry. Setting the scene as a fragmented, yet highly competitive market, Music Festivals and the Politics of Participation examines the emergence of key trends with a focus on surrealist production and popular theatricality. For the first time, the transatlantic relationship between British promoters and the social experiment-come-festival Burning Man is documented, uncovering its role in promoting a politics of participation that has dramatically altered the festival experience. Taking an in-depth approach to examining key events, including the fastest growing independent music festival in recent years (Hampshire's BoomTown Fair) the UK market is shown to have produced a scene that champions co-production and the democratization of festival space. This is a vital text for anyone interested in British culture.

This collection of articles by leading scholars traces the history of Brazilian pop music through the twentieth-century.

Full-tilt, hardcore, down-home, and groundbreaking, the women of country music speak volumes with every song. From Maybelle Carter to Dolly Parton, k.d. lang to Taylor Swift-these artists provided pivot points, truths, and doses of courage for women writers at every stage of their lives. Whether it's Rosanne Cash eulogizing June Carter Cash or a seventeen-year-old Taylor Swift considering the golden glimmer of another precocious superstar, Brenda Lee, it's the humanity beneath the music that resonates. Here are deeply personal essays from award-winning writers on femme fatales, feminists, groundbreakers, and truth tellers. Acclaimed historian Holly George Warren captures the spark of the rockabilly sensation Wanda Jackson; Entertainment Weekly's Madison Vain considers Loretta Lynn's girl-power anthem "The Pill"; and rocker Grace Potter embraces Linda Ronstadt's unabashed visual and musical influence. Patty Griffin acts like a balm on a post-9/11 survivor on the run; Emmylou Harris offers a gateway through paralyzing grief; and Lucinda Williams proves that greatness is where you find it. Part history, part confessional, and part celebration of country, Americana, and bluegrass and the women who make them, Woman Walk the Line is a very personal collection of essays from some of America's most intriguing women writers. It speaks to the ways in which artists mark our lives at different ages and in various states of grace and imperfection-and ultimately how music transforms not just the person making it, but also the listener.

Elvis Presley wears another crown besides the King of Rock 'N' Roll--he also is the King of Collectibility. Nearly a quarter century after his death, items bearing Elvis's name and likeness are in hot demand. In this comprehensive book, renowned Elvis expert Sean O'Neal chronicles the Elvis phenomenon in more than 600 color photographs. Commercially produced memorabilia, novelties, magazines, promotional pieces, and movie paraphernalia recount Elvis's life and career. Items range from concert posters, to paint by number sets, to the Presley family bible. Every item is presented with its current market price. A special section provides tips on how to avoid counterfeit memorabilia and forged autographs. Also included is a history of Elvis Presley Enterprises, the original creator of Elvis merchandise. This fascinating reference book is the definitive guide to collecting Elvis.

Global Jazz: A Research and Information Guide is an annotated bibliography that explores the global impact of jazz, detailing the evolution of the African American musical tradition as it has been absorbed, transformed, and expanded across the world's historical, political, and social landscapes. With more than 1,300 annotated entries, this vast compilation covers a broad range of subjects, people, and geographic regions as they relate to interdisciplinary research in jazz studies. The result is a vivid demonstration of how cultures from every corner of the globe have situated jazz-often regarded as America's classical music-within and beyond their own musical traditions, creating new artistic forms in the process. Global Jazz: A Research and Information Guide presents jazz as a common musical language in a global landscape of diverse artistic expression.

A magnificent compilation of over 240 standards of jazz repertoire in easy-to-read authentic hand-written jazz engravings. This unique collection also features not only the original harmony, but also an alternate harmonization reflecting common practice by many jazz artists, so players can choose to use the traditional version, a hipper version, or a combination of the two! Songs include: Ain't Misbehavin' * Angel Eyes * Bein' Green * Blue Skies * Brazil * Cherokee (Indian Love Song) * Crazy He Calls Me * Darn That Dream * Desafinado (Off Key) * Early Autumn * Easy Living * Fever * For Every Man There's a Woman * Girl Talk * Good Morning Heartache * Here's That Rainy Day * How Little We Know * I Can't Give You Anything but Love * I Didn't Know What Time It Was * I Got It Bad and That Ain't Good * I Remember You * I'll Be Around * I'm Beginning to See the Light * I've Heard That Song Before * Imagination * It Could Happen to You * It's Easy to Remember * June in January * Lazy Afternoon * Midnight Sun * My Blue Heaven * My One and Only Love * Mood Indigo * Moonglow * One for My Baby (And One More for the Road) * Satin Doll * Sophisticated Lady * Star Dust * Tenderly * When Sunny Gets Blue * and more. Spiral comb bound.

'The Gospel According to the Blues' dares us to read Jesus's Sermon on the Mount in conversation with Robert Johnson, Son House, and Muddy Waters. It suggests that thinking about the blues - the history, the artists, the songs - provides good stimulation for thinking about the Christian gospel. Both are about a world gone wrong, about injustice, about the human condition, and about hope for a better world. In this book, Gary Burnett probes both the gospel and the history of the blues, to help us understand better the nature of the good news that Jesus preached, and its relevance and challenge to us.

This volume studies the relationships between government and the popular music industries, comparing three Anglophone nations: Scotland, New Zealand and Australia. At a time when issues of globalization and locality are seldom out of the news, musicians, fans, governments, and industries are forced to reconsider older certainties about popular music activity and their roles in production and consumption circuits. The decline of multinational recording companies, and the accompanying rise of promotion firms such as Live Nation, exemplifies global shifts in infrastructure, profits and power. Popular music provides a focus for many of these topics-and popular music policy a lens through which to view them. The book has four central themes: the (changing) role of states and industries in popular music activity; assessment of the central challenges facing smaller nations competing within larger, global music-media markets; comparative analysis of music policies and debates between nations (and also between organizations and popular music sectors); analysis of where and why the state intervenes in popular music activity; and how (and whether) music fits within the 'turn to culture' in policy-making over the last twenty years. Where appropriate, brief nation-specific case studies are highlighted as a means of illuminating broader global debates.

PJ Harvey's performances are premised on the core contention that she is somehow causing 'trouble'. Just how this trouble can be theorised within the context of the music video and what it means for a development of the ways we might conceptualise 'disruption' and think about music video lies at the heart of this book. Abigail Gardner mixes feminist theory and critical models from film and video scholarship as a rich means of interrogating Harvey's work and redefining her disruptive strategies. The book presents a rethinking of the masquerade that allies it to cultural memory, precipitated by Gardner's claim that Harvey's performances are conversations with the past, specifically with visualised memories of archetypes of femininity. Harvey's masquerades emerge from her conversations and renegotiations with both national and transatlantic musical, visual and lyrical heritages. It is the first academic book to present analysis of Harvey's music videos and opens up fresh avenues into exploring what is at stake in the video work of one of Britain's premier singer-songwriters. It extends the discussion on music video to consider how to make sense of the rapidly developing digital environment in which it now sits. The interdisciplinary nature of the book should attract readers from a range of subject areas including popular music studies, cultural studies, media and communication studies, and gender studies.

This is the first critical biography to explore John Fogerty's life and his music. When inducting Creedence Clearwater Revival into the Rock and Roll Hall of Fame in 1993, Bruce Springsteen referred to the "music's power and its simplicity... [its] beauty and poetry and a sense of the darkness of events and of history, of an American tradition shot through with pride, fear, and paranoia." This book investigates those aspects and more of Fogerty's songs and life: his Americanism, his determined individualism, and unyielding musical vision which led to conflicts with his band, isolation from his family, constant legal battles, and some of the greatest songs of the 20th century.

Using a collection of over one thousand popular songs from the war years, as well as around 150 soldiers' songs, John Mullen provides a fascinating insight into the world of popular entertainment during the First World War. Mullen considers the position of songs of this time within the history of popular music, and the needs, tastes and experiences of working-class audiences who loved this music. To do this, he dispels some of the nostalgic, rose-tinted myths about music hall. At a time when recording companies and record sales were marginal, the book shows the centrality of the live show and of the sale of sheet music to the economy of the entertainment industry. Mullen assesses the popularity and significance of the different genres of musical entertainment which were common in the war years and the previous decades, including music hall, revue, pantomime, musical comedy, blackface minstrelsy, army entertainment and amateur entertainment in prisoner of war camps. He also considers non-commercial songs, such as hymns, folk songs and soldiers' songs and weaves them into a subtle and nuanced approach to the nature of popular song, the ways in which audiences related to the music and the effects of the competing pressures of commerce, propaganda, patriotism, social attitudes and the progress of the war.

One of the defining aspects of music is that it exists in time. From clapping to dancing, toe-tapping to head-nodding, the responses of musicians and listeners alike capture the immediacy and significance of the musical beat. This Companion explores the richness of musical time through a variety of perspectives, surveying influential writings on the topic, incorporating the perspectives of listeners, analysts, composers, and performers, and considering the subject across a range of genres and cultures. It includes chapters on music perception, visualizing rhythmic notation, composers' writings on rhythm, rhythm in jazz, rock, and hip-hop. Taking a global approach, chapters also explore rhythmic styles in the music of India, Africa, Bali, Latin America and the Caribbean, and Indigenous music of North and South America. Readers will gain an understanding of musicians' approaches to performing complex rhythms of contemporary music, and revealing insights into the likely future of rhythm in music.

Examining the cultural, political, economic, technological and institutional aspects of popular music throughout Asia, this book is the first comprehensive analysis of Asian popular music and its cultural industries. Concentrating on the development of popular culture in its local socio-political context, the volume highlights how local appropriations of the pop music genre play an active rather than reactive role in manipulating global cultural and capital flows. Broad in geographical sweep and rich in contemporary examples, this work will appeal to those interested in Asian popular culture from a variety of perspectives including, political economy, anthropology, communication studies, media studies and ethnomusicology.

Using a collection of over one thousand popular songs from the war years, as well as around 150 soldiers' songs, John Mullen provides a fascinating insight into the world of popular entertainment during the First World War. Mullen considers the position of songs of this time within the history of popular music, and the needs, tastes and experiences of working-class audiences who loved this music. To do this, he dispels some of the nostalgic, rose-tinted myths about music hall. At a time when recording companies and record sales were marginal, the book shows the centrality of the live show and of the sale of sheet music to the economy of the entertainment industry. Mullen assesses the popularity and significance of the different genres of musical entertainment which were common in the war years and the previous decades, including music hall, revue, pantomime, musical comedy, blackface minstrelsy, army entertainment and amateur entertainment in prisoner of war camps. He also considers non-commercial songs, such as hymns, folk songs and soldiers' songs and weaves them into a subtle and nuanced approach to the nature of popular song, the ways in which audiences related to the music and the effects of the competing pressures of commerce, propaganda, patriotism, social attitudes and the progress of the war.