Alastair Riddell's band Space Waltz was a short-lived one-album New Zealand rock act who hit gold with a #1 hit single in October 1974 with the song 'Out On The Street' but thereafter failed to achieve anything even close to that feat. While relegated to one-hit-wonder status in the eyes of many, to this day Riddell and Space Waltz epitomize the mid-1970s heyday of glam rock in New Zealand. But in truth their impact went far beyond this. Their generationally divisive nation-wide debut on the hugely popular MOR television talent quest Studio One/New Faces demonstrated the power of mass media exposure - they were instantly signed to a record deal with industry giant EMI - while Riddell's controversial gender-bending image provided a cultural crossroads that greatly impacted the wider youth culture of Aotearoa New Zealand. In addition, while the album's most famous track, 'Out On The Street,' is rightly regarded as New Zealand's glam rock anthem, the wider album demonstrates a compositional and musical depth that goes far beyond glam rock and into the realm of sophisticated progressive rock, ultimately providing an unlikely and highly unique musical amalgam.

(Fake Book). The Real Books are the best-selling jazz books of all time. Since the 1970s, musicians have trusted these volumes to get them through every gig, night after night. The problem is that the books were illegally produced and distributed, without any regard to copyright law, or royalties paid to the composers who created these musical masterpieces. Hal Leonard is very proud to present the first legitimate and legal editions of these books ever produced. You won't even notice the difference, other than that all of the notorious errors have been fixed: the covers and typeface look the same, the song list is nearly identical, and the price for our edition is even cheaper than the original Every conscientious musician will appreciate that these books are now produced accurately and ethically, benefitting the songwriters that we owe for some of the greatest tunes of all time Includes 400 songs: All Blues * Au Privave * Autumn Leaves * Black Orpheus * Bluesette * Body and Soul * Bright Size Life * Con Alma * Dolphin Dance * Don't Get Around Much Anymore * Easy Living * Epistrophy * Falling in Love with Love * Footprints * Four on Six * Giant Steps * Have You Met Miss Jones? * How High the Moon * I'll Remember April * Impressions * Lullaby of Birdland * Misty * My Funny Valentine * Oleo * Red Clay * Satin Doll * Sidewinder * Stella by Starlight * Take Five * There Is No Greater Love * Wave * and hundreds more Editions also available in B-flat, E-flat, and Bass Clef.

THE SUNDAY TIMES BESTSELLER "Mark Lanegan-primitive, brutal, and apocalyptic. What's not to love?" NICK CAVE "A stoned cold classic" IAN RANKIN 'Mark Lanegan writes like he sings, from the pained heart of a damaged soul with brutal honesty' BOBBY GILLESPIE "Powerfully written and brutally, frighteningly honest" LUCINDA WILLIAMS A ROUGH TRADE AND MOJO BOOK OF THE YEAR From the back of the van to the front of the bar, from the hotel room to the emergency room, Mark Lanegan takes us back to the sinister, needle-ridden streets of Seattle, to an alternative music scene that was simultaneously bursting with creativity and saturated with drugs. He tracks the tumultuous rise and fall of Screaming Trees, from a brawling, acid-rock bar band to world-famous festival favourites with an enduring legacy, and tells of his own personal struggles with addiction, culminating in homelessness, petty crime, and the tragic deaths of his closest friends. Gritty, gripping and unflinchingly raw, SING BACKWARDS AND WEEP is about a man who learned how to drag himself from the wreckage, dust off the ashes, and keep living and creating. 'The most brutally honest rock memoir imaginable' DAILY TELEGRAPH

Iannis Xenakis' Persepolis stood as witness to one of the most important events in modern human history, the Iranian Revolution in 1979. Its existence is owed to an invitation to participate in the 1971 Shiraz Arts Festival, which was overseen by Empress Farah Pahlavi. Like the Festival, and the extravagant celebratory party held the same year, Xenakis' symbolic paean to Persian history was polarizing. Many loved it, others detested it. Overwhelming but also subtle and precise in its non-harmonic shifts in texture and density, listeners and critics simply did not know what to make of it. This book tells the story of Xenakis' early history and involvement in the Resistance against the Axis occupation of Greece during the Second World War, escape and re-settlement in Paris, work as an architect with Le Corbusier, and distinct views on world history and politics that all led to his 1972 electro-acoustic album Persepolis.

Rock and Romanticism: Post-Punk, Goth, and Metal as Dark Romanticisms explores the relationships among the musical genres of post-punk, goth, and metal and American and European Romanticisms traditionally understood. It argues that these contemporary forms of music are not only influenced by but are an expression of Romanticism continuous with their eighteenth- and nineteenth-century influences. Figures such as Blake, Wordsworth, Coleridge, Byron, Keats, Mary Shelley, Percy Shelley, Friedrich, Schlegel, and Hoffman are brought alongside the music and visual aesthetics of the Rolling Stones, the New Romantics, the Pretenders, Joy Division, Nick Cave, Tom Verlaine, emo, Eminem, My Dying Bride, and Norwegian black metal to explore the ways that Romanticism continues into the present in all of its varying forms and expressions.

This book explores the relationships between rock and roll, social protest, and authenticity to consider how rock and roll could function as social protest music. The author begins by discussing the nature and origins of rock and roll and the nature of social protest and social protest music within the wider context of the evolution of the commercial music industry and the social and technological infrastructure developed for the mass dissemination of popular music. This discussion is followed by an examination of the causes of the public disapproval originally expressed toward rock and roll, and how they illuminate its social protest and subversive quality. By further investigating the nature of authenticity and its relationship to social protest and to commercialization, the author considers how social protest and commercialization are antithetical. This conclusion, if correct, has broad implications for human culture in advanced industrial society.

An unorthodox musician from the start, singer-songwriter Joni Mitchell's style of composing, performing, and of playing (and tuning) the guitar is unique. In the framework of sexual difference and the gendered discourses of rock this immediately begs the questions: are Mitchell's songs specifically feminine and, if so, to what extent and why? Anne Karppinen addresses this question focusing on the kind of music and lyrics Mitchell writes, the representation of men and women in her lyrics, how her style changes and evolves over time, and how cultural context affects her writing. Linked to this are the concepts of subjectivity and authorship: when a singer-songwriter sings a song in the first person, about whom are they actually singing? Mitchell offers a fascinating study, for the songs she writes and sings are intricately woven from the strands of her own life. Using methods from critical discourse analysis, this book examines recorded performances of songs from Mitchell's first nine studio albums, and the contemporary reviews of these albums in Anglo-American rock magazines. In one of the only books to discuss Mitchell's recorded performances, with a focus that extends beyond the seminal album Blue, Karppinen explores the craft of Mitchell's songwriting and her own attitudes towards it, as well as the dynamics and politics of rock criticism in the 1960s and 1970s more generally.

How do musicians play and talk to audiences? Why do audiences listen and what happens when they talk back? How do new (and old) technologies affect this interplay? This book presents a long overdue examination of the turbulent relationship between musicians and audiences. Focusing on a range of areas as diverse as Ireland, Greece, India, Malta, the US, and China, the contributors bring musicological, sociological, psychological, and anthropological approaches to the interaction between performers, fans, and the industry that mediates them. The four parts of the book each address a different stage of the relationship between musicians and audiences, showing its processual nature: from conceptualisation to performance, and through mediation to off-stage discourses. The musician/audience conceptual division is shown, throughout the book, to be as problematic as it is persistent.

Most people know that Bob Marley (1945-1981) was a singer-songwriter who popularised reggae music and whose Jamaican culture and Rastafarian beliefs have attained worldwide influence. What, perhaps, they don't know is that his music inspired 7,000 prisoners of war to escape; that after running out of money he was forced to spend two years living in London; that he has sold more than 75 million records around the world; and that he was shot twice while trying to bring peace between two political groups. Biographic: Marley presents an instant impression of his life, work and legacy, with an array of irresistible facts and figures converted into infographics to reveal the musician behind the music.

A practical but scholarly guide to Japanese instruments by one of the country's leading composers. The unique sounds of the biwa, shamisen, and other traditional instruments from Japan are heard more and more often in works for the concert hall and opera house. Composing for Japanese Instruments is a practical orchestration and instrumentation manual with contextual and relevant historical information for composers who wish to learn how to compose for traditional Japanese instruments. Widely regarded as the authoritative text on the subject in Japan and China, it contains hundreds of musical examples, diagrams, photographs, and fingering charts. Many of the musical examples can be heard on a companion website. The book also contains valuable appendices, one of works author Minoru Miki composed using Japanese traditional instruments, and one of works by other composers -- including Toru Takemitsu and Henry Cowell -- using these instruments. Minoru Miki was a composer of international renown, recognized in Japan as a pioneer in writing for Japanese traditional instruments. Marty Regan is associate professor of music at Texas A&M University. Philip Flavin is associate professor at the Osaka University of Economicsand Law and adjunct senior research associate of Monash University in Melbourne, Australia.

'A true testimonial and epic love letter to the soul saving power of rock & roll . . . Read it and be inspired, as I was' Bobby Gillespie 'Lenny Kaye has illuminated ten facets of the jewel called rock and roll from a uniquely personal and knowledgeable perspective. He draws from a lifetime of inspiration and experience. A youth plugging in his first electric guitar, a fan taking the dance floor, a propelling player, a humble guardian of history, and the writer I have always known him to be' Patti Smith Memphis, 1954. New Orleans 1957. Philadelphia 1959. Liverpool, 1962. San Francisco 1967. Detroit 1969. New York, 1975. London 1977. Los Angeles 1984 / Norway 1993. Seattle 1991. Rock and roll was birthed in basements and garages, radio stations and dance halls, in cities where unexpected gatherings of artists and audience changed and charged the way music is heard and celebrated, capturing lightning in a bottle. Musician and writer Lenny Kaye explores ten crossroads of time and place that define rock and roll, its unforgettable flashpoints, characters and visionaries, how each generation came to be, how it was discovered by the world. Whether Elvis Presley's Memphis, the Beatles' Liverpool, Patti Smith's New York or Kurt Cobain's Seattle, LIGHTNING STRIKING reveals the communal energy that creates a scene, a guided tour inside style and performance, to see who's on stage, along with the movers and shakers, the hustlers and hangers-on, and why everybody is listening. Grandly sweeping and minutely detailed, informed by Kaye's acclaimed knowledge and experience as a working musician, LIGHTNING STRIKING is an ear-opening insight into our shared musical and cultural history, a carpet ride of rock and roll's most influential movements and moments.

Thanks to the pioneering tours of the Creole Band, jazz began to be heard nationwide on the vaudeville stages of America from 1914 to 1918. This seven-piece band toured the country, exporting for the first time the authentic jazz strains that had developed in New Orleans at the start of the 20th century. The band's vaudeville routines were deeply rooted in the minstrel shows and plantation cliches of American show business in the late 19th century, but its instrumental music was central to its performance and distinctive and entrancing to audiences and reviewers.
Pioneers of Jazz reveals at long last the link between New Orleans music and the jazz phenomenon that swept America in the 1920s. While they were the first important band from New Orleans to attain national exposure, The Creole Band has not heretofore been recognized for its unique importance. But in his monumental, careful research, jazz scholar Lawrence Gushee firmly establishes the group's central role in jazz history.
Gushee traces the troupe's activities and quotes the reaction of critics and audiences to their first encounters with this new musical phenomenon. While audiences often expected (and got) a kind of minstrel show, the group transcended expectations, taking pride in their music and facing down the theatrical establishment with courage. Although they played the West Coast and Canada, most of their touring centered in the heartland. Most towns of any size in Iowa, Illinois, and Indiana heard them, often repeatedly, and virtually all of their appearances were received with wild enthusiasm. After four years of nearly incessant traveling, members of the band founded or joined groups in Chicago's South Side cabaret scene, igniting the craze for hot New Orleans music for which the Windy City was renowned in the early 1920s. The best-known musicians in the group--cornetist Freddie Keppard, clarinetist Jimmy Noone and string bassist Bill Johnson--would play a significant role in jazz, becoming famous for recordings in the 1920s. Gushee effectively brings to life each member of the band and discusses their individual contributions, while analyzing the music with precision, skillful and exacting documentation. Including many never before published photos and interviews, the book also provides an invaluable and colorful look at show business, especially vaudeville, in the 1910s.
While some of the first jazz historians were aware of the band's importance, attempts to locate and interview surviving members (three died before 1935) were sporadic and did little or nothing to correct the mostly erroneous accounts of the band's career. The jazz world has long known about Gushee's original work on this previously neglected subject, and the book represents an important event in jazz scholarship. Pioneers of Jazz brilliantly places this group's unique importance into a broad cultural and historical context, and provides the crucial link between jazz's origins in New Orleans and the beginning of its dissemination across the country.

**SHORTLISTED FOR THE MAN BOOKER INTERNATIONAL 2018** WHO IS VERNON SUBUTEX? An urban legend. A fall from grace. The mirror who reflects us all. Vernon Subutex was once the proprietor of Revolver, an infamous music shop in Bastille. His legend spread throughout Paris. But by the 2000s his shop is struggling. With his savings gone, his unemployment benefit cut, and the friend who had been covering his rent suddenly dead, Vernon Subutex finds himself down and out on the Paris streets. He has one final card up his sleeve. Even as he holds out his hand to beg for the first time, a throwaway comment he once made on Facebook is taking the internet by storm. Vernon does not realise this, but the word is out: Vernon Subutex has in his possession the last filmed recordings of Alex Bleach, the famous musician and Vernon's benefactor, who has only just died of a drug overdose. A crowd of people from record producers to online trolls and porn stars are now on Vernon's trail. Translated from the French by Frank Wynne "Thrilling, magnificently audacious" Irish Times "Brimming with sex, violence and deviant behaviour" Sunday Times "Virginie Despentes's Vernon Subutex trilogy is the zeitgeistiest thing I ever read" NELL ZINK

Listening to the sound practices of bands and musicians such as the Asian Dub Foundation or M.I.A., and spanning three decades of South Asian dance music production in the UK, Transcultural Sound Practices zooms in on the concrete sonic techniques and narrative strategies in South Asian dance music and investigates sound as part of a wider assemblage of cultural technologies, politics and practices. Carla J. Maier investigates how sounds from Hindi film music tunes or bhangra tracks have been sampled, cut, looped and manipulated, thus challenging and complicating the cultural politics of sonic production. Rather than conceiving of music as a representation of fixed cultures, this book engages in a study of music that disrupts the ways in which ethnicity has been written into sound and investigates how transcultural sound practices generate new ways of thinking about culture.

For the last 15 years, Mark Everett's band the Eels has released some of the most acclaimed albums of the decade, from "Beautiful Freak" to 2010's "Tomorrow Morning". Everett is also one of music's most fascinating characters and "Blinking Lights" covers his unusual childhood, the tragedy of his sister's suicide, his relationship with his brilliant mathematician father and his initial struggles to succeed in the music industry. Featuring interviews with those close to Everett, including former band members, and a detailed discography, this first biography of the band covers their extensive career in-depth.

Is Bob Marley the only third world superstar? How did he achieve this unique status? In this captivating new study of one of the most influential musicians of the twentieth century, Jason Toynbee sheds new light on issues such as Marley's contribution as a musician and public intellectual, how he was granted access to the global media system, and what his music means in cultural and political terms.
Tracing Marley's life and work from Jamaica to the world stage, Toynbee suggests that we need to understand Marley first and foremost as a 'social author'. Trained in the co-operative yet also highly competitive musical laboratory of downtown Kingston, Marley went on to translate reggae into a successful international style. His crowning achievement was to mix postcolonial anger and hope with Jamaican textures and beats to produce the first world music.
However the period since his death has been marked by brutal and intensifying inequality in the capitalist world system. There is an urgent need, then, to reconsider the nature of his legacy. Toynbee does this in the concluding chapters, weighing Marley's impact as advocate of human emancipation against his marginalisation as a 'Natural Mystic' and pretext for disengagement from radical politics.

On a Saturday night in 1948, Hank Williams stepped onto the stage of the Louisiana Hayride and sang "Lovesick Blues." Up to that point, Williams's yodeling style had been pigeon-holed as hillbilly music, cutting him off from the mainstream of popular music. Taking a chance on this untried artist, the Hayride--a radio "barn dance" or country music variety show like the Grand Ole Opry--not only launched Williams's career, but went on to launch the careers of well-known performers such as Jim Reeves, Webb Pierce, Kitty Wells, Johnny Cash, and Slim Whitman.
Broadcast from Shreveport, Louisiana, the local station KWKH's 50,000-watt signal reached listeners in over 28 states and lured them to packed performances of the Hayride's road show. By tracing the dynamic history of the Hayride and its sponsoring station, ethnomusicologist Tracey Laird reveals the critical role that this part of northwestern Louisiana played in the development of both country music and rock and roll. Delving into the past of this Red River city, she probes the vibrant historical, cultural, and social backdrop for its dynamic musical scene. Sitting between the Old South and the West, this one-time frontier town provided an ideal setting for the cross-fertilization of musical styles. The scene was shaped by the region's easy mobility, the presence of a legal "red-light" district from 1903-17, and musical interchanges between blacks and whites, who lived in close proximity and in nearly equal numbers. The region nurtured such varied talents as Huddie Ledbetter, the "king of the twelve-string guitar," and Jimmie Davis, the two term "singing governor" of Louisiana who penned "You Are My Sunshine."
Against the backdrop of the colorful history of Shreveport, the unique contribution of this radio barn dance is revealed. Radio shaped musical tastes, and the Hayride's frontier-spirit producers took risks with artists whose reputations may have been shaky or whose styles did not neatly fit musical categories (both Hank Williams and Elvis Presley were rejected by the Opry before they came to Shreveport). The Hayride also served as a training ground for a generation of studio sidemen and producers who steered popular music for decades after the Hayride's final broadcast. While only a few years separated the Hayride appearances of Hank Williams and Elvis Presley--who made his national radio debut on the show in 1954--those years encompassed seismic shifts in the tastes, perceptions, and self-consciousness of American youth. Though the Hayride is often overshadowed by the Grand Ole Opry in country music scholarship, Laird balances the record and reveals how this remarkable show both documented and contributed to a powerful transformation in American popular music.

The Poetry and Music of Joaquin Sabina: An Angel with Black Wings is a thoroughly researched exploration of the life, music, and song lyrics of the celebrated Spanish singer-songwriter Joaquin Sabina. Often called "the Spanish Dylan," Sabina has established his own highly poetic space over the course of his nearly fifty-years as a recording artist. Using selected song lyrics from his fifteen studio and three major live albums, Daniel J. Nappo analyzes Sabina's use of antithesis, simile, metaphor, synesthesia, rhyme, and other rhetorical and poetic devices. Nappo also devotes a chapter to Sabina's ability as a narrator and concludes the book with a comparison of Sabina's best work with that of the American singer-songwriter and Nobel laureate, Bob Dylan.

The Complete Country Music Discography, 1922-1942 compiles details of all country music recording sessions through 1942 in a single volume. Based on record-company files and session logs as well as the recording archives of the Country Music Foundation, this discography documents every commercial country music recording, including unreleased sides. Each entry lists the musicians playing at every session, instrumentation, dates and locations, songwriting credits, and recording master numbers and release numbers. An introduction explains how to use the book, research methodology, and editorial policy; summary histories of each key record company are also provided, along with a bibliography. The discography will include alphabetical indexes to all song titles and to musicians listed.

Gathers into a coherent schema all previous work and moves the discourse forward intellectually with the most comprehensive survey of Van Morrison's work to date. The book will appeal to readers of literature, cultural studies and Irish studies as well as Music Studies.

ELO (The Electric Light Orchestra) were devised by Roy Wood and Jeff Lynne of The Move as a fusion of rock and contemporary classical-style music, combining orchestral instruments, guitars, keyboards and drums in the same line-up. Their aim was to continue from where The Beatles' 'I Am The Walrus' left off. After the release of their debut eponymous album in 1971 and a few live dates at home and in Europe, it became increasingly apparent that both leaders' objectives were incompatible. Wood left Lynne in charge of the group to refine their sound, and their ambitious progressive rock epics gradually giving way to a more accessible style. With keyboard player Richard Tandy and drummer Bev Bevan the only other constant members in an ever-changing line-up, by the end of the decade the group were rarely out of the British and American charts. After disbanding in 1986, ELO Part II (minus Lynne) returned for two albums, but Lynne reclaimed the name with an album in 2001 and a long-awaited reappearance as Jeff Lynne's ELO in 2014. This book provides a comprehensive examination of all the group's studio albums.