Trance events have an uncanny ability to capture an era, and captivate an audience of travellers occupying the eternal theatre of the dance floor. As this book shows, the tendency within psytrance is to thwart the passage of time, to prolong the night, for those who adopt a liminal lifestyle. Amid the hustle and hubris of the psytrance carnival there is a peaceful repose that you sometimes catch when you've drifted into a sea of outstretched limbs, bodies swaying like a field of sunflowers in a light breeze. And you feel intense joy in this fleeting moment. You are the moment. You are inside the flow. You are all. Embodying the poetry of dance, you are living evidence that nothing lasts. And this is a deep revelation of the mystical function of trance. It is difficult to emerge from this little death, because one does not want the party to end. But it must end, even so that it can recommence - so that one can return to repeat the cycle. The result of fifteen years of research in over a dozen countries, this book applies a sharp lens on a little understood global dance culture that has mushroomed all over the world since its beginnings in the diverse psychedelic music scenes flourishing in Goa in the 1970s and 1980s. The paramount expression of this movement has been the festival, from small parties to major international events such as Portugal's Boom Festival, which promotes itself as a world-summit of visionary arts and trance, a "united tribe of the world". Via first-hand accounts of the scenes, events and music of psychedelic trance in Australia, Israel, Germany, Italy, the UK, the US, Turkey and other places, the book thoroughly documents this transnational movement with its diverse aesthetic roots, multiple national translations and internal controversies. As a multi-sited ethnography and an examination of the digital, chemical, cyber and media assemblage constituting psytrance, the book explores the integrated role that technology and spirituality have played in the formation of this visionary arts movement and shows how these event-cultures accommodate rites of risk and consciousness, a complex circumstance demanding revision of existing approaches to ritual, music and culture.

On the back of his published diary Brian Eno describes himself variously as: a mammal, a father, an artist, a celebrity, a pragmatist, a computer-user, an interviewee, and a 'drifting clarifier'. To this list we might add rock star (on the first two Roxy Music albums); the creator of lastingly influential music (Another Green World; Music for Airports); a trusted producer (for Talking Heads, U2, Coldplay and a host of other artists); the maker of large-scale video and installation artworks; a maker of apps and interactive software; and so on. All in all, he is one of the most feted and most influential musical figures of the past forty years even though he himself has consistently downplayed his musical abilities, describing himself as a non-musician on more than one occasion. This volume examines Eno's work as a musician, as a theoretician, as a collaborator, and as a producer. Brian Eno is one of the most influential figures in popular music; an updated examination of his work on this scale is long overdue.

"If You Don't Know Me By Now," "The Love I Lost," "The Soul Train Theme," "Then Came You," "Ain't No Stoppin' Us Now"--the distinctive music that became known as Philly Soul dominated the pop music charts in the 1970s. In A House on Fire, John A. Jackson takes us inside the musical empire created by Kenny Gamble, Leon Huff, and Thom Bell, the three men who put Philadelphia Soul on the map.
Here is the eye-opening story of three of the most influential and successful music producers of the seventies. Jackson shows how Gamble, Huff, and Bell developed a black recording empire second only to Berry Gordy's Motown, pumping out a string of chart-toppers from Harold Melvin & the Blue Notes, the Spinners, the O'Jays, the Stylistics, and many others. The author underscores the endemic racism of the music business at that time, revealing how the three men were blocked from the major record companies and outlets in Philadelphia because they were black, forcing them to create their own label, sign their own artists, and create their own sound. The sound they created--a sophisticated and glossy form of rhythm and blues, characterized by crisp, melodious harmonies backed by lush, string-laden orchestration and a hard-driving rhythm section--was a glorious success, producing at least twenty-eight gold or platinum albums and thirty-one gold or platinum singles. But after their meteoric rise and years of unstoppable success, their production company finally failed, brought down by payola, competition, a tough economy, and changing popular tastes.
Funky, groovy, soulful--Philly Soul was the classic seventies sound. A House on Fire tells the inside story of this remarkable musical phenomenon.

The Bloomsbury Encyclopedia of Popular Music Volume 7 is one of five volumes within the 'Locations' strand of the series. This volume discusses the popular music of Europe in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 100 entries written by more than 60 leading popular music scholars and practitioners, including Paolo Prato on Italy and Alf Bjoernberg on Sweden. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

The Real Singing Cowboys profiles contemporary cowboy--and cowgirl--singers and musicians who are, or have been, authentic working cowboys or ranchers, or involved in related occupations tied to ranching and cowboy culture. The book includes over fifty brief biographies and photos of the singers and musicians, including Glenn Ohrlin, Dave Stamey, Wylie Gustafson, and R.W. Hampton. The stories of traditional occupational songs of working cowboys and how that tradition continues in today's world provide context for the contemporary performers included in the book. These men, women, and children are, or have been, working cowboys, ranchers, packers, and horse trainers, or have deep roots in cowboy and ranching culture that have shaped and informed their music.

Many describe jazz asa the one true form of American music. Arising out of the syncopated rhythms of African music, Cajun songs, and Ragtime, jazz evolved in many 'scenes' throughout the country. The Young Lions jazz movement in New Orleans spread up the Mississippi in the northern Migration. Communities such as St. Louis and Sedalia became jazz centers, while Count Bassie led a revolution in Kansas City. Chicago became a center of freewheeling jazz in the 1920s with the efforts of Jelly Roll Morton, King Oliver, and Louis Armstrong, while classic jazz and swing took root in New York City in the '30s and '40s behind Duke Ellington, Cab Calloway, and Benny Goodman. And while 'boogie woogie' and 'hot jazz' grew out of the Big Apple, a generation of experimental musicians such as Chet Baker and Stan Kenton stood at the forefront of West Coast jazz. Yankow carefully traces the evolution of jazz from regional manifestations to an increasingly national language at the turn of the 20th century. Many audiophiles describe jazz as the one true form of American music. Arising out of the syncopated rhythms of African music, Cajun songs, and Ragtime, jazz evolved in many scenes throughout the country. The Young Lions jazz movement in New Orleans spread up the Mississippi in the northern Migration. Missouri communities such as St. Louis and Sedalia became jazz centers, while Count Basie led a revolution in Kansas City. Chicago became a center of freewheeling jazz in the 1920s with the efforts of Jelly Roll Morton, King Oliver, and Louis Armstrong, while classic jazz and swing took root in New York City in the '30s and '40s behind Duke Ellington, Cab Calloway, and Benny Goodman, the King of Swing. And while boogie woogie and hot jazz grew out of the Big Apple, a generation of experimental musicians such as Chet Baker and Stan Kenton stood at the forefront of West Coast jazz and the Los Angeles scene. Noted jazz writer Scott Yanow carefully traces the evolution of jazz from regional manifestations to an increasingly national language at the turn of the 20th and 21st centuries. The Greenwood Guide to American Roots Music series includes volumes on musical genres that have pervaded American culture. This series describes American musical traditions that have been associated with specific geographic regions throughout our nation. Each volume explores the different ways that a genre, such as jazz, has evolved naturally in different regions and scenes while becoming an undeniable element of American culture.

Providing a fresh reevaluation of a specific era in popular music, this book contextualizes the era in terms of both radio history and cultural analysis. "Early '70s Radio" focuses on the emergence of commercial music radio "formats", which refer to distinct musical genres aimed toward specific audiences. This formatting revolution took place in a period rife with heated politics, identity anxiety, large-scale disappointments and seemingly insoluble social problems. As industry professionals worked overtime to understand audiences and to generate formats, they also laid the groundwork for market segmentation. Audiences, meanwhile, approached these formats as safe havens wherein they could reimagine and redefine key issues of identity. A fresh and accessible exercise in audience interpretation, "Early '70s Radio" is organized according to the era's five prominent formats and analyzes each of these in relation to their targeted demographics, including Top 40, "Soft rock", Album-oriented rock, Soul and Country. The book closes by making a case for the significance of early '70s formatting in light of commercial radio today.

The Bloomsbury Encyclopedia of Popular Music Volume 6 is one of five volumes within the 'Locations' strand of the series. This volume discusses the popular music of African and the Middle East in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 100 entries written by more than 60 leading popular music scholars and practitioners, including John Collins on Ghana, Moya Aliya Malamusi on Malawi, and, Motti Regev on Israel. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

Essays in this volume explore the popular cultural effects of rock culture on high literary production in Spain in the 1990s.

Hip-Hop Within and Without the Academy explores why hip-hop has become such a meaningful musical genre for so many musicians, artists, and fans around the world. Through multiple interviews with hip-hop emcees, DJs, and turntablists, the authors explore how these artists learn and what this music means in their everyday lives. This research reveals how hip-hop is used by many marginalized peoples around the world to help express their ideas and opinions, and even to teach the younger generation about their culture and tradition. In addition, this book dives into how hip-hop is currently being studied in higher education and academia. In the process, the authors reveal the difficulties inherent in bringing this kind of music into institutional contexts and acknowledge the conflicts that are present between hip-hop artists and academics who study the culture. Building on the notion of bringing hip-hop into educational settings, the book discusses how hip-hop is currently being used in public school settings, and how educators can include and embrace hip-hop s educational potential more fully while maintaining hip-hop s authenticity and appealing to young people. Ultimately, this book reveals how hip-hop s universal appeal can be harnessed to help make general and music education more meaningful for contemporary youth."

Gettin' Around examines how the global jazz aesthetic strives, in various ways, toward an imaginative reconfiguration of a humanity that transcends entrenched borders of ethnicity and nationhood, while at the same time remaining keenly aware of the exigencies of history. Jurgen E. Grandt deliberately refrains from a narrow, empirical definition of jazz or of transnationalism and, true to the jazz aesthetic itself, opts for a broader, more inclusive scope, even as he listens carefully and closely to jazz's variegated soundtrack. Such an approach seeks not only to avoid the museal whiff of a "golden age, time past" but also to broaden the appeal and the applicability of the overall critical argument. For Grandt, "international" simply designates currents of people, ideas, and goods between distinct geopolitical entities or nation-states, whereas "transnational" refers to liminal dynamics that transcend preordained borderlines occurring above, below, beside, or along the outer contours of nation-states. Gettin' Around offers a long overdue consideration of the ways in which jazz music can inform critical practice in the field of transnational (American) studies and grounds these studies in specifically African American cultural contexts.

From the Jim Crow world of 1920s Greenville, South Carolina, to Greenwich Village's Café Society in the '40s, to their 1974 Grammy-winning collaboration on "Loves Me Like a Rock," the Dixie Hummingbirds have been one of gospel's most durable and inspiring groups. Now, Jerry Zolten tells the Hummingbirds' fascinating story and with it the story of a changing music industry and a changing nation. When James Davis and his high-school friends starting singing together in a rural South Carolina church they could not have foreseen the road that was about to unfold before them. They began a ten-year jaunt of "wildcatting," traveling from town to town, working local radio stations, schools, and churches, struggling to make a name for themselves. By 1939 the a cappella singers were recording their four-part harmony spirituals on the prestigious Decca label. By 1942 they had moved north to Philadelphia and then New York where, backed by Lester Young's band, they regularly brought the house down at the city's first integrated nightclub, Café Society. From there the group rode a wave of popularity that would propel them to nation-wide tours, major record contracts, collaborations with Stevie Wonder and Paul Simon, and a career still vibrant today as they approach their seventy-fifth anniversary. Drawing generously on interviews with Hank Ballard, Otis Williams, and other artists who worked with the Hummingbirds, as well as with members James Davis, Ira Tucker, Howard Carroll, and many others, The Dixie Hummingbirds brings vividly to life the growth of a gospel group and of gospel music itself.

From the dankest rat hole basements to flash arenas, here is a wild ride through Rock 'n' Roll's nightmare -moments. Rife with hellfire confessionals straight from the bruised lips and shaky hands of jobbing bands, "Gigs from Hell "strips the mythology and starry-eyed allure of life on the road to its barest essentials-puke, sodomy, rip-offs, come-downs, and the odd stab at glory.

Collected and translated from drunken rock-speak by speedball music writer Sleazegrinder, "Gigs From Hell "is a rare glimpse into what it's really liketo tour, record, and survive in the cutthroat world of the -music industry-no holds barred, full speed ahead, the most cringe-worthy moments fully intact.

Foreword by Vadge Moore, drummer for the Dwarves.

The Bloomsbury Encyclopedia of Popular Music Volume 4 is one of five volumes within the 'Locations' strand of the series. This volume discusses the popular music of North America in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 90 entries written by more than 60 leading popular music scholars and practitioners, including Richard Peterson on Nashville, Amy Ku'uleialoha Stillman on Hawai'I, and David Laing on Los Angeles. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

Sting has successfully established himself as one of the most important singer-songwriters in Western popular music over the past twenty years. His affinity for collaborative work and disparate musical styles has pushed his music into an astonishing array of contexts, but no matter what the style or who the collaborator, Sting's voice always remains distinct, and this fact has earned him success amongst a correspondingly broad audience. Songs from his period with The Police, such as "Roxanne," "Don't Stand So Close to Me," "Every Breath You Take," and "King of Pain," helped establish his reputation as a sophisticated craftsman; however, it is in his solo career that he has truly come into his own as a songwriter, and several of his solo works, including "Fragile," "All This Time," "Fields of Gold," "Desert Rose," and "Moon Over Bourbon Street," are modern classics. Aside from his commercial success, Sting is also interesting for the use of recurring themes in his lyrics (such as family relationships, love, war, spirituality, and work) and for his use of jazz and world music to illustrate or work against the "meaning" of a song. Sting's life also sheds light on his music, as his working-class roots in Newcastle, England are never far removed from his international superstardom. Throughout his life, he has been musically open-minded and inquisitive, always seeking out new styles and often incorporating them into his compositions. The Words and Music of Sting subdivides Sting's life and works into rough periods of creative activity and offers a fantastic opportunity to view Sting's many stylistic changes within a coherent general framework. After analyzing Sting's musical output album byalbum and song by song, author Christopher Gable sums up Sting's accomplishments and places him on the continuum of influential singer-songwriters, showing how he differs from and relates to other artists of the same period. A discography, filmography, and bibliography conclude the work.

Jazz, Rags & Blues, Books 1 through 5 contain original solos for late elementary to early advanced-level pianists that reflect the various styles of the jazz idiom. An excellent way to introduce your students to this distinctive American contribution to 20th century music. Available separately (item #18115), the CD includes dynamic recordings of each song in Books 1-3 of this series.

In literature and popular imagination, the Bauls of India and Bangladesh are characterized as musical mystics: orange-clad nomads of both Hindu and Muslim backgrounds. They wander the countryside and entertain with their passionate singing and unusual behavior, and they are especially well-known for their evocative songs, which challenge the caste system and sectarianism prevalent in South Asia.
Although Bauls claim to value women over men, little is known about the individual views and experiences of Baul women. Based on ethnographic research in both the predominantly Hindu context of West Bengal (India) and the Muslim country of Bangladesh, this book explores the everyday lives of Baul women. Lisa Knight examines the contradictory expectations regarding Baul women: on the one hand, the ideal of a group unencumbered by societal restraints and concerns and, on the other, the real constraints of feminine respectability that seemingly curtail women's mobility and public performances.
Knight demonstrates that Baul women respond to these conflicting expectations in various ways, sometimes adopting and other times subverting local gendered norms to craft meaningful lives. More so than their male counterparts, Baul women feel encumbered by norms. But rather than seeing Baul women's normative behavior as indicative of their conformity to gendered roles (and, therefore, failures as Bauls), Knight argues that these women creatively draw on societal expectations to transcend their social limits and create new paths.

In 1968, rock promoter Bill Graham launched the Fillmore East in New York City and the Fillmore West in San Francisco, changing music forever. For three years, every major rock band played the Fillmores, performing legendary shows: Jimi Hendrix, the Grateful Dead, Santana, Jefferson Airplane, Led Zeppelin, Cream, the Allman Brothers, and many more. Author John Glatt tells the story of the Fillmores through the lives of Bill Graham, Janis Joplin, Grace Slick, Carlos Santana, and an all-star supporting cast. Joplin opened the Fillmore East and delivered some of her greatest performances there and at its San Francisco twin. Carlos Santana grew up as a performer at the Fillmore West after being discovered by Graham on audition night. Always unpredicatable, Grace Slick's electrifying Jefferson Airplane was the de facto resident band at both Fillmores. Chronicling the East and West Coast cultures of the late '60s and early '70s-New York City with its speed, heroin, and the Velvet Underground versus San Francisco with the LSD-drenched Summer of Love-Glatt reveals how Graham the made it all possible . . . that is, until August 1969 when Woodstock changed everything and musicians suddenly realized their power. But why did Bill Graham shutter both Fillmores within weeks of each other in 1971, during the height of their popularity? Live at the Fillmore East and West reveals how Graham's claim that "The flowers wilted and the scene changed," was not quite the whole story.

The Bloomsbury Encyclopedia of Popular Music Volume 3 is one of five volumes within the 'Locations' strand of the series. This volume discusses popular music of the Caribbean and Latin America in a historical, geographical, demographical, political, economic, and cultural context. It also examines the genres associated with the region, significant venues such as theatres, dance halls, clubs and bars, and notable performers and other practitioners such as producers, engineers, and technological innovators. The volume consists of over 90 entries written by more than 60 leading popular music scholars and practitioners, including Jose de Menezes Bastos on Brazil and Peter Manuel on India and the Caribbean Islands. This and all other volumes of the Encyclopedia are now available through an online version of the Encyclopedia: https://www.bloomsburypopularmusic.com/encyclopedia-work?docid=BPM_reference_EPMOW. A general search function for the whole Encyclopedia is also available on this site. A subscription is required to access individual entries. Please see: https://www.bloomsburypopularmusic.com/for-librarians.

This is the incredible illustrated story of the Bee Gees, the band that Barry, Maurice and Robin, the brothers Gibb, formed in 1958. The trio were especially successful as a popular music act in the late 1960s and early 1970s, and later as prominent performers of the disco music era in the mid-to-late1970s with the soundtrack album Saturday Night Fever. The group sang recognizable three-part tight harmonies; Robin's clear vibrato lead vocals was the hallmark of their earlier hits, while Barry's R&B falsetto became their signature sound during the mid-to-late 1970s and 1980s. The Bee Gees have sold over 120 million records worldwide making them one of the world's best-selling artists of all time. The boys also wrote all of their own hits, as well as writing and producing several major hits for other artists. They were inducted into the Rock and Roll Hall of Fame in 1997. The Bee Gees' Hall of Fame citation says, "Only Elvis Presley, the Beatles, Michael Jackson, Garth Brooks and Paul McCartney have out sold the Bee Gees." Following Maurice's death in January 2003 at the age of 53, Barry and Robin retired the group's name after 45 years of activity.

Hip hop is remarkably self-critical as a genre. In lyrics, rappers continue to debate the definition of hip hop and question where the line between underground artist and mainstream crossover is drawn, who owns the culture and who runs the industry, and most importantly, how to remain true to the culture's roots while also seeking fame and fortune. The tension between the desires to preserve hip hop's original culture and to create commercially successful music promotes a lyrical war of words between mainstream and underground artists that keeps hip hop very much alive today. In response to criticisms that hip hop has suffered or died in its transition to the mainstream, this book seeks to highlight and examine the ongoing dialogue among rap artists whose work describes their own careers. Proclamations of hip hop's death have flooded the airwaves. The issue may have reached its boiling point in Nas's 2006 album Hip Hop is Dead. Nas's album is driven by nostalgia for a mythically pure moment in hip hop's history, when the music was motivated by artistic passion, instead of base commercialism. In the course of this same album, however, Nas himself brags about making money for his particular record label. These and similar contradictions are emblematic of the complex forces underlying the dialogue that keeps hip hop a vital element of our culture. Is Hip Hop Dead? seeks to illuminate the origins of hip hop nostalgia and examine how artists maintain control of their music and culture in the face of corporate record companies, government censorship, and the standardization of the rap image. Many hip hop artists, both mainstream and underground, use their lyrics to engage in a complex dialogue about rhyme skills versus record sales, and commercialism versus culture. This ongoing dialogue invigorates hip hop and provides a common ground upon which we can reconsider many of the developments in the industry over the past 20 years. Building from black traditions that value knowledge gained from personal experience, rappers emphasize the importance of street knowledge and its role in forging a career in the music business. Lyrics adopt models of the self-made man narrative, yet reject the trajectories of white Americans like Benjamin Franklin who espoused values of prudence, diligence, and delayed gratification. Hip hop's narratives instead promote a more immediately viable gratification through crime and extend this criminal mentality to their work in the music business. Through the lens of hip hop, and the threats to hip hop culture, author Mickey Hess is able to confront a range of important issues, including race, class, criminality, authenticity, the media, and personal identity.

A memoir by the woman who knew Bob Marley best--his wife, Rita.
Rita Marley grew up in the slums of Trench Town, Jamaica. Abandoned by her mother at a very young age, she was raised by her aunt. Music ran in Rita's family, and even as a child her talent for singing was pronounced. By the age of 18, Rita was an unwed mother, and it was then that she met Bob Marley at a recording studio in Trench Town. Bob and Rita became close friends, fell in love, and soon, she and her girlfriends were singing backup for the Wailers. At the ages of 21 and 19, Bob and Rita were married.
The rest is history: Bob Marley and the Wailers set Jamaica and the world on fire. But while Rita displayed blazing courage, joy, and an indisputable devotion to her husband, life with Bob was not easy. There were his liaisons with other women--some of which produced children and were conducted under Rita's roof. The press repeatedly reported that Bob was unmarried to preserve his "image." But Rita kept her self-respect, and when Bob succumbed to cancer in 1981, she was at his side. In the years that followed, she became a force in her own right--as the Bob Marley Foundation's spokesperson and a performer in her reggae group, the I-Three.
Written with author Hettie Jones, No Woman No Cry is a no-holds-barred account of life with one of the most famous musicians of all time. In No Woman No Cry, readers will learn about the never-before-told details of Bob Marley's life, including:
How Rita practiced subsistence farming when first married to Bob to have food for her family. How Rita rode her bicycle into town with copies of Bob's latest songs to sell. How Rita worked as a housekeeper in Delaware to help support her family when her children were young. Why Rita chose to befriend some of the women with whom Bob had affairs and to give them advice on rearing the children they had with Bob. The story of the attack on Bob which almost killed the two of them. Bob's last wishes, dreams, and hopes, as well as the details of his death, such as who came to the funeral (and who didn't).

A book that clearly explains the principles of jazz soloing. Logically organized, with hundreds of musical examples, this method is the result of many years of Ted's teaching and research.