This book is the authorized chronicle of the Atlanta Rhythm Section, the legendary southern rock band that created such memorable hits as "Champagne Jam," "So Into You," "Imaginary Lover," "Spooky," and "Doraville." Already seasoned studio professionals when they formed in 1970, the A.R.S. forged a new direction in southern rock by focusing on the integrity of their music onstage and in the studio. Through platinum and gold albums-A Rock and Roll Alternative, Champagne Jam, and Underdog-as well as international tours, huge outdoor concerts, and personnel changes, the band has staunchly maintained its dedication to its craft over the decades. This story contains recollections from original and current band members, producers, technicians, other musicians, and fans, as well as more than 120 photos of band members from the early days as backup musicians for Roy Orbison and other iconic artists to the present day.

(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.

for SSA, piano, and optional bass and drum kit This vibrant collection presents five jazzy settings of poems from William Blake's Songs of Innocence. Chilcott challenges the expectation of the listener by setting each classic text in a different jazz-inspired style-from the laid-back swing of 'The Echoing Green' and ballad-like setting of 'The Lamb' to a lilting jazz waltz, 'The Little Boy Lost/The Little Boy Found'. The voices are underpinned by a stylistic piano part, which may be played as written or serve as a guide, and a part for bass and drum kit is available separately for jazz trio accompaniment. Ideal for performance individually or as a suite, these innovative songs will make a colourful addition to any concert programme.

n the wake of the wartime experience of sexual slavery for the Japanese military during the Asia-Pacific War (1930-45), Korean survivors lived under great pressure not to speak about what had happened to them. These sexual slaves were known as "comfort women," and this book brings us into the lives of three of them: Pak Duri, Mun Pilgi, and Bae Chunhui. Over the course of seven years, author Joshua Pilzer worked with these now-elderly women, living alongside of them, smoking with them, eating with them, singing and playing with them, documenting and trying to understand their worlds of song. Hearts of Pine focuses on the selves and social lives that these three women cultivated through song. During four decades of post-war public secrecy about the comfort women system, song served for these women as both a private and a public means of coping with their trauma - each used song in a different way to reckon with their experiences and to forge a new sense of self. In the 1990s a nationalist movement arose in South Korea to seek redress from the Japanese government and to tend to the previously-shunned comfort women survivors in their old age. Suddenly these women, and many others like them, found themselves pulled from the margins of society and thrust into the very center of the public cultural spotlight. Appearing on television and radio as well as at political events and protest rallies, the "comfort women grandmothers" collectively functioned as an emblem of the horrors Japan inflicted on long "enslaved" Korea - a Korea that had now overcome Japanese domination. But while the women were to stand forward as symbols of Korea's triumph over metaphorical enslavement, they were still not enabled to speak of the details of their own actual enslavement, as these horrors remained too disturbing for the public to tolerate - the public did not want to hear about what the comfort women had suffered, only that they had, like Korea herself, survived. Yet in the face of the selective interests and forces of the public cultural imagination, and directly into the media spotlights of South Korean public culture itself, all three of these women continued to use song as a means of expressing publicly that which they were not supposed to talk about. Through the intimate and tenderly crafted portraits of three off-beat old women in a South Korean old age home (who made routine appearances on national television and radio), Hearts of Pine addresses basic questions about the power of music vis-a-vis other forms of social expression, illuminates the history of Korean music in the twentieth century, and tells a new history of the "comfort women" system and postwar South Korean public culture.

Carole King's early compositional work in the 1970s paved the way for many women songwriters of popular music. Among her best-known compositions are You've Got a Friend, Up on the Roof, Will You Love Me Tomorrow? and (You Make Me Feel Like) A Natural Woman. This reference encompasses Carole King's musical career from her compositions in the early 1960s through the 1990s, including her recently composed My One True Friend for the film "One True Thing" and Anyone at All for the film "You've Got Mail." A brief biography of Carole King, which includes a critical analysis of her music, precedes an extensive discography of 1,275 recording entries and bibliography sections.

Popular music scholars, along with Carole King fans, will appreciate this detailed source of available research materials on Carole King. The discography is divided into three sections: a performance discography, a miscellaneous discography, and a composition discography. Separate bibliographies cover writings, such as reviews, that focus on King's recordings, a general bibliography, and a brief bibliography of electronic resources. A filmography and videography are also included.

After a string of commercial disappointments, in 1986 Australian rock band The Church were simultaneously dropped by Warner Brothers in the US and EMI in Australasia. The future looked bleak. Seemingly from nowhere, their next record, Starfish, became an unlikely global hit. Its alluring and pensive lead single, 'Under the Milky Way', stood in stark contrast to the synth pop and hair metal dominating the 1980s. A high watermark of intelligent rock, Starfish musically anticipated alternative revolutions to come. Yet in making Starfish, The Church struggled with their internal contradictions. Seeking both commercial and artistic success, they were seduced by fame and drugs but cynical towards the music industry. Domiciled in Australia but with a European literary worldview, they relocated to Los Angeles to record under strained circumstances in the heart of the West Coast hit machine. This book traces the story of Starfish, its background, composition, production and reception. To the task, Gibson brings an unusual perspective as both a musician and a geographer. Drawing upon four decades of media coverage as well as fresh interviews between the author and band members, this book delves into the mysteries of this mercurial classic, tracing both its slippery cultural geography and its sumptuous songcraft. Situating Starfish in time and space, Gibson transports the reader to a key album and moment in popular music history when the structure and politics of the record industry was set to forever change.

Germany in the Loud Twentieth Century seeks to understand recent German history and contemporary German culture through its sounds and musics, noises and silences, using the means and modes of the emerging field of Sound Studies. German soundscapes present a particularly fertile field for investigation and understanding, Feiereisen and Hill argue, due to such unique factors in Germany's history as its early and especially cacophonous industrialization, the sheer loudness of its wars, and the possibilities of shared noises in its division and reunification. Organized largely but not strictly chronologically, chapters use the unique contours of the German aural experience to examine how these soundscapes - the sonic environments, the ever-present arrays of noises with which everyone lives - ultimately reveal the possibility of "national" sounds. Together the chapters consider the acoustic national identity of Germany, or the cultural significance of sounds and silence, since the development and rise of sound-recording and sound-disseminating technologies in the early 1900s Chapters draw examples from a remarkably broad range of contexts and historical periods, from the noisy urban spaces at the turn of the twentieth century to battlefields and concert halls to radio and television broadcasting to the hip hop soundscapes of today. As a whole, the book makes a compelling case for the scholarly utility of listening to them. An online "Bonus Track" of teaching materials offers instructors practical tips for classroom use.

Breaking the global record for streams in a single day, nearly 10 million people around the world tuned in to hear Kendrick Lamar's sophomore album in the hours after its release. To Pimp a Butterfly was widely hailed as an instant classic, garnering laudatory album reviews, many awards, and even a canonized place in Harvard's W. E. B. Du Bois archive. Why did this strangely compelling record stimulate the emotions and imaginations of listeners? This book takes a deep dive into the sounds, images, and lyrics of To Pimp a Butterfly to suggest that Kendrick appeals to the psyche of a nation in crisis and embraces the development of a radical political conscience. Kendrick breathes fresh life into the Black musical protest tradition and cultivates a platform for loving resistance. Combining funk, jazz, and spoken word, To Pimp a Butterfly's expansive sonic and lyrical geography brings a high level of innovation to rap music. More importantly, Kendrick's introspective and philosophical songs compel us to believe in a future where, perhaps, we gon' be alright.

The Beatles have been at the top for fifty years, their music remains exciting, their influence is still huge, their acclaim and achievements cannot be surpassed. But who really were the Beatles, and how did they and everything else in the 1960s fuse so explosively? Mark Lewisohn's three-part biography is the first true and accurate account of the Beatles, a contextual history built upon impeccable research and written with energy, style, objectivity and insight. This first volume covers the crucial and less-known early period - the Liverpool and Hamburg years of a hungry rock and roll band, when all the sharp characters and situations take shape. This is the Beatles like you've never read them before. It isn't just 'another book', it's the book, from the world-acknowledged authority. Forget what you know and discover The Complete Story.

Following his bestselling memoir, It's a Long Story,?Willie Nelson now delivers his most intimate thoughts and stories in Willie Nelson's Letters to America. From his opening letter "Dear America" to his "Dear Willie" epilogue, Willie digs deep into his heart and soul--and his music catalog--to lift us up in difficult times, and to remind us of the endless promise and continuous obligations of all Americans--to themselves, to one another, and to their nation. In a series of letters straight from the heart, Willie sends his thanks and his thoughts to: Americans past, present, and future, his closest family members,?andhis parents, sister, and children, his?other family members his guitar "Trigger", his hero Gene Autry, and the US founding fathers. He also pens notes to his personal heroes, from our founding fathers to the leaders of future generations and to young songwriters as well?as leaders of our future generations. Willie's letters are rounded out with the moving lyrics to some of his most famous and insightful songs, including "Let Me Be a Man," "Family Bible," "Summer of Roses," "Me and Paul," "A Horse called Music," "Healing Hands of Time," and "Yesterday's Wine."

What is happening to pop music and pop culture? Synthesizers, samplers and MDI systems have allowed anyone with basic computing skills to make music. Exchange is now automatic and weightless with the result that the High Street record store is dying. "MySpace," "Twitter" and "You Tube" are now more important publicity venues for new bands than the concert tour routine. Unauthorized consumption in the form of illegal downloading has created a financial crisis in the industry. The old postwar industrial planning model of pop, which centralized control in the hands of major record corporations, and divided the market into neat segments, is dissolving in front of our eyes.

This book offers readers a comprehensive guide to understanding pop music today. It provides a clear survey of the field and a description of core concepts. The main theoretical approaches to the analysis of pop are described and critically assessed. The book includes a major investigation of the revolutionary changes in the production, exchange and consumption of pop music that are currently underway. "Pop Music, Pop Culture" is an accomplished, magnetically interesting guide to understanding pop music today.

Robert Wyatt started out as the drummer and singer for Soft Machine, who shared a residency at Middle Earth with Pink Floyd and toured America with Jimi Hendrix. He brought a Bohemian and jazz outlook to the 60s rock scene, having honed his drumming skills in a shed at the end of Robert Graves' garden in Mallorca. His life took an abrupt turn after he fell from a fourth-floor window at a party and was paralysed from the waist down. He reinvented himself as a singer and composer with the extraordinary album Rock Bottom, and in the early eighties his solo work was increasingly political. Today, Wyatt remains perennially hip, guesting with artists such as Bjork, Brian Eno, Scritti Politti, David Gilmour and Hot Chip. Marcus O'Dair has talked to all of them, indeed to just about everyone who has shaped, or been shaped by, Wyatt over five decades of music history.

Offering a unique glimpse into the Gram Parsons legend that has never been offered before this book is the inside story by his bandmate and travelling partner from the The International Submarine Band. Set between September 1965 and June 1968 it follows Gram Parsons as he begins to create country rock and he and the band embark upon an exasperating upstream journey, swimming against a tide of opposition, rejection and astonishment from the establishment. With a cast of characters including Gram Parsons, David Crosby, Peter Fonda, Denis Hopper, Arthur Lee, and Hugh Masekela this is more than a music book, it's a vivid swirling trip across a vanished America.

Indonesia is celebrated for its courtly arts, its beautiful beaches, its tourist attractions, and its artisan marketplace. Yet long overdue is a look at Indonesian Islam as the source of and inspiration for the arts throughout the history if its people, and in the dynamic popular performances of today. From the rhythmic grooves of dang dut, the archipelago's tenacious pop music, to the oft-quoted image of the wayang shadow puppet-theater, Divine Inspirations: Music and Islam in Indonesia investigates the expression of the Muslim religion through a diversity of art forms in this region. And from Quranic recitation by teenaged girls and women in Jakarta to the provincial patronage of Sufi arts and Muslim ritual as regional performance, this volume further addresses the ways in which Islam-inspired performance has been co-opted and appropriated for the expression of national culture. Eleven ethnographic case studies by an international roster of specialists in Indonesian expressive culture and performing arts are complimented by an introduction by co-editors David Harnish and Anne Rasmussen, and an epilogue by senior scholar Judith Becker. The collection explores the region's various micro-cultures of music, dance, religious ritual, government patronage, social censorship, tourism, development, and gender roles and relations. This pastiche speaks on personal, political, global, and local levels to the most important question of identity and ideology in Indonesia today: Islam. Divine Inspirations will engage readers interested in Southeast Asia, the Middle East, Islam, world religions, global discourse, and music, arts and ritual.

This collection of original essays is in tribute to the work of Derek Scott on the occasion of his sixtieth birthday. As one of the leading lights in Critical Musicology, Scott has helped shape the epistemological direction for music research since the late 1980s. There is no doubt that the path taken by the critical musicologist has been a tricky one, leading to new conceptions, interactions, and heated debates during the past two decades. Changes in musicology during the closing decades of the twentieth century prompted the establishment of new sets of theoretical methods that probed at the social and cultural relevance of music, as much as its self-referentiality. All the scholars contributing to this book have played a role in the general paradigmatic shift that ensued in the wake of Kerman's call for change in the 1980s. Setting out to address a range of approaches to theorizing music and promulgating modes of analysis across a wide range of repertories, the essays in this collection can be read as a coming of age of critical musicology through its active dialogue with other disciplines such as sociology, feminism, ethnomusicology, history, anthropology, philosophy, cultural studies, aesthetics, media studies, film music studies, and gender studies. The volume provides music researchers and graduate students with an up-to-date authoritative reference to all matters dealing with the state of critical musicology today.

Jimi Hendrix has been for sure a unique guitarist and a master of rock music, who, with his early death, aged 27, entered the Rock'n'roll Hall of Fame with all the glory it takes. The never-heard-before result of his continuous improvement was contained in just three albums "Are You Experienced?", "Axis: Bold as Love" and "Electric Ladyland". A deep focus on the three most important years of Hendrix's career, closely followed by Assante, skilled author and real expert on rock music. Unedited photos, quotes, legendary interviews and deep research to outline the iconic figure of this rock legend.

How has Hanguk (South Korean) hip hop developed over the last two decades as a musical, cultural, and artistic entity? How is hip hop understood within historical, sociocultural, and economic matrices of Korean society? How is hip hop represented in Korean media and popular culture? This book utilizes ethnographic methods, including fieldwork research and life timeline interviews with fifty-three influential hip hop artists, in order to answer these questions. It explores the nuanced meaning of hip hop in South Korea, outlining the local, global, and (trans)national flows of musical and cultural exchanges. Throughout the chapters, Korean hip hop is examined through the notion of buran-personal and societal anxiety or uncertainty-and how it manifests in the dimensions of space and place, economy, cultural production, and gender. Ultimately, buran serves as a metaphoric state for Hanguk hip hop in that it continuously evolves within the conditions of Korean society.

For decades, Germany has been shaped and reshaped by the sounds of popular music-whether viewed as uniquely German or an ideological invader from abroad. This collected volume brings together leading figures in the field of German Studies, popular music studies, and cultural studies at large to survey the sociopolitical impact of music on conceptions of the German state and national identity, gender and sexuality, and transnational cultural production and consumption, expanding on the ways in which sounds, technologies, media practices, and exchanges of popular music provide a unique glimpse into the cultural dynamics of postwar Germany.

To mark the first issue of this exciting new journal, Liverpool University Press are publishing a commemorative paperback edition of The Journal of Beatles Studies which will be available alongside the Open Access Journal edition. The Journal of Beatles Studies is the first journal to establish The Beatles as an object of academic research, and will publish original, rigorously researched essays, notes, as well as book and media reviews. The journal aims are; to provide a voice to new and emerging research locating the Beatles in new contexts, groups and communities from within and beyond academic institutions; to inaugurate, innovate, interrogate and challenge narrative, cultural historical and musicological tropes about the Beatles as both subject and object of study; to publish original and critical research from Beatles scholars around the globe and across disciplines. The Journal of Beatles Studies establishes a scholarly focal point for critique, dialogue and exchange on the nature, scope and value of The Beatles as an object of academic enquiry and seeks to examine and assess the continued economic value and cultural values generated by and around The Beatles, for policy makers, creative industries and consumers. The journal also seeks to approach The Beatles as a prism for accessing insight into wider historical, social and cultural issues.

Alan Lomax (1915-2002) is arguably the most popular and influential American folk song collector of the 20th century. Pursuing a mission of both preserving and popularizing folk music, Lomax moved between political activism, the scholarly world, and the world of popular culture. Based largely on primary material, the book shows how Lomax's diverse activities made him an authority in the field of folk music and how he used this power to advocate the cultures of perceived marginalized Americans - whom he located primarily in the American South. In this approach, however, folk music became an abstract idea onto which notions oscillating between hope and disillusionment, fear and perspective were projected. The author argues that Lomax's role as a cultural mediator, with a politically motivated approach, helped him to decisively shape the perception and reception of what came to be known as American folk music, from the mid 1930s to the late 1960s.

The complex notion of "rasa," as understood by Javanese musicians, refers to a combination of various qualities, including: taste, feeling, affect, mood, sense, inner meaning, a faculty of knowing intuitively, and deep understanding. This leaves us with a number of questions: how is rasa expressed musically? Who or what has rasa, and what sorts of musical, psychological, perceptual, and sociological distinctions enter into this determination? How is the vocabulary of rasa structured, and what does this tell us about traditional Javanese music and aesthetics?
In this first book on the subject, Rasa provides an entry into Javanese music as it is conceived by the people who know the tradition best: the musicians themselves. In one of the most thorough explorations of local aesthetics to date, author Marc Benamou argues that musical meaning is above all connotative - hence, not only learned, but learnable. Following several years performing and researching Javanese music in the regional and national cultural center of Solo, Indonesia, Benamou untangles the many meanings of rasa as an aesthetic criterion in Javanese music, particularly in court and court-derived gamelan traditions. While acknowledging that certain universal psychological tendencies may inspire parallel interpretations of musical meaning, Rasa demonstrates just how culturally specific such accrued, shared meanings can be.

A keen critic of culture in modern Indonesia, Andrew N. Weintraub shows how a genre of Indonesian music called dangdut evolved from a denigrated form of urban popular music to a prominent role in Indonesian cultural politics and the commercial music industry. Dangdut--named onomatopoetically for the music's characteristic drum sounds "dang" and "dut"--is Indonesia's most popular music, heard in streets and homes, public parks and narrow alleyways, stores and restaurants, and all forms of public transportation. Despite dangdut's tremendous popularity in Indonesia and other parts of Asia, it has seldom received the serious critical attention it deserves.
Dangdut Stories is a social and musical history of dangdut within a range of broader narratives about class, gender, ethnicity, and nation in post-independence Indonesia (1945-present). Quoted material from interviews, detailed analysis of music and song texts, and ethnography of performance illuminate the stylistic nature of the music and its centrality in public debates about Islam, social class relations, and the role of women in postcolonial Indonesia.
Dangdut Stories is the first musicological study to examine the stylistic development of dangdut music itself, using vocal style, melody, rhythm, form, and song texts to articulate symbolic struggles over meaning. Throughout the book the voices and experiences of musicians take center stage in shaping the book's narrative. Dangdut was first developed during the early 1970s, and an historical treatment of the genre's musical style, performance practice, and social meanings is long overdue.

Featuring fresh insights from Mick, Keith, Charlie and Ronnie, Unzipped digs deeper than ever before into the Stones' archives to present a comprehensive collection of Stones artworks, instruments, stage outfits and notebooks alongside key work by some of the legends of rock photography. For almost 60 years the Rolling Stones have helped shape popular culture around the globe. Unzipped captures the compelling character and dynamic spectacle of the band through distinctive photography and interviews with the Stones themselves, tracing their impact and influence on rock music, art, design, fashion, photography and filmmaking. Evocative archive photos, artworks, outtakes and memorabilia, together with dazzling images of the band's instruments and outfits, plunge you into the ever-changing world of the Stones. Many of the instruments and outfits are paired with pertinent archive photos, so you can examine the detail and see the objects in use. Peppered throughout with engrossing and insightful new commentary by Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood, the book also features a compelling introduction by Anthony DeCurtis, which chronicles their career, and perceptive articles by some of their most important creative collaborators, including Buddy Guy, Don Was, Anna Sui, John Varvatos, Martin Scorsese, Shepherd Fairey, Patrick Woodroffe and Willie Williams. Bold, glamorous and captivating - and beautifully bound and finished - Unzipped is the perfect showcase for 'the greatest rock 'n' roll band in the world'. With 400 illustrations, 370 in colour

"This volume epitomizes Jost Hermand's inimitable talent of synthesizing wide-ranging disciplines in an accessible and compelling style, bringing to life the experiences of musicians and their public in the context of their own times. These essays also give us a glimpse into how his own life experiences created the hunger for culture that defined his long and illustrious career." (Pamela M. Potter, Professor of German and Musicology, University of Wisconsin-Madison) "Jost Hermand's final book is an enormously rich gift to posterity. The fifteen essays on musical culture that constitute this collection contain brief but illuminating glimpses of the whole glorious parade of serious music and those who composed, cultivated, and commented on it in the German lands, from Buxtehude to Stockhausen and beyond. His insight and well-observed contextualization reveals a lifetime of scholarship and experience." (Celia Applegate, Professor of History, Vanderbilt University) In contrast to the writings of many other musicologists, this book is not primarily concerned with the biographies of certain composers or a structural analysis of their major compositions, but rather with the stands they took in the ideological struggles during their lifetimes and how these affected some of their most important works. Beginning with the late seventeenth century, special emphasis is thereby given to Pietism, orthodox Lutheranism, the impact of the French Revolution, the restrictive measures of the Metternich period, the Wilhelminian era, Expressionism, the New Objectivity and the materialist aesthetics of the Weimar Republic, fascism, exile and the modernism of the early Federal Republic of Germany.