First published in 1972, Ian Whitcomb's After the Ball is an exuberant account of the origins and explosion of popular music, informed by the author's store of experience in the field as a pop sensation of The Sixties. 'Brash, learned, funny and perspicacious.... The author of this free-wheeling, diverting history was a student at Trinity College, Dublin, when he created a rock hit 'You Turn Me On,' and experienced a brief, bewildering season as a touring rock celebrity. This book... is his effort to explain that experience to himself, and, well-educated man that he is, he goes all the way back to the first pop bestseller (in sheet music, of course), 'After The Ball,' and all the way forward to the 1960s.' New Yorker 'One of the best books on popular music to come along in the last few years.... Whitcomb's own involvement with music constantly surfaces to make the book both revealing and highly enjoyable.' Seattle Times

Bing Crosby, Frank Sinatra, Tony Bennett, and Rudy Vallee these cultural icons whose fame spanned all the important mass media, also played a vital role in the origin and development of the crooning tradition. Crooning represented one of the most important musical styles of the twentieth century, intermingling with jazz and fronting the big band craze of the thirties and forties. Crooners spurred the rise of radio as home staple and the Golden Age of film musicals. When commercial television became a viable commodity, crooners anchored perhaps the first TV programming innovation, the variety show. It took the cataclysmic aesthetic and cultural changes ushered in by rock 'n' roll in the 1950s to finally bring crooners down from their pedestal. The Rise of the Crooners examines the historical trends and events that led to the emergence of the crooning style. Ian Whitcomb, a successful popular music vocalist himself for almost 40 years, provides a personal perspective on this phenomenon. The lives and careers of six pioneers of the style Bing Crosby, Russ Columbo, Gene Austin, Rudy Vallee, Johnny Marvin, and Nick Lucas are covered at length. With the exception of one entry devoted to Crosby possibly the greatest entertainer of the past century these biographies (appended by lengthy bibliographies and discographies) are more thorough and up-to-date than any treatment in print about these seminal artists.

Ian Whitcomb, One Hit Wonder British Invader of the 1960s and teen heart-throb, never went home. Instead he tried to settle down in Los Angeles County where, over the years, he produced a Grammy-winning CD, wrote songs for movies, auditioned for butler roles in TV commercials, had and lost dogs, married successfully, and continued to play his ukulele as the ship went down. Now the entire soap opera (1996--2008), roped together in hard copy with appropriate photos, can be relished as a roller coaster of self-pity, vaunting and failed ambition, jealousy, bathos and pathos, culminating in a Big Dream. In other words, this is a comedy book. Mainline Show Biz may have passed Whitcomb by but here in these precious pages he creates his own world of heroes and villains with himself as King in order to get sweet revenge through the twisted lingo of his India rubber sword.

(Limelight). In 1965, Ian Whitcomb's novelty rocker "You Turn Me On" was number eight on the national charts, along with entries from the Beatles, the Rolling Stones, the Beach Boys. In 1966 he was nowheresville a certified rock 'n' roll flash in the pan. It is, then, with a survivor's humor that he tells both his and rock's story from its beginnings in the late fifties to 1969, the year of Woodstock and psychedelic dreams of universal peace and love. Here is the saga of the British Invasion, the genesis of folk rock, the blooming of Flower Power, the Summer of Love and the inner workings of the pop music biz, brought to life by a true insider who is also an uninhibitedly acute observer.

(Limelight). An irreverent and engaging chronicle of popular music dating from the 1880s, when Tin Pan Alley was founded, to the present by a British-born songwriter and onetime pop star. "Brash, learned, funny, and perspicacious." The New Yorker