"Remember the name John Braine. You'll be hearing quite a lot about him. Room at the Top is his first novel and it is a remarkable one . . . it's a long time since we heard the hunger of youth really snarling and it's a good sound to hear again." - "Sunday Times"
"The most discussed, debated and lauded first novel of the year." - "New York Times"
"This novel is brilliant . . . The observation is shrewd and the emotion and the comedy are so true it hurts." - "Daily Express"
Brought up amid squalor and poverty in a dead, ugly small town, young Joe Lampton has one ambition: to escape the anonymous, defeated crowd of "zombies" and make it to the top. Everything seems to be going according to plan when he moves to a new city, finds a good job and new friends, and inspires the love of a pretty girl with a rich father. Only one thing holds him back: his passionate affair with an older married woman. Forced to choose between true love and his ruthless pursuit of wealth and success, Joe will have to make a terrible decision, with violent and tragic consequences.
"Room at the Top" (1957), the first novel by John Braine (1922-1986), earned widespread critical acclaim and was a runaway bestseller in England and America, running into dozens of printings and spawning a sequel and an Oscar-winning film adaptation. Still explosive more than half a century later, Braine's classic of the "Angry Young Men" movement returns to print in this edition, which features a new introduction by Janine Utell and the original jacket art by John Minton.

This compilation of essays takes the study of the blues to a welcome new level. Distinguished scholars and well-established writers from such diverse backgrounds as musicology, anthropology, musicianship, and folklore join together to examine blues as literature, music, personal expression, and cultural product. Ramblin' on My Mind contains pieces on Ella Fitzgerald, Son House, and Robert Johnson; on the styles of vaudeville, solo guitar, and zydeco; on a comparison of blues and African music; on blues nicknames; and on lyric themes of disillusionment. Contributors are Lynn Abbott, James Bennighof, Katharine Cartwright, Andrew M. Cohen, David Evans, Bob Groom, Elliott Hurwitt, Gerhard Kubik, John Minton, Luigi Monge, and Doug Seroff.

When record men first traveled from Chicago or invited musicians to studios in New York, these entrepreneurs had no conception how their technology would change the dynamics of what constituted a musical performance. "78 Blues: Folksongs and Phonographs in the American South" covers a revolution in artist performance and audience perception through close examination of hundreds of key "hillbilly" and "race" records released between the 1920s and World War II.

In the postwar period, regional strains recorded on pioneering 78 r.p.m. discs exploded into urban blues and R&B, honky-tonk and western swing, gospel, soul, and rock 'n' roll. These old-time records preserve the work of some of America's greatest musical geniuses such as Jimmie Rodgers, Robert Johnson, Charlie Poole, and Blind Lemon Jefferson. They are also crucial mile markers in the course of American popular music and the growth of the modern recording industry.

When these records first circulated, the very notion of recorded music was still a novelty. All music had been created live and tied to particular, intimate occasions. How were listeners to understand an impersonal technology like the phonograph record as a musical event? How could they reconcile firsthand interactions and traditional customs with technological innovations and mass media? The records themselves, several hundred of which are explored fully in this book, offer answers in scores of spoken commentaries and skits, in song lyrics and monologues, or other more subtle means.