We all know Little Richard’s great hits like "Long Tall, Sally", "Tutti Frutti" and "Good Golly Miss Molly" and Little Richard’s life was as wild as his records. It’s excess all areas as Spencer Leigh tells the story of Little Richard in Send Me Some Lovin. It is a biography of someone who transformed popular music. Spencer Leigh was born in 1945 and hearing Little Richard for the first time in 1956 changed his life. He is a world expert on the Beatles and he has written a series of music-based biographies – Frank Sinatra, Elvis Presley, Buddy Holly, Bob Dylan, Simon and Garfunkel – all of which are full of facts and opinions.
A two-volume biography of George Martin’s work as a record producer, full of colourful detail.
You get a full account of George’s work with the Beatles. The sound effects which George had to create for The Goons’ records helped him deal with the Beatles. I also loved reading about George’s spat with his fellow EMI producer, Norrie Paramor.
George Martin - the man, the mind, the music. This is the story of the legendary Beatles producer.
The first of two volumes, MAXIMUM VOLUME traces Martin's early life, from an impoverished childhood, through WWII, to becoming head of EMI's Parlophone Records.
There, he made waves in British comedy and saved Parlophone from ruin with records from the likes of Spike Milligan. Then one day he discovered a scruffy beat band from Liverpool...
As this dramatic story unfolds, the book transports you into the studio with Martin and the Beatles, exploring how his musical genius shaped their incredible body of…
Having been a professional singer for about five decades and having grown up with, and studied the early recordings of operatic singers for just as long, I feel that I am in an unusual position when it comes to analyzing their art. The ability to describe a singer’s voice on paper is a unique challenge but one that I enjoy solving–especially since each voice is a law unto itself. When done correctly, analysis like this should make the reader want to go and find the recording so that they can listen for themselves. This is especially true for my expanded Kindle version of Early 20th Century Opera Singers.
Herman Klein wrote for the magazine, Gramophone during the 1920s and his reviews of the then-current 78 r.p.m. recordings are among the best you can read. This book from Amodeus Press contains all his reviews and articles for that magazine and is a fascinating, essential read. This is another book that I have read and re-read over the years, scribbled in the margins, and quoted from in my own writing.
From Klein's comments on early recordings that remain available today, the reader can get a glimpse of what legendary singers such as Patti and Lind sounded like more than a century ago. The essays of Herman Klein that appeared in The Gramophone from 1924 until 1934 are indispensable sources of information on the singers of the Golden Age.
I have been doing research in the Caribbean for twenty-five years. The region is diverse and magnificent. Caribbean people have sought creative solutions for racial inequality, climate and sustainability, media literacy and information, women’s and family issues. The transnational connections with the US are complex and wide-ranging, and knowing more about this region is an urgent matter. I work to understand how sound and media work because they structure our reality in important ways. Listening as a way of approaching relationships in work and play is key to our survival. So is understanding how media works, where we get our information from, and how to tell what’s relevant, significant, and true, and what is not.
Sterne explores the cultural history of how and why Americans developed technologies that reproduced and transmitted sound. It is a surprising story that takes us through the Civil War and ideas about death, deaf children and their teachers, the discipline of medicine, and the practice of folklore. It turns out that cultural shifts encouraged the preservation of sound, and those machines we developed in turn changed the ways we listen.
The Audible Past explores the cultural origins of sound reproduction. It describes a distinctive sound culture that gave birth to the sound recording and the transmission devices so ubiquitous in modern life. With an ear for the unexpected, scholar and musician Jonathan Sterne uses the technological and cultural precursors of telephony, phonography, and radio as an entry point into a history of sound in its own right. Sterne studies the constantly shifting boundary between phenomena organized as "sound" and "not sound." In The Audible Past, this history crisscrosses the liminal regions between bodies and machines, originals and copies, nature and…
I grew up hearing jazz thanks to my dad, a big swing fan who allegedly played Duke Ellington for me in the crib. My father couldn’t believe it when I developed a taste for “modern jazz,” bebop, even Coltrane, but he never threw me out. Fifty years later I still love to play jazz on drums and listen to as much as I can. But along the way, I realized the world might be better served by me writing about the music than trying to make a living performing it. I had the great privilege of studying jazz in graduate school and wrote about big-band jazz for my first book, which helped launch my career.
Michael Denning was my dissertation advisor in grad school and one of the most impressive scholars of American culture that I know. What I like about Noise Uprising is that it gives us a whole new perspective on the beginnings of jazz. No longer is American jazz at the center of the universe. Instead, it’s a small piece of a larger mosaic of popular music that stretched from Havana and Rio to Seville, Cairo, Jakarta, and Honolulu. Before reading this book I had no idea that musical recording even went on in all these far-flung places, beginning in 1925, even before the great wave of recordings appeared from Louis Armstrong, Duke Ellington, and Jelly Roll Morton. We learn about the origin and first recordings of such major genres as samba, son, tango, flamenco, tarab, kroncong, and hula. All of these styles were deeply embedded in the social and political struggles…
In a handful of years between the development of electrical recording in 1925 and the outset of the Great Depression in the early 1930s, the soundscape of modern music unfolded in a series of relatively unnoticed recording sessions around the world. These included the recording of tango in Buenos Aires, son in Havana, and samba in Rio; of hula in Honolulu, shidaiqu in Shanghai, and kroncong in Jakarta, and; of taraab in East Africa and marabi in Johannesburg. In this ground-breaking study, Michael Denning draws a global map of a musical revolution that had more profound consequences than the "modern"…
I have been doing research in the Caribbean for twenty-five years. The region is diverse and magnificent. Caribbean people have sought creative solutions for racial inequality, climate and sustainability, media literacy and information, women’s and family issues. The transnational connections with the US are complex and wide-ranging, and knowing more about this region is an urgent matter. I work to understand how sound and media work because they structure our reality in important ways. Listening as a way of approaching relationships in work and play is key to our survival. So is understanding how media works, where we get our information from, and how to tell what’s relevant, significant, and true, and what is not.
Just as important as thinking about how music sounds and what it means is thinking about where technology comes from and crucially, where it goes after we’re done with it. This book lets no one off the hook and insists that anyone who cares about music should be cognizant of its economies of waste and decomposition.
Music is seen as the most immaterial of the arts, and recorded music as a progress of dematerialization—an evolution from physical discs to invisible digits. In Decomposed, Kyle Devine offers another perspective. He shows that recorded music has always been a significant exploiter of both natural and human resources, and that its reliance on these resources is more problematic today than ever before. Devine uncovers the hidden history of recorded music—what recordings are made of and what happens to them when they are disposed of.
Devine's story focuses on three forms of materiality. Before…
As an author and educator, my work centers on the history, business, and art of the music industry and film industry. I don’t think my fellow historians use musical evidence enough as a primary document that reveals much about the society and time period one is writing about—just as much as the usual primary and secondary documents historians use. I try to ensure my books are entertaining as well as rigorously researched. I’m also a songwriter, with many years in the music biz, and have done much work in radio, especially crafting music shows. I’m always discovering amazing stuff from various eras, and it’s not much fun if you don’t share it, which is part of why I’m on Twitter.
Going back 125 years in recording history, Milner’s book will make you question what “good recorded sound” is, and how that notion, surprisingly, is a political one that has changed over time. A diversity of genres and artists are brought in to prove his points. He demonstrates why technological innovations such as the cylinder, the 78RPM record, magnetic tape, albums, transistors, the cassette, the CD, ProTools and of course MP3s changed the sound and content of music forever. And also how such changes greatly affected the bottom line of the music business, increasing or decreasing revenue as the case may be. Might change how you view your music collection.
In 1915, Thomas Edison proclaimed that he could record a live performance and reproduce it perfectly, shocking audiences who found themselves unable to tell whether what they were hearing was an Edison Diamond Disc or a flesh-and-blood musician. Today, the equation is reversed. Whereas Edison proposed that a real performance could be rebuilt with absolute perfection, Pro Tools and digital samplers now allow musicians and engineers to create the illusion of performances that never were. In between lies a century of sonic exploration into the balance between the real and the represented.
Tracing the contours of this history, Greg Milner…
I believe laughing together is a big part of the glue that bonds people together. Humor has gotten me through my toughest times—and given me much joy in the good times. Laughing over my books with one or both of my toddler grandsons will always be cherished memories for me. Likewise, I love hearing about moments of connection for other readers bonding over Applesauce Is Fun to Wear, Baby’s Opposites, Baby’s Firsts, and Pirate Jack Gets Dressed.
Picture books should appeal to the ear as well as the eye. Coming from a family of musicians, I’m partial to rhyme, as you might guess from most of my picks here.
This book is full of unexpected delights from beginning to end.
The first spread states, “ROAR!! Goes the…” opposite a cutout that shows a tiger driving. The next spread says, “…TRUCK that rumbles up the road,” and shows the tiger driving a truck with a crate of tacks tumbling onto the road.
Likewise, “Hiss…goes the CAR that gets a flat tire,” driven by a snake. A parade of vehicles gets held up behind them until a coyote-driven police car (Awooo!) and beaver-driven tow truck (chomp!) save the day.
Cushman’s illustrations contain even more visual jokes. The sloth passing the pile-up on the sidewalk while pushing a tennis-ball-footed walker made me laugh out loud, even without a vehicle- or animal-loving toddler to read it to.
With a nod to Richard Scarry, this inventive picture book surprises readers with every turn of the page!
Hiss! Screech! Roar! It's a noisy day in Bumperville! But are the sounds what you think they are? That Honk! must surely be a goose. But turn the page and it's the taxi that a goose is driving! Using cleverly placed die-cuts, this inventive book hints at what is making the sound, but with each turn of the page, it's an eye-opening surprise and part of an unfolding story that is part guessing game and part giggle-inducing caper. Abi Cushman is the…
I’ve been a writer all my life in one form or another, and I love to observe the world around me and the people in it. I’ve had a fascination with dusk, in particular, since I was a child. I remember having the most adventurous time playing with my sister and our neighborhood friends after dinner in the summertime and soaking in everything that time of day had to offer—from the beautiful colors of the sunset to the croaking toads to the smell of the freshly cut grass. Each time of day—sunrise to midnight—offers a sensory overload if you are open to it. These books I have recommended dive into that delight.
If the title doesn’t grab your interest, then open the book.
This story focuses on the subtle and simple sounds that you may hear during the beginning of a day. The illustrations evoke all things sunrise and the words match with their lyrical flow and call to action. This book will encourage everyone, even late sleepers like me, to throw off their covers, jump out of bed, and see what the day has to offer.
This beautiful companion to What Color Is Night? helps children explore and celebrate their morning routines.
At the first morning light, everything is quiet. Or is it?
Listen.
Welcome the day by exploring the subtle wonders-and exciting sounds-of the morning with this lyrical and picturesque story.
In the first morning light, all might seem quiet. In this companion to What Color Is Night?
Grant Snider explores the sounds-and silences-of morning. Ending in an
inspiring call to action-to toss off the covers, throw open the window,
and fill the world with your song-this uplifting book is sure to help
families feel…
Music has been a passion ever since I joined my mother’s hippie jam sessions as a toddler. During my 17 years as a professional cellist-in-training, I tried Yo-Yo Ma’s Stradivarius and played Pachelbel’s Canon at a gazillion weddings. I even made it to Carnegie Hall, performing in a university orchestra on the gilded stage. But injuries, both physical and psychological, put an end to my classical music career. Trying to forget my cello years, I entered journalism, eventually becoming a staff health reporter at Canada’s national newspaper, The Globe and Mail. Later, when a percussion workshop triggered a dramatic shift in my perspective, I answered the call to explore music in a more expansive way.
In the words of Joni Mitchell, you “don’t know what you got till it’s gone.” Only a person who has gone deaf partway through life knows what it means to live with and without sound. And music.
In this evocative book, British journalist Bella Bathurst chronicles her profound loss of hearing starting at age 27—and twelve years later, its dramatic return. The health reporter in me gave a thumbs-up to her skillful exploration of the lesser-known science of hearing.
She introduces expert lip readers, soldiers who accept deafness as an occupational hazard, and the copper “ear trumpets” used by Beethoven as his greatest joy ebbed. When Bathurst regains her hearing, I was awed by her description of hearing music anew: “It was a thousand volts of birdsong.”
In 1997, Bella Bathurst began to go deaf. Within a few months, she had lost half her hearing, and the rest was slipping away. She wasn't just missing punchlines, she was missing most of the conversation - and all of the jokes. For the next twelve years deafness shaped her life, until, in 2009, everything changed again.
Sound draws on this extraordinary experience, exploring what it is like to lose your hearing and - as Bella eventually did - to get it back, and what that teaches you about listening and silence, music and noise. She investigates the science behind…
I remember being a kid and wanting to know everything about everything. After I’d been teaching yoga for several years, and finding myself struggling with stress and trauma that the yoga wasn’t helping, I really started to dive into the world of Energy. That world is fascinating, endless, and powerful. And the more I study and learn, the better my life gets. I’ve created my own teaching methodology from all the studies I’ve done and helped thousands of people find their own inner strength and healing. I love learning how other people overcame their struggles and how at the root, we basically all want to help each other! That's the kind of world I aspire to.
If you want your mind blown, and want to cultivate a new understanding of how the universe works: buy this book! Eileen opens up the cosmology that we all learned and shows us that there is another way to view how the world works. And with that understanding, we have a way to see ourselves as part of the world instead of separate from it. This connection is the start of healing. And all of that is only the first half of the book.
She then takes the reader on a wild ride into understanding how the field that surrounds the body – called the aura or the biofield – works, holds information, and also holds one of the keys to healing and well-being. This book is engaging, inspirational, and totally not what you were expecting!
A guide to the basics of Biofield Tuning, using tuning forks to clear trauma stored in the human energy field
* Provides a precise map of the energetic biofield that surrounds the body, showing where specific emotions, memories, traumas, and pain are stored
* Details how to locate stored trauma in the biofield with a tuning fork and clear it
* Winner of the 2015 Nautilus Silver Award
When Eileen McKusick began offering sound therapy in her massage practice she soon discovered she could use tuning forks to locate and hear disturbances in the energy field, or biofield, that surrounded…
