Music has a unique ability to unsettle the most fundamental political and social conventions—or, alternatively, to stabilize the status-quo.  Sound System is the story of one musician’s journey to discover what exactly makes music so powerful. Years of touring, protesting, and performing have given Dave Randall an insider’s view of the music industry, enabling him to shed light on the most tightly held secrets of celebrity, commodification, and culture. He finds remarkable examples of music as a force of social change as well as something that has been used to keep people in their place throughout history. From the Glastonbury Festival to the Arab Spring, Pop Idol to Trinidadian Carnival, Randall finds political inspiration across the musical spectrum.   A blistering, intelligent polemic about the political power of music, Sound System investigates the raves, riots, and revolution of contemporary culture to answer the question—how can we make music serve the interest of the many, rather than the few?

    Universally acclaimed as a musical genius, Miles is one of the most important and influential musicians in the world. The subject of several biographies, now Miles speaks out himself about his extraordinary life.Miles: The Autobiography, like Miles himself, holds nothing back. For the first time Miles talks about his five-year silence. He speaks frankly and openly about his drug problem and how he overcame it. He condemns the racism he has encountered in the music business and in American society generally. And he discusses the women in his life. But above all, Miles talks about music and musicians, including the legends he has played with over the years: Bird, Dizzy, Monk, Trane, Mingus, and many others.The man who has given us some of the most exciting music of the past few decades has now given us a compelling and fascinating autobiography, featuring a concise discography and thirty-two pages of photographs.

    Together with Yoko Ono Lennon, they have also made available the full transcripts (including all the outtakes) of the television and video series The Beatles Anthology. Through painstaking compilation of sources worldwide, John Lennon's words are equally represented in this remarkable volume. Furthermore, The Beatles have opened their personal and management archives specifically for this project, allowing the unprecedented release of photographs which they took along their ride to fame, as well as fascinating documents and memorabilia from their homes and offices. What a book The Beatles Anthology is! Each page is brimming with personal stories and rare vintage images. Snapshots from their family collections take us back to the days when John Lennon, Paul McCartney, George Harrison and Richard Starkey were just boys growing up in Liverpool. They talk in turn about those early years and how they came to join the band that would make them known around the world as John, Paul, George and Ringo. Then, weaving back and forth, they tell the astonishing story of life as The Beatles: the first rough gigs, the phenomenon of their rise to fame, the musical and social change of their heyday, all the way through to their breakup. From the time Ringo tried to take this drum kit home on the bus to their much anticipated audience with Elvis, from the making of the Sgt. Pepper album to their last photo session together at John's house, The Beatles Anthology is a once-in-a-lifetime collection of The Beatles' own memories.Interwoven with these are the recollections of such associates as road manager Neil Aspinall, producer George Martin and spokesman Derek Taylor. And included in the vast array of photographs are materials from both Apple and EMI, who also opened their archives for this project. This, indeed, is the inside story, providing a wealth of previously unpublished material in both word and image.Created with their full cooperation, The Beatles Anthology is, in effect, The Beatles' autobiography. Like their music has been a part of so many of our lives, it's warm, frank, funny, poignant and bold. At last, here is The Beatles' own story.

    Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them. Artists discussed include Antonin Artaud, George Brecht, William Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.

    When "Don't Dream It's Over" and "Something So Strong" exploded in the US charts, worldwide success looked inevitable. Critics compared them musically to the Beatles and fans adored them for their warmth and humour on stage. Four brilliant albums later, their roller-coaster ride of achievements and disappointments came to an end on the steps of the Sydney Opera House, in front of one of the largest audiences in Australian history. The dream was over, the band broken up, their enormous promise only partly fulfilled. In this definitive account, New Zealand journalist Chris Bourke has written the true story of Crowded House. With unparalleled access to all band members, their families, friends, musical collaborators, managers, and record company personanel, he has captured their essence. It is a unique tale of musical chemistry, family bonds and the personal costs of pursuing an artistic vision. From the manic energy of the recording studio to the machinations of the record industry, this riveting account is a book for every Crowded House fan.

    (1983) published as The Trouser Press Guide to New Wave Records.2nd Ed. (1985) published as The New Trouser Press Record Guide.3rd Ed. (1989) published as The New Trouser Press Record Guide (Revised Edition).4th Ed. (1991) published as The Trouser Press Record Guide: The Ultimate Guide to Alternative Music.5th Ed. (1997) published as The Trouser Press Guide to '90s Rock."The Trouser Press Record Guide" has been hailed by music fans and the record industry as "the bible" of nonmainstream rock, stretching across the stylistic boundaries of punk, grunge, indie-pop, techno, noise, avant-garde and ska into hip-hop, new country, metal, roots rocks, folk, modern dance and world music.All new and bigger than ever, "The Trouser Press Record Guide to '90's Rock" definitively covers 2,300 of this decade's most innovative and influential artists, reviewing 8,500 records -- insanely obscure and familiar alike -- from all over the world. Each insightful entry contains pungent critical analysis, biographical information and a complete album disography.Selected praise for "The Trouser Press Record Guide to '90's Rock""My trustworthy fact checker, be-all-and-end-all arguement settler and the last word on modern rock. I don't go on the air without it." -- Gary Cee, WLIR-FM"Still the most comprehensive guide through the labryrinth of indie and alternative rock. WHen you need a refresher course on all of Steve Albini's bands, or if you just want to know what Boy George did after Cultrue Club, this is the book to grab." -- David Browne, "Entertainment Weekly"

    His feeling of being unloved found constant confirmation in his changing experiences over the years, and the intensity of his unsatisfied desire to be loved, detectable as a dominant wish throughout his life, very largely determined what had meaning for him and what did not."—From the bookOne of the most important social thinkers of our time provides a haunting portrait of Mozart's life and creative genius. German sociologist Norbert Elias examines the paradoxes in Mozart's short existence—his brilliant creativity and social marginality, his musical sophistication and personal crudeness, his breathtaking accomplishments and deep despair.Using psychoanalytic insights, Elias examines Leopold Mozart's carefully honed ambitions for his son and protege. From the age of six Mozart traveled with his father, performing in the major courts throughout Europe. The elder Mozart worked on his son "like a sculptor on his sculpture," and this deep bond formed the lietmotif in understanding Mozart's early talent and complicated psyche.Mozart chafed at the constraints of Viennese courtly culture. Growing up in a society which viewed musicians as manual laborers producing entertainment for the court, he fought for an independent livelihood. Vienna's aristocracy ultimately turned its back on the composer, who faced mounting debts, no work, and no prospect of fulfilling his innermost desires. He died feeling that his life had become empty of meaning.Elias ponders the concept of genius, which he sees as a complex marriage of fantasy, inspiration, and convention. In exploring the tension between personal creativity and the tastes of an era, he gives us a book of startling insight and discovery.

    You have to keep things close to your chest and be aware of what’s really important: the work, not everything around it. If you have faith in the work, then the people will come … it’s an artistic imperative, it has nothing to do with public perception or career or any of that crap. "The name, Swans, it’s synonymous with who I am, but it’s how it’s achieved and it’s achieved by people—those people need to have total commitment to making this sound and to making it utterly incisive and uncompromising. The work is everything and it has to—at least at the time—appear, to me, to be stellar. That’s the prerequisite. It’s an intangible thing where it really speaks and has some truth within it."—Michael Gira Over a span of some three and a half decades, Michael Gira’s Swans have risen from chaotic origins in the aftermath of New York’s No Wave scene to become one of the most acclaimed rock-orientated acts of recent years. The 1980s’ infamous ‘loudest band on the planet’ morphed repeatedly until collapsing exhausted, broken, and dispirited in the late 1990s. Swans returned triumphantly in 2010 to top end-of-year polls and achieve feted status among fans and critics alike as the great survivors and latter-day statesmen of the underground scene. Throughout, Gira’s desire has remained to create music of such intensity that the listener might forget flesh, get rid of the body, exist as pure energy—transcendent—inside of the sound. Through these pages, the musicians responsible tell the tale of one of the most significant bands of the US post-punk era. Drawing on more than 125 original interviews, Swans: Sacrifice And Transcendence is the ultimate companion to Swans and their work from the 1980s to the present day.

    Schonberg presents vivid accounts of the artists’ performances, styles, and even their personal lives and quirky characteristics— such as Mozart’s intense competition with Clementi, Lizst’s magnetic effect on women (when he played, ladies flung their jewels on stage), and Gottschalk’s persistent nailbiting, which left the keys covered with blood. Including profiles of Horowitz and Van Cliburn, among others, and chapters detailing the playing and careers of such modern pianists as de Larrocha, Ashkenazy, Gilels, Gould, Brendel, Bolet, Gutierrez, and Watts, The Great Pianists is a comprehensive and fascinating look at legendary performers past and present.

    Angela Davis provides the historical, social, and political contexts with which to reinterpret the performances and lyrics of Gertrude Ma Rainey, Bessie Smith, and Billie Holiday as powerful articulations of an alternative consciousness profoundly at odds with mainstream American culture.The works of Rainey, Smith, and Holiday have been largely misunderstood by critics. Overlooked, Davis shows, has been the way their candor and bravado laid the groundwork for an aesthetic that allowed for the celebration of social, moral, and sexual values outside the constraints imposed by middle-class respectability. Through meticulous transcriptions of all the extant lyrics of Rainey and Smith--published here in their entirety for the first time--Davis demonstrates how the roots of the blues extend beyond a musical tradition to serve as a conciousness-raising vehicle for American social memory. A stunning, indispensable contribution to American history, as boldly insightful as the women Davis praises, Blues Legacies and Black Feminism is a triumph.

    How, he asks, did music progress from subordinate status to its present position of supremacy among the creative arts? Mozart was literally booted out of the service of the Archbishop of Salzburg "with a kick to my arse," as he expressed it. Yet, less than a hundred years later, Europe's most powerful ruler--Emperor William I of Germany--paid homage to Wagner by traveling to Bayreuth to attend the debut of "The Ring." Today Bono, who was touted as the next president of the World Bank in 2006, travels the world, advising politicians--and they seem to listen.The path to fame and independence began when new instruments allowed musicians to showcase their creativity, and music publishing allowed masterworks to be performed widely in concert halls erected to accommodate growing public interest. No longer merely an instrument to celebrate the greater glory of a reigning sovereign or Supreme Being, music was, by the nineteenth century, to be worshipped in its own right. In the twentieth century, new technological, social, and spatial forces combined to make music ever more popular and ubiquitous.In a concluding chapter, Tim Blanning considers music in conjunction with nationalism, race, and sex. Although not always in step, music, society, and politics, he shows, march in the same direction.

    Written in a lively anecdotal style, entries include character descriptions, historical background, and much more.

    And it has an undeniable power to move us in ways that enrich our lives - provided it is understood.If you have ever longed to appreciate great concert music, to learn its glorious language and share in its sublime pleasures, the way is now open to you, through this series of 48 wonderful lectures designed to make music accessible to everyone who yearns to know it, regardless of prior training or knowledge. It's a lecture series that will enable you to first grasp music's forms, techniques, and terms - the grammatical elements that make you fluent in its language - and then use that newfound fluency to finally hear and understand what the greatest composers in history are actually saying to us.And as you learn the gifts given us by nearly every major composer, you'll come to know there is one we share with each of them - a common humanity that lets us finally understand that these were simply people speaking to us, sharing their passion and wanting desperately to be heard. Using digitally recorded musical passages to illustrate his points, Professor Greenberg will take you inside magnificent compositions by Bach, Handel, Haydn, Mozart, Beethoven, Chopin, Verdi, Wagner, Brahms, Tchaikovsky, Stravinsky, and more. Even if you have listened to many of these illustrative pieces throughout your life - as so many of us have - you will never hear them the same way again after experiencing these lectures.

    Music for Silenced Voices looks at Shostakovich through the back door, as it were, of his fifteen quartets, the works which his widow characterized as a "diary, the story of his soul." The silences and the voices were of many kinds, including the political silencing of adventurous writers, artists, and musicians during the Stalin era; the lost voices of Shostakovich's operas (a form he abandoned just before turning to string quartets); and the death-silenced voices of his close friends, to whom he dedicated many of these chamber works.Wendy Lesser has constructed a fascinating narrative in which the fifteen quartets, considered one at a time in chronological order, lead the reader through the personal, political, and professional events that shaped Shostakovich's singular, emblematic twentieth-century life. Weaving together interviews with the composer's friends, family, and colleagues, as well as conversations with present-day musicians who have played the quartets, Lesser sheds new light on the man and the musician. One of the very few books about Shostakovich that is aimed at a general rather than an academic audience, Music for Silenced Voices is a pleasure to read; at the same time, it is rigorously faithful to the known facts in this notoriously complicated life. It will fill readers with the desire to hear the quartets, which are among the most compelling and emotionally powerful monuments of the past century's music.

    Looking beyond the legend of the self-taught and emotionally damaged recluse who burst onto the international musical scene in the mid-1950s but was dead at fifty, he presents a balanced portrait of a complex figure who, while uniquely gifted and genuinely eccentric, was also the product of his upbringing and surroundings. Bazzana explores the lasting effects on Gould of his sheltered middle-class Toronto upbringing, his unusual musical education, his brief but colourful concert career and his relations with the Canadian Broadcasting Corporation, Columbia Records and Steinway and Sons. Drawing on candid recollections by Gould's friends and colleagues as well as newly available private papers, he provides fresh insights into Gould's famous eccentricities, his sometimes bizarre stage manner, his highly selective repertoire, his control mania, his private and sexual life, his hypochondria, and his abrupt retirement from concert performance to communicate solely through recorded performance and print.