In documenting the singer's decline during the period of his greatest exposure, Stephen Calt challenges the values of blues enthusiasts and calls into question widely accepted beliefs about the blues genre, its history and its exponents.

    His close musical associations included such towering figures as Blind Lemon Jefferson, Woody Guthrie, Pete Seeger, and John and Alan Lomax. He helped lay the foundations for blues, modern folk music, and rock 'n' roll. This definitive biography draws on a wealth of new archival material, interviews, and previously unknown recordings to detail Leadbelly's proud, tumultuous, and often violent life.

    If you don't live it, it won't come out of your horn." — Charlie Parker"What is jazz? The rhythm — the feeling." — Coleman Hawkins"The best sound usually comes the first time you do something. If it's spontaneous, it's going to be rough, not clean, but it's going to have the spirit which is the essence of jazz." — Dave BrubeckHere, in their own words, such famous jazz musicians as Louis Armstrong, King Oliver, Fletcher Henderson, Bunk Johnson, Duke Ellington, Fats Waller, Clarence Williams, Jo Jones, Jelly Roll Morton, Mezz Mezzrow, Billie Holiday, and many others recall the birth, growth, and changes in jazz over the years. From its beginnings at the turn of the twentieth century in the red-light district in New Orleans (or Storyville, as it came to be known), to Chicago's Downtown section and the Original Dixieland Jazz Band and Chicago's South Side to jam sessions in Kansas City to Harlem during the Depression years, the West Coast and modern developments, the story of jazz is vividly and colorfully documented in hundreds of personal interviews, letters, tape recorded and telephone conversations, and excerpts from previously printed articles that appeared in books and magazines.There is no more fascinating and lively history of jazz than this firsthand telling by the men who made it. It should be read and re-read by all jazz enthusiasts, musicians, students of music and culture, students of American history, and other readers. "A lively book bearing the stamp of honesty and naturalness." — Library Journal. "A work of considerable substance." — The New Yorker. "Some of the quotations are a bit racy but they give the book a wonderful flavor." — San Francisco Chronicle.

    French of Family Affair) "singing" songs by Bob Dylan, and tons more

    Tracing its origins from the Mississippi Delta to its amplification in Chicago right after World War II, Davis argues for an examination of the blues in its own right, not just as a precursor to jazz and rock 'n' roll. The lives of major figures such as Robert Johnson, Charlie Patton, and Leadbelly, in addition to contemporary artists such as Stevie Ray Vaughan and Robert Cray, are examined and skillfully woven into a riveting, provocative narrative.

    His future success seemed assured, until an unexpected turn of events plunged him into a terrifying darkness. Clean-cut Craig Smith became Maitreya Kali, the self-proclaimed psychedelic Messiah. He laid out his poignant, disturbing schizophrenic vision on a sprawling self-released double-album before disappearing completely. Author Mike Stax spent fifteen years piecing together the mystery of Maitreya Kali, uncovering one of the strangest and most tragic untold stories of the 1960s and ‘70s.Swim Through the Darkness reveals author Stax's fifteen year quest in tracking down this strange saga of American pop culture. Included in the story are Smith's close ties to the Monkees, particularly Mike Nesmith, who produced and promoted Smith's band, Penny Arkade. Also covered are the bizarre self-released albums he made as Maitreya Kali, which now command thousands of dollars among psychedelic music collectors.Purchasers of this book will also receive a code to be able to download Smith's music in all its obscure and variant styles.

    Few could or would have predicted that the improvised raps and raw beats busting out of New York City's urban underclass would one day become a multimillion-dollar business and one of music's most lucrative genres. Among those few were two visionaries: Russell Simmons, a young black man from Hollis, Queens, and Rick Rubin, a Jewish kid from Long Island. Though the two came from different backgrounds, their all-consuming passion for hip-hop brought them together. Soon they would revolutionize the music industry with their groundbreaking label, Def Jam Records. Def Jam, Inc. traces the company's incredible rise from the NYU dorm room of nineteen-year-old Rubin (where LL Cool J was discovered on a demo tape) to the powerhouse it is today; from financial struggles and scandals-including The Beastie Boys's departure from the label and Rubin's and Simmons's eventual parting-to revealing anecdotes about artists like Slick Rick, Public Enemy, Foxy Brown, Jay-Z, and DMX. Stacy Gueraseva, former editor in chief of Russell Simmons's magazine, Oneworld, had access to the biggest players on the scene, and brings you real conversations and a behind-the-scenes look from a decade-and a company-that turned the music world upside down. She takes you back to New York in the '80s, when late-night spots such as Danceteria and Nell's were burning with young, fresh rappers, and Simmons and Rubin had nothing but a hunch that they were on to something huge. Far more than just a biography of the two men who made it happen, Def Jam, Inc. is a journey into the world of rap itself. Both an intriguing business history as well as a gritty narrative, here is the definitive book on Def Jam-a must read for any fan of hip-hop as well as all popular-culture junkies.

    has stood as the book in its field; this new edition secures that position. Scholars, music lovers, and general readers will all find it rewarding, whether for the first or second time." -- Journal of the West "A book to be read, re-read, and savored." -- Southwest ReviewSince its first publication in 1968, Bill C. Malone's Country Music, U.S.A. has won universal acclaim as the definitive history of American country music. Starting with the music's folk roots in the rural South, it traces country music from the early days of radio to the beginning of the twenty-first century. This second revised edition includes an extensive new chapter that continues the story from 1985 to 2000, along with anannotated listing of books and recordings which came out during that time.

    . . . Not many scholars will ever be able to achieve the kind of synthesis of 'doing' and 'writing about' their subject matter that Chernoff has achieved, but he has given us an excellent illustration of what is possible."—Chet Creider, Culture"Chernoff develops a brilliant and penetrating musicological essay that is, at the same time, an intensely personal and even touching account of musical and cultural discovery that anyone with an interest in Africa can and should read. . . . No other writing comes close to approaching Chernoff's ability to convey a feeling of how African music 'works'"—James Koetting, Africana Journal"Four stars. One of the few books I know of that talks of the political, social, and spiritual meanings of music. I was moved. It was so nice I read it twice."—David Byrne of "Talking Heads"The companion cassette tape has 44 examples of the music discussed in the book. It consists of field recordings illustrating cross-rhythms, multiple meters, call and response forms, etc.

    And I make my analogy through the slave citizen's music—through the music that is most closely associated with him: blues and a later, but parallel development, jazz... [If] the Negro represents, or is symbolic of, something in and about the nature of American culture, this certainly should be revealed by his characteristic music."So says Amiri Baraka in the Introduction to Blues People, his classic work on the place of jazz and blues in American social, musical, economic, and cultural history. From the music of African slaves in the United States through the music scene of the 1960's, Baraka traces the influence of what he calls "negro music" on white America—not only in the context of music and pop culture but also in terms of the values and perspectives passed on through the music. In tracing the music, he brilliantly illuminates the influence of African Americans on American culture and history.

    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.

    In the 1970s, as the disco tsunami engulfed America, the once-innocent question, “Do you wanna dance?” became divisive, even explosive. What was it about this much-maligned music that made it such hot stuff? In this incisive history, Alice Echols captures the felt experience of the Disco Years—on dance floors both fabulous and tacky, at the movies, in the streets, and beneath the sheets. Disco may have presented itself as shallow and disposable—the platforms, polyester, and plastic vibe of it all—but Echols shows that it was inseparable from the emergence of “gay macho,” a rising black middle class, and a growing, if equivocal, openness about female sexuality. The disco scene carved out a haven for gay men who reclaimed their sexuality on dance floors where they had once been surveilled and harassed; it thrust black women onto center stage as some of the genre’s most prominent stars; and it paved the way for the opening of Studio 54 and the viral popularity of the shoestring-budget Saturday Night Fever, a movie that challenged traditional notions of masculinity, even for heterosexuals. As it provides a window onto the cultural milieu of the times, Hot Stuff never loses sight of the era’s defining soundtrack, which propelled popular music into new sonic territory, influencing everything from rap and rock to techno and trance. Throughout, Echols spotlights the work of precursors James Brown and Isaac Hayes, dazzling divas Donna Summer and the women of Labelle, and some of disco’s lesser known but no less illustrious performers such as Sylvester. After turning the final page of this fascinating account of the music you thought you hated but can’t stop dancing to, you can rest assured that you’ll never say “disco sucks” again. 20 photos.

    Using well-chosen examples, insightful commentaries, and an engaging writing style, this text traces the development of jazz, blues, country, rock, Motown, hip-hop, and other popular styles, highlighting the contributions of diverse groups to the creation of distinctly American styles. It combines an in-depth treatment of the music itself--including discussions of stylistic elements and analyses of musical examples--with solid coverage of the music's attendant historical, social, and cultural circumstances. The authors incorporate strong pedagogy including numerous boxed inserts on significant individuals, recordings, and intriguing topics; coverage of early American popular music; and a rich illustration program. Detailed listening charts explain the most important elements of recordings discussed at length in the text. The charts are complemented by two in-text audio CDs and--new to this edition--an iMix published at iTunes, which makes most of the songs immediately available to students and instructors. Features of the Second Edition * Integrates full color throughout * Provides more coverage of women artists, with new material on women in rock 'n' roll in Chapter 8 and a box on Queen Latifah in Chapter 14 * Reorganizes the discussion of post-1970s music: disco is now included with mainstream 70s pop, while hip-hop is treated in two chapters (12 and 14) in order to emphasize its significance and diversity * Adds new material on the recent alternative country music explosion * Includes new developments in music technology in the thoroughly revised concluding chapter * Offers revised and more vivid visual elements, including more than 100 new photos (most in full color) and an illustrated timeline * Provides redesigned listening guides, enhanced by an iMix published at iTunes (accessible at www.oup.com/us/popmusic) * Supplemented by a Companion Website at www.oup.com/us/popmusic (containing both student and instructor resources) and an Instructor's Manual and a Computerized Test Bank on CD * FREE with the purchase of this book: a 6-month subscription to Grove Music Online (www.grovemusic.com)--a $180 value Remarkably accessible, American Popular Music, Second Edition, is ideal for courses in American Popular Music, the History of Popular Music, Popular Music in American Culture, and the History of Rock 'n' Roll. Its welcoming style and warm tone will captivate readers, encouraging them to become more critically aware listeners of popular music.

    King uncovered some of the strangest—and most hypnotic—sounds he had ever heard. The 78s were immensely moving, seeming to tap into a primal well of emotion inaccessible through contemporary music. The songs, King learned, were from Epirus, an area straddling southern Albania and northwestern Greece and boasting a folk tradition extending back to the pre-Homeric era. To hear this music is to hear the past.Lament from Epirus is an unforgettable journey into a musical obsession, which traces a unique genre back to the roots of song itself. As King hunts for two long-lost virtuosos—one of whom may have committed a murder—he also tells the story of the Roma people who pioneered Epirotic folk music and their descendants who continue the tradition today.King discovers clues to his most profound questions about the function of music in the history of humanity: What is the relationship between music and language? Why do we organize sound as music? Is music superfluous, a mere form of entertainment, or could it be a tool for survival? King’s journey becomes an investigation into song and dance’s role as a means of spiritual healing—and what that may reveal about music’s evolutionary origins.

    Vikram Sampath, in this remarkable book, brings forth little known details of this fascinating woman who was known for her melodious voice, her multi-lingual skills, poetic sensibility, irresistible personality and her extravagant lifestyle. From her early days in Azamgarh and Banaras to the glory years in Calcutta when Gauhar ruled the world of Indian music, to her sad fall from grace and end in Mysore, the book takes the reader through the roller-coaster ride of this feisty musician. In the process, the author presents a view of the socio-historical context of Indian music and theatre during that period.