In this book, Miller writes about each of the past 53 years in popular music-1957-2009- via countdown song lists, blending the perspectives of a serious musician, a thoughtful critic, and an all-devouring music fan. Miller not only tells you why he loves particular songs, but also what was going on in the musical world in which they competed to be heard.

    Major Dudes collects some of the smartest and wittiest interviews Becker and Fagen have ever given, along with intelligent reviews of—and commentary on— their extraordinary songs. Compiled by leading music critic Barney Hoskyns, Major Dudes features contributions from the likes of Sylvie Simmons, Fred Schruers, and the late Robert Palmer; plus rare interviews and reviews of Steely Dan’s early albums from Disc, Melody Maker, and Rolling Stone. With an introduction by Hoskyns and an obituary for Walter Becker by David Cavanagh, Major Dudes will be the centerpiece on every fan’s shelf.

    His journey toward understanding—expressed in his music and now in his roles in film and television—is rooted in his relationship with a remarkable woman, his mother, Mahalia Ann Hines.In One Day It’ll All Make Sense, Common holds nothing back. He tells what it was like for a boy with big dreams growing up on the South Side of Chicago. He reveals how he almost quit rapping after his first album, Can I Borrow a Dollar?, sold only two thousand copies. He recounts his rise to stardom, giving a behind-the-scenes look into the recording studios, concerts, movie sets, and after-parties of a hip-hop celebrity and movie star. He reflects on his controversial invitation to perform at the White House, a story that grabbed international headlines. And he talks about the challenges of balancing fame, love, and fatherhood. One Day It’ll All Make Sense is a gripping memoir, both provocative and funny. Common shares never-before-told stories about his encounters with everyone from Tupac to Biggie, Ice Cube to Lauryn Hill, Barack Obama to Nelson Mandela. Drawing upon his own lyrics for inspiration, he invites the reader to go behind the spotlight to see him as he really is—not just as Common but as Lonnie Rashid Lynn. Each chapter begins with a letter from Common addressed to an important person in his life—from his daughter to his close friend and collaborator Kanye West, from his former love Erykah Badu to you, the reader. Through it all, Common emerges as a man in full. Rapper. Actor. Activist. But also father, son, and friend. Common’s story offers a living example of how, no matter what you’ve gone through, one day it’ll all make sense.

    A scholar and a fan, Perry considers the art, politics, and culture of hip hop through an analysis of song lyrics, the words of the prophets of the hood. Recognizing prevailing characterizations of hip hop as a transnational musical form, Perry advances a powerful argument that hip hop is first and foremost black American music. At the same time, she contends that many studies have shortchanged the aesthetic value of rap by attributing its form and content primarily to socioeconomic factors. Her innovative analysis revels in the artistry of hip hop, revealing it as an art of innovation, not deprivation.Perry offers detailed readings of the lyrics of many hip hop artists, including Ice Cube, Public Enemy, De La Soul, krs-One, OutKast, Sean “Puffy” Combs, Tupac Shakur, Lil’ Kim, Biggie Smalls, Nas, Method Man, and Lauryn Hill. She focuses on the cultural foundations of the music and on the form and narrative features of the songs—the call and response, the reliance on the break, the use of metaphor, and the recurring figures of the trickster and the outlaw. Perry also provides complex considerations of hip hop’s association with crime, violence, and misogyny. She shows that while its message may be disconcerting, rap often expresses brilliant insights about existence in a society mired in difficult racial and gender politics. Hip hop, she suggests, airs a much wider, more troubling range of black experience than was projected during the civil rights era. It provides a unique public space where the sacred and the profane impulses within African American culture unite.

    More than perhaps any other act, Sonic Youth has brought “fringe” art to the mainstream, helping spawn an alternative arts scene that prospers to this day: a world of punk rock, underground films and comics, experimental music, conceptual art, contemporary classical compositions, and even fashion. In Goodbye 20th Century, David Browne tells the full glorious story of “the Velvet Underground of their generation,” an account based on extensive research, fresh interviews with the band and those who have worked with them (from Glenn Branca and Lydia Lunch to Sofia Coppola and Spike Jonze), and unprecedented access to unreleased recordings and documents. This is a richly detailed portrait of an iconic band and the times they helped create.

    These topics are all timely yet timeless in that they represent the continuing struggle to include African Americans in mainstream American political, economic & social life without destroying their unique culture. The essays have the feel of a fine sermon, with thought-provoking ideas & new ways of looking at the same old problems. They can be quickly read yet take a long time to digest because of West's unique slant on life. Already well known in scholarly circles, he's increasingly becoming more visible to the general public. This book should make his essays more accessible to a greater number of people.--Library JournalPrefaceIntroduction: Race mattersNihilism in Black America The pitfalls of racial reasoningThe crisis of Black leadership Demystifying the new Black conservatismBeyond affirmative action: equality and identityOn Black-Jewish relations Black sexuality: the taboo subjectMalcolm X and Black rage Epilogue to the Vintage edition

    And yet, for all of the encomiums that Guralnick’s books have earned for their remarkable insights and depth of feeling, Looking to Get Lost is his most personal book yet. For readers who have grown up on Guralnick’s unique vision of the vast sweep of the American musical landscape, who have imbibed his loving and lively portraits and biographies of such titanic figures as Elvis Presley, Sam Cooke, and Sam Phillips, there are multiple surprises and delights here, carrying on and extending all the themes, fascinations, and passions of his groundbreaking earlier work.One of NPR’s Best Books of 2020One of Kirkus Review/Rolling Stone’s Top Music Books of 2020One of No Depression’s Best Books of 2020

    Originally sung in New York's Cafe Society, these revolutionary lyrics take on a life of their own in this revealing account of the song and the struggle it personified. Strange Fruit not only chronicles the civil rights movement from the '30s on, it examines the lives of the beleaguered Billie Holiday and Abel Meeropol, the white Jewish schoolteacher and communist sympathizer who wrote the song that would have an impact on generations of fans, black and white, unknown and famous, including performers Lena Horne, Eartha Kitt, and Sting.

    Her column, Rock, Etc., ran for seven years and established Willis as a leader in cultural commentary and a pioneer in the nascent and otherwise male-dominated field of rock criticism. As a writer for a magazine with a circulation of nearly half a million, Willis was also the country’s most widely read rock critic. With a voice at once sharp, thoughtful, and ecstatic, she covered a wide range of artists—Bob Dylan, The Who, Van Morrison, Elvis Presley, David Bowie, the Rolling Stones, Creedence Clearwater Revival, Joni Mitchell, the Velvet Underground, Sam and Dave, Bruce Springsteen, and Stevie Wonder—assessing their albums and performances not only on their originality, musicianship, and cultural impact but also in terms of how they made her feel.Because Willis stopped writing about music in the early 1980s—when, she felt, rock ’n’ roll had lost its political edge—her significant contribution to the history and reception of rock music has been overshadowed by contemporary music critics like Robert Christgau, Lester Bangs, and Dave Marsh. Out of the Vinyl Deeps collects for the first time Willis’s Rock, Etc. columns and her other writings about popular music from this period (includingliner notes for works by Lou Reed and Janis Joplin) and reasserts her rightful place in rock music criticism.More than simply setting the record straight, Out of the Vinyl Deeps reintroduces Willis’s singular approach and style—her use of music to comment on broader social and political issues, critical acuity, vivid prose, against-the-grain opinions, and distinctly female (and feminist) perspective—to a new generation of readers. Featuring essays by the New Yorker’s current popular music critic, Sasha Frere-Jones, and cultural critics Daphne Carr and Evie Nagy, this volume also provides a lively and still relevant account of rock music during, arguably, its most innovative period.

    His journals reveal an artist who loved music, who knew the history of rock, and who was determined to define his place in that history. Here is a mesmerizing, incomparable portrait of the most influential musician of his time.

    By turns hilarious, cautionary, poignant and powerful, the Stop Me...stories collected here include encounters with some of rock's most iconic stars, including David Bowie, Lou Reed, Leonard Cohen, Van Morrison, Neil Young, Elvis Costello, The Sex Pistols, The Clash, The Smiths, R.E.M. and Pearl Jam. From backstage brawls and drug blow-outs, to riots, superstar punch-ups, hotel room confessionals and tour bus lunacy, these are stories from the madness of a music scene now long gone. Allan Jones is an award-winning British music journalist and editor. In 1974, he applied for a job on the UK's best-selling music paper as a junior reporter, signing off his application with "Melody Maker needs a bullet up the arse. I'm the gun, pull the trigger†?. He was editor of Melody Maker from 1984 to 1997 and until 2014 editor of music and film monthly Uncut.

    Profusely and superbly illustrated, Country stands as one of the most brilliant explorations of American musical culture ever written.

    Growing up, Thomas Chatterton Williams knew he loved three things in life: his parents, literature, and the intoxicating hip-hop culture that surrounded him. For years, he managed to juggle two disparate lifestyles, "keeping it real" in his friends' eyes and studying for the SATs under his father's strict tutelage-until it all threatened to spin out of control. Written with remarkable candor and emotional depth, Losing My Cool portrays the allure and danger of hip-hop culture with the authority of a true fan who's lived through it all, while demonstrating the saving grace of literature and the power of the bond between father and son.

    As unexpected and complex as the album itself, Chamber Music ranges from provocative essays to semi-comic skits, from deep scholarly analysis to satirical celebration, seeking to contextualize, reveal and honor this singular work of art. Chamber Music is an explosive and revelatory new way of writing about music and culture.

    Along the way, the authors discuss the segregation of music in the South, investigate the predominance of self-absorption in modern pop, reassess the rebellious ridiculousness of rockabilly and disco, and delineate how the quest for authenticity has not only made some music great and some music terrible but also shaped in a fundamental way the development of popular music in our time.