Encyclopedic and exhaustive, this guide to the more than 500 songs Bob Dylan has covered, in concert or on record, details the history of each song and offers an explanation of how he came to perform them. His masterful interpretations range from the more obvious blues, country, folk, and gospel recordings to contemporary writers such as Warren Zevon and John Hiatt. In addition to the listing of these covered songs, this compendium also includes a lengthy section detailing all of the remaining tracks that Dylan has written for others, but which remain unrecorded by the man himself.

Engaging and enlightening, this guide explores African music's forms, musicians, instruments, and place in the life of the people. A discography classified by country, theme, group, and instrument is also included.

Beatles for Sale is a brand new way of looking at a story you may think you know inside out. Author John Blaney shows for the first time how the group and their inner circle invented so much of what we now recognize as the modern business of making and selling rock music. This was certainly not because Lennon, McCartney, Epstein, and the rest had a clear vision of the way things ought to be. Very often it was simply down to making things up as they went along because no one had been there before and no one knew how to do these things. The book details the ups and downs of the group as they promoted, advertised, and sold records, played concerts, sold merchandise, made films, and set up publishing and record companies of their own. It is a story of naivety and greed, inexperience and luck, gullibility and ingenuity. It is the story of every aspect of how the Beatles made money and how virtually every group since then has followed in their footsteps.

From B.B. King to Billie Holiday, Blues music not only sounds good, but has an almost universal appeal in its reflection of the trials and tribulations of everyday life. Its ability to powerfully touch on a range of social and emotional issues is philosophically inspiring, and here, a diverse range of thinkers and musicians offer illuminating essays that make important connections between the human condition and the Blues that will appeal to music lovers and philosophers alike.

Luigi Russolo (1885-1947) - painter, composer, builder of musical instruments, and first-hour member of the Italian Futurist movement--was a crucial figure in the evolution of twentieth-century aesthetics. As creator of the first systematic poetics of noise and inventor of what has been considered the first mechanical sound synthesizer, Russolo looms large in the development of twentieth-century music. In the first English language study of Russolo, Luciano Chessa emphasizes the futurist's interest in the occult, showing it to be a leitmotif for his life and a foundation for his art of noises. Chessa shows that Russolo's aesthetics of noise, and the machines he called the intonarumori, were intended to boost practitioners into higher states of spiritual consciousness. His analysis reveals a multifaceted man in whom the drive to keep up with the latest scientific trends coexisted with an embrace of the irrational, and a critique of materialism and positivism.

Proving that a band is truly the sum of its parts, this music history traces the influences and experiences that would later converge to form Led Zeppelin. Every recording and live session made by the future band members is traced and woven into a rich and insightful web of influences that contains a complete family tree of their musical and professional colleagues as well as a massive discography and list of live performances. Staggering insight into the workings of this period's big wigs and foot soldiers accompany details on bands and records that were recently discovered to have featured Jimmy Page, Robert Plant, and John Paul Jones. Rare photographs of the bandmates in their pre–Led Zeppelin incarnations are included along with original interviews with their friends and colleagues.

The early history of the Rolling Stones—long shrouded in myth and confusion as a result of 40 years of the rock and roll lifestyle—is made clear in this concise account. Chronicling the band members from boyhood through the band's first record, cut in 1963, this biography contains rare photographs and never before published interviews with family members as well as every member who played with the band prior to the recognized line-up—including pre-Watts drummers Erky Grant and Mick Avory; Mick Jagger’s cousin, Rick Huxley; early Stones member Dick Taylor; and Phil May, a schoolmate of Jagger and Richards and member of The Pretty Things. Every aspect of the band’s development is explored, from their recording sessions to landing on the music charts, in this myth-shattering musical history.

This book teaches you how to tickle electronics. It is a guide to the creative transformation of consumer electronic technology for alternative use. We live in a cut-and-paste world: CMD-X and CMD-V give us the freedom to rearrange words, pictures, video and sound to transform any old thing into our new thing with tremendous ease. But, by and large, this is also an “off -line” world, whose digital tools, as powerful as they might be, are more suitable to preparing texts, photo albums, movies and CDs in private, rather than on stage. These days “live electronic music” seems to be hibernating, its tranquil countenance only disturbed from time to time by the occasional, discrete click of a mouse.

This penetrating and informative book provides readers with the perfect systematic critical guide to the file-sharing phenomenon. Combining inter-disciplinary resources from sociology, history, media and communication studies and cultural studies, Matthew David unpacks the economics, psychology, and philosophy of file-sharing. It fuses a deep knowledge of the music industry and the new technologies of mass communication with a powerful perspective on how multinational corporations operate to monopolize markets, how international and state agencies defend property, while a global multitude undermine and/or reinvent both.

A towering figure in American culture and a global twentieth-century icon, Bob Dylan has been at the centre of American life for over forty years. The Cambridge Companion to Bob Dylan brings fresh insights into the imposing range of Dylan's creative output. The first Part approaches Dylan's output thematically, tracing the evolution of Dylan's writing and his engagement with American popular music, religion, politics, fame, and his work as a songwriter and performer. Essays in Part II analyse his landmark albums to examine the consummate artistry of Dylan's most accomplished studio releases. As a writer Dylan has courageously chronicled and interpreted many of the cultural upheavals in America since World War II. This book will be invaluable both as a guide for students of Dylan and twentieth-century culture, and for his fans, providing a set of new perspectives on a much-loved writer and composer.

Jazz: Essential Listening provides all the materials students need to listen to, understand, and love jazz. Written by two master storytellers, this new brief text combines a dynamic listening experience with vivid narrative history, must-hear masterworks, and a superior eMedia package to reveal the excitement of America s quintessential music. Authors Scott DeVeaux and Gary Giddins write with intellectual bite, eloquence, and the passion of unabashed fans. They explain what jazz is, where it came from, how it works, and who created it, all within the broader context of American life and culture.

African Americans' historical roots are encapsulated in the lyrics, melodies, and rhythms of their music. In the 18th and 19th centuries, African slaves, longing for emancipation, expressed their hopes and dreams through spirituals. Inspired by African civilization and culture, as well as religion, art, literature, and social issues, this influential, joyous, tragic, uplifting, challenging, and enduring music evolved into many diverse genres, including jazz, blues, rock and roll, soul, swing, and hip hop. Providing a lyrical history of our nation, this groundbreaking encyclopedia, the first of its kind, showcases all facets of African American music including folk, religious, concert and popular styles. Over 500 in-depth entries by more than 100 scholars on a vast range of topics such as genres, styles, individuals, groups, and collectives as well as historical topics such as music of the Harlem Renaissance, the Black Arts Movement, the Civil Rights Movement, and numerous others. Offering balanced representation of key individuals, groups, and ensembles associated with diverse religious beliefs, political affiliations, and other perspectives not usually approached, this indispensable reference illuminates the profound role that African American music has played in American cultural history. Editors Price, Kernodle, and Maxile provide balanced representation of various individuals, groups and ensembles associated with diverse religious beliefs, political affiliations, and perspectives. Also highlighted are the major record labels, institutions of higher learning, and various cultural venues that have had a tremendous impact on the development and preservation of African American music. Among the featured: Motown Records, Black Swan Records, Fisk University, Gospel Music Workshop of America, The Cotton Club, Center for Black Music Research, and more. With a broad scope, substantial entries, current coverage, and special attention to historical, political, and social contexts, this encyclopedia is designed specifically for high school and undergraduate students. Academic and public libraries will treasure this resource as an incomparable guide to our nation's African American heritage.

Vol. 2 : E-J. - 612 p.

Parts of this book were previously presented at conferences and seminars at the University of Chicago, York University, the Graduate Center of the City University of New York (CUNY), the Advanced Studies Institute of the University of Michigan, Washington University, the University of Cologne, and the Centre National de Recherche Scientifique in Paris. I would like to thank Carolyne Johnson, Beverley Diamond, Stephen Blum, David Cohen, Nicholas Dirks, Dick Fox, Heike Behrend, and Bernard Lortat-Jacob for hosting these events. In addition to these occasions, I benefited enormously from the interaction with my colleagues at the University of Texas at Austin, most notably Gerard Behague, Stuart Goosman, and Steve Slawek. Drafts of various chapters have also been read by Peter Wicke and Stuart Goosman. Thomas Turino read the entire manuscript and provided invaluable comments and criticism. Tom Gruning prepared the index, and Ian Eagleson read the page proofs.

When І began this project about five years ago, I had no intention ofconducting a survey of Led Zeppelin fans and incorporating their observations into the book. It was Rob Walser's inclusion of a fan survey in Running with the Devil that suggested to me the value of ethnography in the kind of study of the band's music that I wanted to make. Without the fans' voices, this book would be considerably poorer—in fact, several of the points I argue would have been impossible to make without the evidence I gathered from fans—and so I would first like to thank those who responded to my survey for their time and effort in completing it and for their thoughtful comments, many of which are found throughout the book. Their enthusiasm for this project has been heartwarming: I received many offers from them to answer follow-up questions, and several fans offered me bootleg recordings and access to their collections of memorabilia; one fan sent an original watercolor painting of the band on their 1980 tour. Rick Barrett, owner of Merit Adventures in Houston, which specializes in Led Zeppelin memorabilia, sent me a package of magazines and other collectibles. I am very thankful for all of these gestures. I would also like to thank Hugh Jones for running the survey in an issue of his fanzine, Proximity, and for putting me in touch with photographer Marty Perez, who generously sent me his precious slides of Led Zeppelin in concert in Chicago in 1977; some of these appear in this book, and I wish to thank Marty for allowing me to use them. Jeremy Mixer graciously offered to post the fan survey on his Web site, zoso.net, and I wish to express my thanks to him for that. Another fan (and professional photographer), Wendy Annibell, offered me her photograph of Robert Plant in concert at Madison Square Garden in 1973 and went to considerable lengths to improve the quality of that photograph so that I could use it here; thank you, Wendy.