Encyclopedia of Great Popular Song Recordings, Volume 3Rowman & Littlefield, 17 de mai. de 2017 - 830 páginas Volumes 3 and 4 of the The Encyclopedia of More Great Popular Song Recordings provides the stories behind approximately 1,700 more of the greatest song recordings in the history of the music industry, from 1890 to today. In this masterful survey, all genres of popular music are covered, from pop, rock, soul, and country to jazz, blues, classic vocals, hip-hop, folk, gospel, and ethnic/world music. Collectors will find detailed discographical data—recording dates, record numbers, Billboard chart data, and personnel—while music lovers will appreciate the detailed commentaries and deep research on the songs, their recording, and the artists. Readers who revel in pop cultural history will savor each chapter as it plunges deeply into key events—in music, society, and the world—from each era of the past 125 years. Following in the wake of the first two volumes of his original Encyclopedia of Great Popular Song Recordings, this follow-up work covers not only more beloved classic performances in pop music history, but many lesser -known but exceptional recordings that—in the modern digital world of “long tail” listening, re-mastered recordings, and “lost but found” possibilities—Sullivan mines from modern recording history. The Encyclopedia of Great Popular Song Recordings, Volumes 3 and 4 lets the readers discover, and, through their playlist services, from such as iTunes toand Spotify, build a truly deepcomprehensive catalog of classic performances that deserve to be a part of every passionate music lover’s life. Sullivan organizes songs in chronological order, starting in 1890 and continuing all the way throughto the present to include modern gems from June 2016. In each chapter, Sullivanhe immerses readers, era by era, in the popular music recordings of the time, noting key events that occurred at the time to painting a comprehensive picture in music history of each periodfor each song. Moreover, Sullivan includes for context bulleted lists noting key events that occurred during the song’s recording |
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Resultados 1-5 de 77
Página 28
... artist other than Enrico Caruso to establish the importance and value of commercial recordings. Born on June 14, 1884 in Athlone, Eire, McCormack won the singing prize at the 1903 Irish Music Festival, which brought him to the United ...
... artist other than Enrico Caruso to establish the importance and value of commercial recordings. Born on June 14, 1884 in Athlone, Eire, McCormack won the singing prize at the 1903 Irish Music Festival, which brought him to the United ...
Página 31
... artist was “one of the world's greatest performers on an unacceptable instrument” (that is, one not typically encountered in symphony orchestras or on records).123 They Didn't Believe Me (1916)—Grace Kerns and Reed Miller Columbia A ...
... artist was “one of the world's greatest performers on an unacceptable instrument” (that is, one not typically encountered in symphony orchestras or on records).123 They Didn't Believe Me (1916)—Grace Kerns and Reed Miller Columbia A ...
Página 33
... artist Tony Jackson (born in 1876), was regarded as New Orleans' preeminent pianist-singer-songwriter during the early years of the twentieth century, and an artist for whom Jelly Roll Morton (a man not easily impressed by anyone but ...
... artist Tony Jackson (born in 1876), was regarded as New Orleans' preeminent pianist-singer-songwriter during the early years of the twentieth century, and an artist for whom Jelly Roll Morton (a man not easily impressed by anyone but ...
Página 36
... artist for Columbia cylinder in 1901.151 During the next decade, the delicate waltz became increasingly familiar on the mainland. Cornetist Herbert L. Clarke recorded a version with Sousa's Band in 1912. A vocal version was offered in ...
... artist for Columbia cylinder in 1901.151 During the next decade, the delicate waltz became increasingly familiar on the mainland. Cornetist Herbert L. Clarke recorded a version with Sousa's Band in 1912. A vocal version was offered in ...
Página 53
... artist's name, and earned a healthy sum himself for controlling the copyright—a lesson that would be well learned by Ralph Peer (producer of Carson's early sessions) in his subsequent work with Jimmie Rodgers and the Carter Family ...
... artist's name, and earned a healthy sum himself for controlling the copyright—a lesson that would be well learned by Ralph Peer (producer of Carson's early sessions) in his subsequent work with Jimmie Rodgers and the Carter Family ...
Conteúdo
41 | |
95 | |
153 | |
Playlist 5 19501959 | 223 |
Playlist 6 19601964 | 321 |
Playlist 7 19651969 | 379 |
Playlist 8 19701979 | 451 |
Playlist 9 19801989 | 545 |
Playlist 10 19901999 | 601 |
Playlist 11 20002009 | 645 |
Playlist 12 20102016 | 681 |
Bibliography | 721 |
Title Index | 735 |
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album Alec Wilder Armstrong arrangement artist August ballad band band’s bass Beatles became began Benny Goodman Billboard Billy biographer Blues born Brothers career Cash Box Charles chart debut chorus classic Columbia composer Country Music dance Dave Marsh Davis debut on July Decca December Dorsey drums early Ellington featured film Friedwald gospel guitar guitarist Gunther Schuller Heart of Rock inspired James January jazz Jimmy John Johnny June King label later Louis Armstrong Love March melody Miles Davis Motown musicians notes November October Orchestra original Orleans Paul performance pianist piano piece played pop chart Pop Memories debut Quartet R&B chart radio ragtime reached record released remarks rhythm Rolling Stone score September session Sinatra singer singing single smash solo song’s songwriter Soul sound star studio Swing theme There’s Tommy Dorsey trumpet tune Victor vocal voice weeks Williams writes written