Encyclopedia of Great Popular Song Recordings, Volume 1Scarecrow Press, 4 de out. de 2013 - 1030 páginas From John Philip Sousa to Green Day, from Scott Joplin to Kanye West, from Stephen Foster to Coldplay, The Encyclopedia of Great Popular Song Recordings, Volumes 1 and 2 covers the vast scope of its subject with virtually unprecedented breadth and depth. Approximately 1,000 key song recordings from 1889 to the present are explored in full, unveiling the stories behind the songs, the recordings, the performers, and the songwriters. Beginning the journey in the era of Victorian parlor balladry, brass bands, and ragtime with the advent of the record industry, readers witness the birth of the blues and the dawn of jazz in the 1910s and the emergence of country music on record and the shift from acoustic to electrical recording in the 1920s. The odyssey continues through the Swing Era of the 1930s; rhythm & blues, bluegrass, and bebop in the 1940s; the rock & roll revolution of the 1950s; modern soul, the British invasion, and the folk-rock movement of the 1960s; and finally into the modern era through the musical streams of disco, punk, grunge, hip-hop, and contemporary dance-pop. Sullivan, however, also takes critical detours by extending the coverage to genres neglected in pop music histories, from ethnic and world music, the gospel recording of both black and white artists, and lesser-known traditional folk tunes that reach back hundreds of years. This book is ideal for anyone who truly loves popular music in all of its glorious variety, and anyone wishing to learn more about the roots of virtually all the music we hear today. Popular music fans, as well as scholars of recording history and technology and students of the intersections between music and cultural history will all find this book to be informative and interesting. |
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Página 53
... chords onward, it hurtles the listener into a world of sonic mystery and wonder, swirling and crackling with themes that haunt and disturb, and building relentlessly to a stunning finale. Generations of jazz critics have expressed awed ...
... chords onward, it hurtles the listener into a world of sonic mystery and wonder, swirling and crackling with themes that haunt and disturb, and building relentlessly to a stunning finale. Generations of jazz critics have expressed awed ...
Página 54
... chords crash and splash behind them; and finally, the vocal, individualized sound of all the instruments, a quality which profoundly influenced later jazz composers like Charles Mingus.”260 Gunther Schuller calls Ko-Ko “one of ...
... chords crash and splash behind them; and finally, the vocal, individualized sound of all the instruments, a quality which profoundly influenced later jazz composers like Charles Mingus.”260 Gunther Schuller calls Ko-Ko “one of ...
Página 62
... . The same familiar guitar chords also turn up in bluesman Frank Stokes' August 1928 Victor recording Take Me Back, so clearly the tune was getting around. 302. This was actually not the first time Guthrie had 62 Playlist 1.
... . The same familiar guitar chords also turn up in bluesman Frank Stokes' August 1928 Victor recording Take Me Back, so clearly the tune was getting around. 302. This was actually not the first time Guthrie had 62 Playlist 1.
Página 64
... chords of the popular song Cherokee. . . . Bird takes off and never looks back. No one had ever played like this; the effect on musicians was comparable to that of Louis Armstrong's West End Blues.”310 Born Charles Parker, Jr., on ...
... chords of the popular song Cherokee. . . . Bird takes off and never looks back. No one had ever played like this; the effect on musicians was comparable to that of Louis Armstrong's West End Blues.”310 Born Charles Parker, Jr., on ...
Página 65
... chord as a melody line and backing them with appropriately related [chord] changes, I could play the thing I'd been hearing. I came alive.” Chubby Jackson, bassist for the Charlie Barnet band for a brief time in the early 1940s (before ...
... chord as a melody line and backing them with appropriately related [chord] changes, I could play the thing I'd been hearing. I came alive.” Chubby Jackson, bassist for the Charlie Barnet band for a brief time in the early 1940s (before ...
Conteúdo
155 | |
Playlist 3 Sitting on Top of the World 18902011 | 261 |
Playlist 4 Good Rockin Tonight 19042005 | 347 |
Playlist 5 Jazznocracy 18972010 | 429 |
Playlist 6 Hot Time in the Old Town 18932008 | 509 |
Playlist 7 Fascinating Rhythm 18912008 | 581 |
Playlist 8 Let the Good Times Roll 18952011 | 653 |
Playlist 9 Wasnt That a Time? 18952006 | 729 |
Playlist 10 Memories of You 18892012 | 805 |
Bibliography | 883 |
Title Index | 913 |
Subject Name Index | 957 |
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album American April Armstrong arrangement artist ballad band band’s bass Beatles became began Billboard Billy biographer Blues Bob Dylan born Brothers called chart debut chords chorus classic Columbia Country Music dance Dave Marsh DMDB drums Duke Ellington Dylan early Ellington emotional film folk music Friedwald gospel Grammy guitar guitarist Gunther Schuller heard inspired instrumental jazz Jimmie Rodgers Jimmy John Johnny Johnson July June King label later listener Louis Louis Armstrong March melody Motown musicians notes Okeh orchestra original Paul performance pianist piano piece played pop music Popular Song Quartet radio ragtime record released remarks rhythm riff rock and roll Rolling Stone sang session Sinatra singer singing single solo song’s songwriter Soul sound star string studio style Swing tenor theme Thomas Ryan trumpet tune verse Victor vocal voice weeks Williams writes written wrote York