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 12
... label in July 1900. Billed as “the king of ragtime songs” and known for his comic “coon” numbers, Collins also used his strong, sturdy baritone to introduce such hits as Bill Bailey, Won't You Please Come Home (1902). His defining solo ...
... label in July 1900. Billed as “the king of ragtime songs” and known for his comic “coon” numbers, Collins also used his strong, sturdy baritone to introduce such hits as Bill Bailey, Won't You Please Come Home (1902). His defining solo ...
Página 14
... label had a stable of blues-oriented artists to fill the suddenly discovered demand.68 Mamie Smith recorded prolifically for Okeh through 1929 (although her records were far less interesting after the departure of Johnny Dunn in 1922) ...
... label had a stable of blues-oriented artists to fill the suddenly discovered demand.68 Mamie Smith recorded prolifically for Okeh through 1929 (although her records were far less interesting after the departure of Johnny Dunn in 1922) ...
Página 26
... label in 1916 before moving to Columbia and then Brunswick during the early 1920s, Marion made The Man I Love her return to Victor. Remarkably, however, it was to be her only latter-day record for the label, and indeed her only ...
... label in 1916 before moving to Columbia and then Brunswick during the early 1920s, Marion made The Man I Love her return to Victor. Remarkably, however, it was to be her only latter-day record for the label, and indeed her only ...
Página 29
... label several months later. The forty-plus sides he made with Oliver established him as a phenom. Louis left in 1924 to join Fletcher Henderson's band in New York, further expanding his reputation. Armstrong finally struck out on his ...
... label several months later. The forty-plus sides he made with Oliver established him as a phenom. Louis left in 1924 to join Fletcher Henderson's band in New York, further expanding his reputation. Armstrong finally struck out on his ...
Página 36
... label in 2007, after his death. Ted Gioia calls this her “masterpiece . . . a dolorous art song that evokes the spirit of the blues while departing markedly from its harmonies and structure.”172 Who was this mysterious artist, Marcus ...
... label in 2007, after his death. Ted Gioia calls this her “masterpiece . . . a dolorous art song that evokes the spirit of the blues while departing markedly from its harmonies and structure.”172 Who was this mysterious artist, Marcus ...
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