Showing titles in History & Criticism

Chances are you've heard Handel's Messiah at least once, if not many times. Maybe you've even performed it, as have countless musicians around the world. After all, it's probably one of the best-loved, and certainly one of the best-known, works in the standard repertoire. But if you think you know all there is to know about the great composers famous oratorio, think again. For example, it may surprise you to learn that: Handel's first impulse to compose the work came not from religious or even musical inspiration. It had a whole lot more to do with money.

In the 1930s, composers and musicians began to flee Hitler's Germany to make new lives across the globe. The process of exile was complex: although some of their works were celebrated, these composers had lost their familiar cultures and were forced to navigate xenophobia as well as entirely different creative terrain. Others, far less fortunate, were in a kind of internal exile-composing under a ruthless dictatorship or in concentration camps and ghettos.

When the Soviet Union collapsed in 1991, Russia opened its borders, and Russian audiences were hungry for Western popular music and the values it espoused. David Junk was one of the first idealistic, young Americans to seize this opportunity. Rockin’ the Kremlin is the thrilling true story of how David became the first CEO of Universal Music Russia and built impactful cultural bridges with music—but also how that would all shatter with the rise of Vladimir Putin and invasions of Ukraine.

Jonathan Lethem treats Fear of Music (the third album by the Talking Heads, and the first produced by Brian Eno) as a masterpiece—edgy, paranoid, funky, addictive, rhythmic, repetitive, spooky, and fun. He scratches obsessively at the album's songs, guitars, rhythms, lyrics, packaging, downtown origins, and legacy, showing how Fear of Music hints at the directions (positive and negative) the band would take in the future.

What the hell is shoegaze? A scene? A movement? A sound? Back in the Nineties, many would have said the so-called genre was entirely fabricated. The term itself, an offensive piss-take given by the notoriously catty and scene-obsessed British music press, was plainly rejected by the absurdly small collection of bands to which it supposedly applied. In this ambitious oral history of a genre that has eluded definition for three decades, Ryan Pinkard unearths the first wave of shoegaze, following the core bands, their sounds, their influence, and their journeys in and out of obscurity.

The Uncanny Muse explores the history of automation in the arts and delves into one of the most momentous and controversial aspects of AI: artificial creativity. The adoption of technology and machinery has long transformed the world, but as the potential for artificial intelligence expands, David Hajdu examines the new, increasingly urgent questions about technology's role in culture.

The '80s were about big ideas writ large - new money, new style, gender fluidity, gay pride, attritional politics, the 'special relationship', nuclear fear, AIDS, cocaine, ecstasy, tabloid royalty, the rise of urban pop and ultimately geopolitical chaos. Using a big narrative approach, Dylan Jones' history of the decade in pop frames the decade through some of its most important and popular hits, choosing records that either epitomised their time or ushered in a new cultural shift.

"Dearly Beloved, we are gathered here today to get through this thing called life." When Prince spoke those words over celestial organ sounds in the opening moments of "Let's Go Crazy," he wasn't just inaugurating yet another Billboard Hot 100 hit—one of forty-seven in his career; he was also giving voice to the deep-seated and richly complex spiritual underpinning of his art.

By June 1993, when Washington, D.C.'s Fugazi released their third full-length album In on the Kill Taker, the quartet was reaching a thunderous peak in popularity and influence. With two EPs (combined into the classic CD 13 songs) and two albums (1990's genre-defining Repeater and 1991's impressionistic follow-up Steady Diet of Nothing) inside of five years, Fugazi was on creative roll, astounding increasingly large audiences as they toured, blasting fist-pumping anthems and jammy noise-workouts that roared into every open underground heart.

This book celebrates Madvillainy as a representation of two genius musical minds melding to form one revered supervillain. A product of circumstance, the album came together soon after MF DOOM's resurgence and Madlib's reluctant return from avant-garde jazz to hip-hop.

This book charts the emergence of Kate Bush in the early-to-mid-1980s as a courageous experimentalist, a singularly expressive recording artist and a visionary music producer. Track-by-track commentaries focus on the experience of the album from the listener’s point of view, drawing attention to the art and craft of Bush’s songwriting, production and sound design.

The apex of critical praise and commercial success is a metric achieved by a select few. In 2020, Cardi B became synonymous with “record breaking” as her debut album Invasion of Privacy went five times platinum and became the longest charting record by a female rapper in history. From streaming and charting to views, likes, retweets, and shares, Cardi dominates.

Weaving together more than a hundred interviews with Davis's bandmates, family members, friends, and peers, this book powerfully reconstructs Davis's extraordinary life and career. Washita Love Child thoroughly and finally restores the "red dirt boogie brother" to his rightful place in rock history, cementing his legacy for generations to come.

In more than 40 stories from the glory days of rock’n’roll, featuring Lou Reed, Elton John, Sting and The Clash, Allan Jones remembers a world that once was – one of dark excess and excitement, outrageous deeds and extraordinary talent, featuring legends at both the beginnings and ends of their careers.

Dieser Pop-Splits ist Eric Claptons Song "Tears in Heaven" gewidmet und beantwortet die Frage, wie man musikalisch über den Tod des eigenen Kindes hinwegkommt...

Der Titel ist Teil des Pop-Splits "Tears in Heaven - 21 traurige und schöne Geschichten".

This Is Our Music, declared saxophonist Ornette Coleman's 1960 album title. But whose music was it? At various times during the 1950s and 1960s, musicians, critics, fans, politicians, and entrepreneurs claimed jazz as a national art form, an Afrocentric race music, an extension of modernist innovation in other genres, a music of mass consciousness, and the preserve of a cultural elite. This original and provocative book explores who makes decisions about the value of a cultural form and on what basis.

For the first time, Appetite for Self-Destruction recounts the story of the precipitous rise and fall of the recording industry over the past three decades, when the incredible success of the CD turned the music business into one of the most glamorous, high-profile industries in the world - and the advent of file sharing brought it to its knees.

Music plays such an important part in everyone’s life, but how much do we know about the history of music? How did music shape our civilization, and how was music itself shaped by the Catholic Church? Susan Treacy, an experienced professor of music, is an excellent guide to the history of music. Every Catholic should own at least one book on music.

Songs that sell the most copies become hits, but some of those hits become something more—iconic recordings that not only inspire a generation but also change the direction of music. In Anatomy of 55 More Songs, based on his column for the Wall Street Journal, music journalist and historian Marc Myers tells the story behind fifty-five rock, pop, R&B, country, and soul-gospel hits through intimate interviews with the artists who wrote and recorded them.

Beloved music critic Tom Breihan's fascinating narrative of the history of popular music through the lens of game-changing #1 singles from the Billboard Hot 100. When Tom Breihan launched his Stereogum column in early 2018, “The Number Ones”—a space in which he has been writing about every...