Music In London

"London s music is as important as its landmarks. It is the city of immigrant music, West End musicals, Ronnie Scott's jazz club, Abbey Road, mod culture, the Kinks, the Who and the Rolling Stones, all of whom transformed the city and were in turn transformed by it. In this fascinating history of the city's popular music, Paul Du Noyer, critically-acclaimed music writer and founding editor of Mojo, explores London's native talent, from No l Coward and David Bowie to the Sex Pistols and Amy Winehouse. He covers too the London visits of international artists such as Bob Dylan and Jimi Hendrix, who also felt the city's influence. From Elizabethan traders and public execution songs, to The Beggar's Opera and East End music halls, right up to modern-day troubadours such as Dizzee Rascal and Lily Allen, he charts the rich musical inheritance of London and the many styles and characters that have helped to define the city's music over the years. This captivating book will appeal to residents, visitors and exiles alike, as well as lovers of popular culture, social history and music. Above all, it is a celebration of the city packed with stories of the people and places that have made L

For as long as people have been migrating to London, so has their music. An essential link to home, music also has the power to shape communities in surprising ways. Black music has been part of London's landscape since the First World War, when the Southern Syncopated Orchestra brought jazz to the capital. Following the wave of Commonwealth immigration, its sounds and styles took up residence to become the foundation of the city's youth culture. Sounds Like London tells the story of the music and the larger-than-life characters making it, journeying from Soho jazz clubs to Brixton blues parties to King's Cross warehouse raves to the streets of Notting Hill - and onto sound systems everywhere. As well as a journey through the musical history of London, Sounds Like London is about the shaping of a city, and in turn the whole nation, through music. Contributors include Eddy Grant, Osibisa, Russell Henderson, Dizzee Rascal and Trevor Nelson, with an introduction by Soul2Soul's Jazzie B.

What does it mean to hear scientifically? What does it mean to see musically? This volume uncovers a new side to the long nineteenth century in London, a hidden history in which virtuosic musical entertainment and scientific discovery intersected in remarkable ways. Sound Knowledge examines how scientific truth was accrued by means of visual and aural experience, and, in turn, how musical knowledge was located in relation to empirical scientific practice. James Q. Davies and Ellen Lockhart gather work by leading scholars to explore a crucial sixty-year period, beginning with Charles Burney’s ambitious General History of Music, a four-volume study of music around the globe, and extending to the Great Exhibition of 1851, where musical instruments were assembled alongside the technologies of science and industry in the immense glass-encased collections of the Crystal Palace. Importantly, as the contributions show, both the power of science and the power of music relied on performance, spectacle, and experiment. Ultimately, this volume sets the stage for a new picture of modern disciplinarity, shining light on an era before the division of aural and visual knowledge.

Professional Music-Making in London is an engaging yet innovative study which examines the lives and work of Western art musicians from an ethnographic perspective. Drawing in part on his own professional experience, Stephen Cottrell considers to what extent musicians in Western society conform to Alan Merriam's paradigmatic assessment of them as having low status yet high respect, as well as being given an unusual degree of licence to deviate from convention. The book draws on a wide variety of approaches from scholars elsewhere: from ethnomusicologists such as Bruno Nettl and Henry Kingsbury, performance theorists such as Richard Schechner and Victor Turner, as well as psychologists such as Sigmund Freud and Melanie Klein. This rich intellectual heritage provides the framework for discussion of a variety of themes, including how musicians conceive their self identity and how this is negotiated in the professional musical world; how the deputy system facilitates musical exchange and engenders gift relationships; how humour lubricates social and musical relationships and mitigates the stresses of musicians' lives; and how the events in which musicians participate can be viewed as quasi-rituals, and thus related to analogous events in non-Western cultures. The focus of this study is on professional music-making in London, one of the world's busiest centres of musical performance. Yet the issues raised and explored are deeply relevant to other major centres of Western art music, such as New York, Berlin or Sydney. Ethnomusicologists, anthropologists, musicologists, performers, teachers and concert-goers will find this book a stimulating insight into, and investigation of, Western art musicians and their place in today's world.

'A must have for Dylan enthusiasts, lovers of London, and anyone with even a passing interest in the history of music. I devoured it in two sittings - and I loved it!' Conor McPherson, playwright, Girl from the North Country This is both a guide and history on the impact of London on Dylan, and the lasting legacy of Bob Dylan on the London music scene. Bob Dylan in London celebrates this journey, and allows readers to experience his London and follow in his footsteps to places such as the King and Queen pub (the first venue that Dylan performed at in London), the Savoy hotel and Camden Town. This book explores the key London places and times that helped to create one of the greatest of all popular musicians, Bob Dylan.

Taylor questions the widely held belief that the turn of the nineteenth century marked a 'dark age' of musical performance.

It all started in London. More than fifty years ago, a generation of teens created something that would change the face of music forever. London, Reign Over Me immerses us in the backroom clubs, basement record shops, and late-night faint radio signals of 1960s Britain, where young hopefuls like Peter Frampton, Dave Davies, and Mick Jagger built off American blues and jazz to form a whole new sound. Author Stephen Tow weaves together original interviews with over ninety musicians and movers-and-shakers of the time to uncover the uniquely British story of classic rock’s birth. Capturing the stark contrast of bursting artistic energy with the blitzkrieg landscape leftover from World War II, London, Reign Over Me reveals why classic rock ‘n’ roll could only have been born in London. A new sound from a new generation, this music helped spark the most important cultural transformation of the twentieth century. Key interviews include: •Jon Anderson (Yes) •Ian Anderson (Jethro Tull) •Rod Argent (The Zombies) •Chris Barber (Chris Barber Jazz Band) •Joe Boyd (Producer/manager) •Arthur Brown (Crazy World of Arthur Brown) •David Cousins (The Strawbs) •Dave Davies (The Kinks) •Spencer Davis (Spencer Davis Group) •Judy Dyble (Fairport Convention) •Ramblin’ Jack Elliott (Solo folk/blues artist) •Peter Frampton (Humble Pie, solo artist) •Roger Glover (Deep Purple) •Steve Howe (Yes) •Neil Innes (Bonzo Dog Band; Monty Python) •Kenney Jones (The Small Faces; The Who) •Greg Lake (King Crimson; Emerson, Lake & Palmer) •Manfred Mann (Manfred Mann) •Terry Marshall (Marshall Amplification) •Dave Mason (Traffic) •Phil May (The Pretty Things) •John Mayall (The Bluesbreakers) •Jim McCarty (The Yardbirds) •Ian McLagan (The Small Faces) •Jacqui McShee (The Pentangle) •Peter Noone (Herman’s Hermits) •Carl Palmer (Atomic Rooster; Emerson, Lake & Palmer) •Jan Roberts (Eel Pie Island Documentary Project) •Paul Rodgers (Free) •Peggy Seeger (Solo folk artist) •Hylda Sims (Club owner) •Keith Skues (DJ: Radio Caroline, Radio London, Radio One) •Jeremy Spencer (Fleetwood Mac) •John Steel (The Animals) •Al Stewart (Solo folk artist) •Dick Taylor (The Pretty Things) •Ray Thomas (The Moody Blues) •Richard Thompson (Fairport Convention) •Rick Wakeman (The Strawbs, Yes) •Barrie Wentzell (Photographer: Melody Maker)