Average customer rating:
- Music Library
- A Must-Have for Stereolab and Broadcast Fans
- Will Hodgkinson in The Observer Music Monthly (UK). Nov 2005
|
Music Library, The
Jonny Trunk
Manufacturer: Fuel Publishing
ProductGroup: Book
Binding: Hardcover
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Warp: Labels Unlimited
ASIN: 0955006112
Release Date: 2005-11-15 |
Book Description
"Library music"--also known as source music and, occasionally, mood music--was first made for people who needed cheap, somewhat generic music as backgrounds for animations, low-budget advertisements, and television programs. Unavailable commercially to the public, this music was pressed from the 1950s onwards in limited quantities, and then sent directly to production houses and radio stations for use when necessary. The Music Library is a compilation of cover artwork from some of the most important--and beautiful--library LPs made throughout the 50s, 60s, and 70s, some of which retail for up to $2,000 today. Features record sleeves from the collections of Jerry Dammers (The Specials), Jonny Trunk (of Trunk Records), YMC, Luke Vibert, Steve Stasis, Jazzman Gerald, Lo Recordings, Intoxical, Julian House, and The Reverend Martin Green. Compiled by Trunk--who also wrote the introduction--The Music Library features a foreword by Dammers and an exclusive CD of rare library recordings."
Customer Reviews:
Music Library.......2007-03-09
This book is full of beautiful psychedelic art. The CD that comes with it is awesome. Definitely something I'll hold onto for the rest of my life!!
A Must-Have for Stereolab and Broadcast Fans.......2006-06-04
This is quite a great book. I haven't been able to find a book dedicated to the "mood music" from the 60's, and this book fills the void! The CD that comes with the book is also excellent. If you are a Stereolab and/or Broadcast fan, you won't be disappointed, as a lot of the album designs for the two bands reference to these great record covers. Also, this book shows you a link between the past and present-day music that is influenced directy by the library music.
Will Hodgkinson in The Observer Music Monthly (UK). Nov 2005.......2005-11-29
Designed for mass consumption, library records often featured pastiches of the popular styles of the day. This resulted in bitter-drinking, suit-wearing pianists with a family to support making far-out psychedelic rock and big band jazzers laying down avant-garde electronic futurism.
As is often the case with pastiche, the library records ended up being far weirder and, paradoxically, more creative and original than the styles they were copying. With an invisable audience and none of the usual pressures like reviews and sales to worry about, top session men like Alan Hawkshaw, jazz-classical pioneer Basil Kirchin, and a pre-Led Zepplin Jimmy Page could let rip with music for a chase scene - usually under a pseudonym - before heading off to the pub for lunch.
As CDs took over from vinyl in the eighties music libraries cleared out their old stock, releasing them onto the private collectors' market and revealing a fact previously unknown to all bar a few musicians: these albums had fantastic covers.
With no famous names to go on a striking images was the only way of catching the attention of potential clients, hence such classics as `Musique Idiote' by Roger Roger and `Feelings' by Italian easy jazz maestro Stefano Terrosi.
`Ah yes, `Feelings'... good hip hop break on that one. Goes for £1,000 on eBay,' reflects Jonny Trunk, a hopeless library addict who has collaborated with the London design agency Fuel to produce `The Music Library', a collection of 325 of the greatest album covers never seen. `There's a big collecting cult around library records now. Some of it is simply down to it's rarity, but the beautiful covers and strangeness of the music has a lot to do with it too.'
Founder member of the Specials Jerry Dammers puts it's appeal down to the way it `seems to get every musical genre just wrong enough to make it sound twisted and different - ie, great.' Record library albums are pure pop art - and best of all, they're free from any pop stars that might let you down.
Average customer rating:
- For all fanatics rock music 65-75
|
Rock Art: Cds, Albums & Posters (Library of Applied Design)
Spencer Drate
Manufacturer: PBC International
ProductGroup: Book
Binding: Paperback
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ASIN: 0866362770 |
Customer Reviews:
For all fanatics rock music 65-75.......2000-06-06
For all fanatics rock music 65-75 ... It great and magic
Book Description
The gap between the fabulously rich and the desperately poor widens in this decade as manufacturing becomes established, and labor unrest grows. America has no qualms about intervening in the affairs of its Latin American neighbors, but it must overcome.
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- Turn-of-the-Century Design: A Warped View
- REPRINTS FROM THE HIGHLY PRIZED DECORATIVE ART YEARBOOKS
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Decorative Arts 1900s & 1910s (Varia)
Charlotte Fiell ,
Peter Fiell , and
Peter
Manufacturer: Taschen
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ASIN: 3822860506 |
Customer Reviews:
Turn-of-the-Century Design: A Warped View.......2001-05-05
The remark that this book "traces this aesthetic revolution..and is a compleling guide through the founding years of Modernism" rings false after even a cursery examination. Frank Lloyd Wright, one of the great architectural geniuses of the period, is represented by a chair. Grueby Faience is given a reproduction, but Greene & Greene and Bernard Maybeck are not mentioned. Several of Otto Wagner's students are repesented, but he does not appear. Gaudi and Horta cannot be found. Josef Hoffmann, the great genius of Secessionism, is poorly represented and two of his most famous chairs are attributed to Kammerer. Tiffany appears to be a minor window designer. Etc. One suspects that the authors saved photos in a shoebox and threw this series together. This is a great idea that is unfortunately very slovenly assembled and ultimately serves to distort and flatten this inventive and extravegent period of architecture and art. Taschen and his authors should be ashamed of this endeavor.
REPRINTS FROM THE HIGHLY PRIZED DECORATIVE ART YEARBOOKS.......2001-01-18
TASCHEN's Decorative Art series spans the 20th century through the 1970s and carefully reproduces the best of Studio Magazine's Decorative Art yearbooks. Published annually from 1906 until 1980, the yearbook was dedicated to the latest currents in architecture, interiors, furniture, lighting, glassware, textiles, metalware, and ceramics, and remained on the cutting edge throughout its nearly eight-decade run. Since going out of print, the now hard-to-find yearbooks have been highly prized by collectors and dealers. Preserving the yearbooks' original page layouts, TASCHEN's Decorative Art books bring you an authentic experience of each decade's design trends and styles. The now complete six-volume set is an essential addition to the comprehensive design library and the devoted collector will want them all.
Decorative Art 1900 ~ 1910s - This volume highlights the aesthetic transition from the Victorian era to the modern age at a time when `modern' was a genuinely new concept. Eschewing designs that displayed excessive ornamentation, this era of Decorative Art yearbooks showcased the work of progressive designers like Charles Rennie Mackintosh, Charles Voysey, Josef Hoffmann and the Wiener Werkstätte.
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Being Modern in Japan: Culture and Society from the 1910s to the 1930s
Manufacturer: University of Hawaii Press
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ASIN: 0824823605 |
Book Description
This volume is a multifaceted study of the development of modernism in Japan, with authors from Japan, the United States, and Australia spanning the fields of art history, social history, and literature. Being Modern in Japan raises many issues about Japanese modernity and its contested meanings. Writers explore what it means to be modern in Japan from the 1910s to the 1930s, but many subjects discussed are relevant to modernity elsewhere in Asia, Europe, and North America. Certain aesthetic concerns in Japanese art occurred spontaneously, while others reflected the adoption of a common formal modernist language. Being modern in the Taisho and early Showa periods became integral to the society of the time. The practices and spaces of modernity changed in their meaning--or took on multiple meanings--during the 1920s, and by the early 1930s Japan was widely perceived by Japanese themselves as "modern."
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Public Faces-Private Lives (Women in South Florida-1870s-1910s)
Karen Davis
Manufacturer: Pickering Press, the
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Binding: Paperback
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ASIN: 0940495228 |
Book Description
How did advertising come to seem natural and ordinary to magazine readers by the end of the nineteenth century? The Adman in the Parlor explores readers' interactions with advertising during a period when not only consumption but advertising itself became established as a pleasure. Garvey argues that readers' participation in advertising, rather than top-down dictation by advertisers, made advertizing a central part of American culture. Garvey's analysis interweaves such texts and artifacts as advertising trade journals, magazines addressed to elite, middle class, and poorer readerships, scrapbooks, medical articles, paper dolls, chromolithographed trade cards, and contest rules. She tracks new forms of fictional realism that contained brand name references, courtship stories, and other fictional forms. As magazines became dependant on advertising rather than sales for their revenues, women's magazines led the way in making consumers of readers through the interplay of fiction, editorials, and advertising. General magazines, too, saw little conflict between these different interests. Instead, advertising and fiction came to act on one another in complex, unexpected ways. Magazine stories illustrated the multiple desires and social meanings embodied in the purchase of a product. Garvey takes the bicycle as a case study, and tracks how magazines mediated among competing medical, commercial, and feminist discourses to produce an alluring and unthreatening model of women bicycling in their stories. Advertising formed the national vocabulary. At once invisible, familiar, and intrusive, advertising both shaped fiction of the period and was shaped by it. The Adman in the Parlor unearths the lively conversations among writers and advertisers about the new prevalence of advertising for mass-produced, nationally distributed products.
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Decades of the 20th Century: The 1910s (Decades of the 20th Century)
Nicholas Yapp
Manufacturer: Konemann
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The 1970s: The Hulton Getty Picture Collection
ASIN: 3829036019 |
Book Description
57 classics, including: After You've Gone * Ah! Sweet Mystery of Life * Alexander's Ragtime Band * Danny Boy * Let Me Call You Sweetheart * My Melancholy Baby * Oh, You Beautiful Doll * Rock-A-Bye Your Baby With a Dixie Melody * When Irish Eyes Are Smiling * You Made Me Love You (I Didn't Want to Do It) * and more.
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America In The 1900s And 1910s (Decades of American History)
Jim Callan
Manufacturer: Facts on File
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Binding: Hardcover
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ASIN: 0816056366 |
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Direct Action & Sabotage: Three Classic IWW Pamphlets From The 1910s
Elizabeth Gurley Flynn ,
Walker C Smith , and
William E Trautman
Manufacturer: Charles H Kerr
ProductGroup: Book
Binding: Paperback
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ASIN: 0882861859 |
Book Description
'Direct Action & Sabotage' (1912) by William Trautman, 'Sabotage: It's History, Philosophy And Function' (1913) by Walker Smith, and Elizabeth Gurley Flynn's 'Sabotage: The Conscious Withdrawal Of The Workers' Industrial Efficiency' (1916), edited, and with an introduction by Salvatore Salerno. "The activist authors of the text s in this collection challenged the prevailing stereotype....As they point out, the practice of direct action, and of sabotage, are as old as class society itself, and have been an integral part of the everyday worklife of wage-earners in all times and places. To the Industrial Workers of the World (IWW) belongs the distinction of being the first workers' organization in the US to discuss these common practices openly, and to recognize their place in working class struggle. View direct action and sabotage in the spirit of creative nonviolence, Wobblies readily integrated these tactics into their struggle to build industrial unions." [From the Introduction]
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