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(Book). Jamband the word brings to mind long summer days of hanging out with friends and listening to an astounding array of talented musicians. This book takes an in-depth look at the bands and fans of this lively, diverse musical and cultural phenomenon. Offering essays, commentaries and discographies of more than 170 groups from Phish, Allman Brothers, Donna the Buffalo and Widespread Panic to Peach Melba, Ten Ton Chicken and Moon Boot Lover this fun-filled guide will enhance your appreciation of your favorites while introducing dozens of other notable bands in this ever-expanding universe of sound. You also get audio examples of exclusive live tracks from moe., the Disco Biscuits, Keller Williams, the Motet, Reid Genauer & the Assembly of Dust, and Jazz Mandolin Project!
Draws on interviews with some of the most recognizable names in the jam band scene to trace the genre's origins and evolution, offering insight into key musical influences, songwriting styles, and tour experiences.
For the first time in one volume, here is the best of Relix magazine: the ultimate, spectacular history of the Grateful Dead and their fans. Relix magazine – much like the Grateful Dead, the band they captured relentlessly – was not just the backdrop for a generation, it was an inspiration. Begun in 1974 as a newsletter to connect Deadheads, the magazine exploded along with the tie-dyed community that embraced it. Relix: The Book is a compilation of the first 27 years of Relix magazine and includes interviews with Jerry Garcia, Bob Weir, Mickey Hart, Bill Kreutzmann, and all of the Dead's key players. A Deadhead family portrait and psychedelic timecapsule, it also features iconic groups such as the Doors and Phish, along with nearly three decades' worth of brain-melting artwork, full-color covers, and anecdotes from Relix founder Toni Brown, written exclusively for the book. For the global family of Deadheads, old-school hippies, and up and coming jam band fans, Relix: The Book is much more than an anthology, it is an event.
Jam Bands is the first comprehensive guide to the emerging wave of improvisational music now thriving in North America. The book spans the continent, identifying more than 175 of the most noteworthy jam bands. Each entry includes photos, biographies, discographies, personal insights from band members, web site listings, and descriptions and analyses of each group's distinctive musical styles and talents. Additionally, since all the profiled bands encourage live taping, Jam Bands offers a section devoted to the art of recording concerts and building a live-music library. Written by noted live-music fanatic and taper Dean Budnick, author of THE PHISHING MANUAL, Jam Bands is sure to please both long-time devotees of the jam band scene and new initiates as well. From Aquarium Rescue Unit to Zero, with stops along the way for moe., Medeski, Martin & Wood, Rusted Root, Strangefolk, and String Cheese Incident, Jam Bands will reacquaint readers with cherished groups and introduce new favourites, while unlocking the mysteries of taping.
Driven by a counterintuitive thesis that has been highlighted in both The New Yorker and The New York Times¸ The Knockoff Economy is an engrossing and highly entertaining tour through the economic sectors where piracy both rules and invigorates.
From the shopping mall to the corner bistro, knockoffs are everywhere in today's marketplace. Conventional wisdom holds that copying kills creativity, and that laws that protect against copies are essential to innovation--and economic success. But are copyrights and patents always necessary? In The Knockoff Economy, Kal Raustiala and Christopher Sprigman provocatively argue that creativity can not only survive in the face of copying, but can thrive. The Knockoff Economy approaches the question of incentives and innovation in a wholly new way--by exploring creative fields where copying is generally legal, such as fashion, food, and even professional football. By uncovering these important but rarely studied industries, Raustiala and Sprigman reveal a nuanced and fascinating relationship between imitation and innovation. In some creative fields, copying is kept in check through informal industry norms enforced by private sanctions. In others, the freedom to copy actually promotes creativity. High fashion gave rise to the very term "knockoff," yet the freedom to imitate great designs only makes the fashion cycle run faster--and forces the fashion industry to be even more creative. Raustiala and Sprigman carry their analysis from food to font design to football plays to finance, examining how and why each of these vibrant industries remains innovative even when imitation is common. There is an important thread that ties all these instances together--successful creative industries can evolve to the point where they become inoculated against--and even profit from--a world of free and easy copying. And there are important lessons here for copyright-focused industries, like music and film, that have struggled as digital technologies have made copying increasingly widespread and difficult to stop. Raustiala and Sprigman's arguments have been making headlines in The New Yorker, the New York Times, the Financial Times, the Boston Globe, Le Monde, and at the Freakonomics blog, where they are regular contributors. By looking where few had looked before--at markets that fall outside normal IP law--The Knockoff Economy opens up fascinating creative worlds. And it demonstrates that not only is a great deal of innovation possible without intellectual property, but that intellectual property's absence is sometimes better for innovation.
Community Music Today highlights community music workers who constantly improvise and reinvent to lead through music and other expressive media. It answers the perennial question “What is community music?” through a broad, international palette of contextual shades, hues, tones, and colors. With over fifty musician/educators participating, the book explores community music in global contexts, interconnections, and marginalized communities, as well as artistry and social justice in performing ensembles. This book is both a response to and a testimony of what music is and can do, music’s place in people’s lives, and the many ways it unites and marks communities. As documented in case studies, community music workers may be musicians, teachers, researchers, and activists, responding to the particular situations in which they find themselves. Their voices are the threads of the multifaceted tapestry of musical practices at play in formal, informal, nonformal, incidental, and accidental happenings of community music.
For thirty years, Leftover Salmon has blended musical styles from rock and bluegrass to zydeco and Cajun into an undeniably original sound and forever influenced generations of bands from across the musical spectrum. Emerging from the progressive bluegrass world and coming of age as one the original jam bands, Leftover Salmon rose to become architects of what has become known as Jamgrass—a style in which bluegrass can break free through nontraditional instrumentation and stylistic experimentation. In this book, Tim Newby presents an intimate portrait of Leftover Salmon through its band members, family, friends, former bandmates, managers, and countless musicians. Leftover Salmon was born from the heart and soul of America itself, playing music that reflects the sounds emanating from the Appalachian hills, the streets of New Orleans, the clubs of Chicago, the plains of Texas, and the mountains in their home state of Colorado. Newby reveals Leftover Salmon’s story as one that is crucialto American music and needs to be told now.
Fifty years after the Grateful Dead was formed, the band still exerts a powerful influence over hundreds of thousands of fans around the world. Today, an entire generation of Deadheads who have never experienced a live Dead show are still drawn to the music and the complex and colorful subculture that has grown up around it. In This Is All a Dream We Dreamed, Blair Jackson and David Gans, two of the most well-respected chroniclers of the Dead, reveal the band's story through the words of its members and their creative collaborators, as well as a number of diverse fans, stitching together a multitude of voices into a seamless oral tapestry. Woven into this musical saga is an examination of the subculture that developed into its own economy, touching fans from all walks of life, from penniless hippies to celebrities, and at least one U.S. vice president. The book traces the band's evolution from its folk/bluegrass beginnings through the Jug Band craze, an early incarnation as Rolling Stones wannabes, feral psychedelic warriors, the Americana jam band that blazed through the '70s, to the shockingly popular but still iconoclastic stadium-filling band of later years. The Dead broke every rule of the music business along the way, taking risks and venturing into new territory as they fused inspired ideas and techniques with intuition and fearlessness to create a sound-and a business model-unlike anything heard and seen before.
Dave Matthews Band celebrated their 25th anniversary in 2016, a milestone few bands achieve. How did the group build and retain an audience so devoted that they stuck with DMB through more than a quarter century? Dave Matthews Band FAQ answers this question and many more, exploring the group’s history in detail from a variety of angles. Natives of the college rock circuit of the southern Atlantic seaboard, DMB became part of a close-knit group of similarly minded jam bands that spread across the USA during the 1990s. Thanks to a grassroots following that eagerly traded tapes of live DMB shows, the band cultivated a dedicated fan base that crossed over into the mainstream. Dave Matthews Band FAQ traces this evolution, documenting the culture of Charlottesville, Virginia, at the dawn of the ’90s, detailing the group’s peers and examining their catalog, both live and studio, in detail. Collectively, these chapters explain everything there is to know about the most popular jam band in history.