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2010 marks the seventieth anniversary of John Lennon’s birth, and the thirtieth of his death. To commemorate those events, the latest in Uncut’s series of Ultimate Music Guides is an essential 148 page magazine dedicated to the Beatles genius.

In The Ultimate Music Guide: Lennon, Uncut’s team of expert writers provide comprehensive new reviews of Lennon’s solo work, with detailed analyses of each one of his albums, and the hidden stories behind these landmark recordings.

We’ve also raided the NME and Melody Maker archives to reprint many extraordinarily candid interviews, unseen for decades, in full.

As with our highly successful Ultimate Music Guides to U2 and Bruce Springsteen, the mag also includes a mindblowingly thorough discography, a guide to rarities and a wealth of info guaranteed to amaze Lennon’s legion of fans. It also, as Uncut does each month, presents the very best in rock photography. ---uncut.co.uk

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Rolling Stone magazine recently unleashed a special collector’s edition detailing what they consider to be the Beatles’ 100 finest tracks, in order. The magazine features the list of the fab four’s greatest songs, as well as quotes from the band on each track and an introduction by Elvis Costello. Looking over the list really drives home just how deep their catalog is, any band that can claim to have 59 songs better than “Sgt. Pepper’s Lonely Hearts Club Band” surely did something right. Check out the full list below.

1. A Day in the Life
2. I Want to Hold Your Hand
3. Strawberry Fields Forever
4. Yesterday
5. In My Life
6. Something
7. Hey Jude
8. Let it Be
9. Come Together
10. While My Guitar Gently Weeps
11. A Hard Day’s Night
12. Norwegian Wood (This Bird Has Flown)
13. Revolution
14. She Loves You
15. Help!
16. I Saw Her Standing There
17. Ticket to Ride
18. Tomorrow Never Knows
19. Lucy in the Sky With Diamonds
20. Please Please Me
21. All You Need is Love
22. Eleanor Rigby
23. Abbey Road Medley
24. Happiness is a Warm Gun
25. Here, There, and Everywhere
26. If I Fell
27. You’re Going to Lose That Girl
28. Here Comes the Sun
29. Can’t Buy Me Love
30. We Can Work it Out
31. You’ve Got to Hide Your Love Away
32. Penny Lane
33. I Am the Walrus
34. Eight Days a Week
35. Paperback Writer
36. I Should Have Known Better
37. She Said She Said (yayyy!!!!!)
38. Blackbird
39. Day Tripper
40. For No One
41. Get Back
42. I Feel Fine
43. Drive My Car
44. All My Loving
45. No Reply
46. Don’t Let Me Down
47. Things We Said Today
48. The Ballad of John and Yoko
49. The Night Before
50. Got to Get You Into My Life
51. If I Needed Someone
52. Helter Skelter
53. It Won’t Be Long
54. Two of Us
55. Taxman
56. I’m Down
57. I’m Only Sleeping
58. I’ve Just Seen a Face
59. I Want You (She’s So Heavy)
60. Sgt. Pepper’s Lonely Hearts Club Band
61. With a Little Help From My Friends
62. Girl (Lennon)
63. Dear Prudence
64. I’ve Got a Feeling
65. And I Love Her
66. Nowhere Man
67. Oh! Darling
68. Baby, You’re a Rich Man
69. Julia
70. You Can’t Do That
71. I’m a Loser
72. From Me to You
73. Everybody’s Got Something to Hide Except for Me and My Monkey
74. Yellow Submarine
75. Think for Yourself
76. Yer Blues
77. Because
78. And Your Bird Can Sing
79. I’ll Follow the Sun
80. Mother Nature’s Son
81. Hey Bulldog
82. She’s Leaving Home
83. I’m So Tired
84. Across the Universe
85. Back in the USSR
86. Lady Madonna
87. Love Me Do
88. Rain
89. Good Day Sunshine
90. The Long and Winding Road
91. Every Little Thing
92. Dig a Pony
93. Sexy Sadie
94. You Won’t See Me
95. Any Time at All
96. Within You Without You 
97. All I’ve Got to Do
98. Long, Long, Long
99. Yes It Is
100. Hello, Goodbye

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Pdf, 83 Pages, 38,5 Mb

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"Fact is separated from fiction in this unique study of the Beatles, as myths are debunked and commonly held beliefs about the Fab Four are proven false. Popular convictions that John Lennon was a working-class hero, that Lennon and McCartney never recorded again after the Abbey Road sessions in 1970, and that Paul McCartney's original title for ôYesterdayö was ôScrambled Eggsö are proven to be rumors at best and lies at worst. Drawn from interviews with long-term associates of the band as well as other lines of investigation, this is a unique testimony to the way history gets rewritten, exaggerated, and warped." ---Alan Clayson, Spencer Leigh, books.google.pl

The dictionary defines myth as "a traditional or legendary story". Most of the "myths" in this book are nothing but trivia; hardly legendary. For example, was the recording of the Beatles at Hamburg's Star Club in 1962 unauthorized? Some may believe that to be true, but you could hardly call that a belief of mythical proportions. I got the impression that many of these 101 items are simply obscure facts with the truth inverted and then debunked as myth. More disturbing, however, is the authors' putting forth their own questionable theories as myth-breaking fact. Despite assertions by John Lennon, Ringo Starr, George Martin and Julian Lennon that "Lucy in the Sky with Diamonds" was inspired by a drawing by young Julian and was not secret code for LSD, Clayson/Leigh cook up a conspiracy between Lennon and Jimi Hendrix to write code named songs. Hendrix did indeed write "The Stars That Played with Laughing Sam's Dice" with STP and LSD in mind and I don't doubt that Hendrix or his manager knew Lennon, but that's hardly a basis for a conspiracy theory. Similarly, their theorizing on John's "bigger than Jesus" comment is appalling. There are many good books on the Beatles. Get one on those. If you've already got those, you don't need this one. ---Mick, amazon.com

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22 MB

This text is a practical guide to the compositional techniques, resources, and technologies available to composers today. Each chapter traces the development of traditional and modern elements that form the foundation of music in the late twentieth century. Among the subjects discussed are interval exploration, serialism, pitch-class sets, twelve-tone music, electronic music, algorithmic composition, and indeterminacy.

Based loosely on the author's earlier New Music Composition (Schirmer Books, 1977), this new book is designed to be a practical guide to the compositional techniques, resources, and technologies available to composers of the late twentieth and early twenty-first centuries. Indispensable as a ready reference for composers and scholars, Techniques is also an excellent introduction to the motives, ideas, and styles behind contemporary music. Beginning with a general survey of 19th century harmonic and melodic techniques, each chapter traces the development the traditional and modern elements that form the underpinning of music in the late twentieth century. Among the subjects discussed are interval exploration, serialism, pitch-class sets, and twelve tone as well as electronic music, algorithimic composition, indeterminacy, and much more. With a logical, step-by-step approach supplemented by over 300 musical examples and an extensive bibliography, Techniques of the Contemporary Composer is an excellent source for practicing composers and students of modern music alike. David Cope is professor of music at the University of California at Santa Cruz. He is the author of New Directions in Music and the composer of over eighty published musical pieces.

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10 MB

The interest in piano and the desire to play, has increased tremendously in the past few years. Especially is this noticeable among adults who have either had some elementary piano instruction in their youth or have been denied this study for various reasons. This increased interest is partly due to the widespread influence of radio. Hearing music almost daily has become an integral part of our lives and it is this constant influence which has awakened a keen and natural desire to become an active participant. it is to the furtherance and stimulation of this natural desire that this course was planned. The adult approach has been kept constantly in mind, however not to the exclusion of certain basic principles which are necessary in order to make rapid and satisfactory progress. The logical and stepwise manner of progression in this course should prove of inestimable aid to both the student and teacher.

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From the introduction:“This is a compilation of all written reviews of Krautrock records that have appeared in the pages of The Sound Projector Music Magazine to date. It includes music that has been variously labelled as Krautrock, Kosmische, German electronic music, or German progressive rock…The reason for doing the Krautrock Kompendium is simply to make available previously-published extracts from the magazine. We decided to do it as an ‘ebook’, an online publication which can be downloaded from the website for free. At the same time, digital technology has made it easier to deliver photography and reproduction of entire LP sleeves. The visual element is an exceptionally important part of Krautrock history; the sleeve art is beautiful, and packed with significance. For these reasons, we decided to render the KK in full colour. Thus, the layouts, cover art and pictures have been assembled especially for this digital edition…”

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Bigger, better and more colorful! After the huge success of the first edition from 2006, the Acid Archives book has been long out-of-print. Used copies have sold for as high as $200, and there are many inquiries about new runs from around the world. Instead of just a new printing, here is a brand-new edition -- completely revised, massively expanded, and attractively re-designed. The Acid Archives, The Second Edition will delight any lover of rare and great underground music from the 1960s-1970s.

All the elements that made the first edition such a hit are here. The A-Z section has been expanded with 90 new pages, detailing many hundreds of previously-unknown LPs. Just as exciting is a brand-new section of special features, where leading experts present the best and rarest albums within exotica, lounge, '70s funk & soul, southern rock, new age, custom labels and tax scam records. In answer to requests from fans of the first book, the Acid Archives has been fully re-designed and is now printed entirely in color. The 400 pages in the second edition (100 pages more than the old version) are loaded with color images of obscure and trippy album sleeves, posters and band photos, many of which have never been published before.

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72 MB. 1120 page pdf e-book.

Complete score songbook for voice(s), guitar(s), bass guitar, drum set and keyboard. With vocal melody, lyrics, standard guitar notation, guitar tablature, standard bass notation, bass tablature, chord names and drum notation. Includes complete transcriptions of all instrumental and vocal parts.

Songs include:
A Day In The Life
A Hard Day's Night
A Taste Of Honey
Across The Universe
Act Naturally
All I've Got To Do
All My Loving
All Together Now
All You Need Is Love
And I Love Her
And Your Bird Can Sing
Anna (Go To Him)
Another Girl
Anytime At All
Ask Me Why
Baby You're A Rich Man
Baby, It's You
Baby's In Black
Back In The U.S.S.R.
Bad Boy
Because
Being For The Benefit Of Mr. Kite
Birthday
Blackbird
Blue Jay Way
Boys
Can't Buy Me Love
Carry That Weight
Chains
Come Together
Cry Baby Cry
Day Tripper
Dear Prudence
Devil In Her Heart
Dig A Pony
Dig It
Dizzy Miss Lizzy
Do You Want To Know A Secret?
Doctor Robert
Don't Bother Me
Don't Let Me Down
Don't Pass Me By
Drive My Car
Eight Days A Week
Eleanor Rigby
Every Little Thing
Everybody's Got Something To Hide Except Me And My Monkey
Everybody's Trying To Be My Baby
Fixing A Hole
Flying
Fool On The Hill
For No One
For You Blue
From Me To You
Get Back
Getting Better
Girl
Glass Onion
Golden Slumbers
Good Day Sunshine
Good Morning Good Morning
Goodnight
Got To Get You Into My Life
Happiness Is A Warm Gun
Hello, Goodbye
Help!
Helter Skelter
Her Majesty
Here Comes The Sun
Here, There And Everywhere
Hey Bulldog
Hey Hey Hey Hey
Hey Jude
Hold Me Tight
Honey Don't
Honey Pie
I Am The Walrus
I Call Your Name
I Don't Want To Spoil The Party
I Feel Fine
I Me Mine
I Need You
I Saw Her Standing There
I Should Have Known Better
I Wanna Be Your Man
I Want To Hold Your Hand
I Want To Tell You
I Want You (She's So Heavy)
I Will
If I Fell
If I Needed Someone
I'll Be Back
I'll Cry Instead
I'll Follow The Sun
I'll Get You
I'm A Loser
I'm Down
I'm Happy Just To Dance With You
I'm Looking Through You
I'm Only Sleeping
I'm So Tired
In My Life
It Won't Be Long
It's All Too Much
It's Only Love
I've Got A Feeling
I've Just Seen A Face
Julia
Kansas City
Lady Madonna
Let It Be
Little Child
Long Long Long
Long Tall Sally
Love Me Do
Love You To
Lovely Rita
Lucy In The Sky With Diamonds
Maggie Mae
Magical Mystery Tour
Martha My Dear
Matchbox
Maxwell's Silver Hammer
Mean Mr. Mustard
Michelle
Misery
Money (That's What I Want)
Mother Nature's Son
Mr. Moonlight
No Reply
Norwegian Wood (This Bird Has Flown)
Not A Second Time
Nowhere Man
Ob-La-Di, Ob-La-Da
Octopus's Garden
Oh! Darling
Old Brown Shoe
One After 909
Only A Northern Song
P.S. I Love You
Paperback Writer
Penny Lane
Piggies
Please Mr. Postman
Please Please Me
Polythene Pam
Rain
Revolution
Revolution 1
Revolution 9
Rock And Roll Music
Rocky Raccoon
Roll Over Beethoven
Run For Your Life
Savoy Truffle
Sexy Sadie
Sgt. Pepper's Lonely Hearts Club Band
Sgt. Pepper's Lonely Hearts Club Band (reprise)
She Came In Through The Bathroom Window
She Loves You
She Said She Said
She's A Woman
She's Leaving Home
Slow Down
Something
Strawberry Fields Forever
Sun King
Taxman
Tell Me What You See
Tell Me Why
Thank You Girl
The Ballad Of John And Yoko
The Continuing Story Of Bungalow Bill
The End
The Inner Light
The Long And Winding Road
The Night Before
The Word
There's A Place
Things We Said Today
Think For Yourself
This Boy (Ringo's Theme)
Ticket To Ride
Till There Was You
Tomorrow Never Knows
Twist And Shout
Two Of Us
Wait
We Can Work It Out
What Goes On
What You're Doing
When I Get Home
When I'm Sixty-Four
While My Guitar Gently Weeps
Why Don't We Do It In The Road?
Wild Honey Pie
With A Little Help From My Friends
Within You Without You
Words Of Love
Yellow Submarine
Yer Blues
Yes It Is
Yesterday
You Can't Do That
You Know My Name (Look Up The Number)
You Like Me Too Much
You Never Give Me Your Money
You Won't See Me
Your Mother Should Know
You're Going To Lose That Girl
You've Got To Hide Your Love Away
You've Really Got A Hold On Me

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Volume I: Music from the Earliest Notations to the Sixteenth Century
Volume II: Music in the Seventeenth and Eighteenth Centuries
Volume III: Music in the Nineteenth Century
Volume IV: Music in the Early Twentieth Century
Volume V: Music in the Late Twentieth Century

The history of "history"--our changing perspectives on the act of narrating and trying to "recapture" the past--encompasses the most profound seismic shifts in modern consciousness. Once seemingly commonsensical, the science-aspiring ambition of historiography to recount the past "as it actually was" (to borrow Leopold von Ranke's famously misunderstood phase) now betrays anachronistic naivete, if not a dangerous arrogance masquerading as objectivity. And the business of cultural history provides a particularly fascinating--and contentious--index to the larger issues at stake. The very urgency of the debate over "how" to tell the story (and indeed what the story is) continues to intensify in proportion to the uncertainty of our times.

Considering its official title (bearing an impressive imprimatur from Oxford University Press, the vanguard of scholarly reference works), Richard Taruskin's grand opus might appear at first glance to eschew the more-heated arenas of debate involving cultural history. Quite the contrary: Taruskin throws down the gauntlet at once and passionately joins in the fray. In the process, he strips the story of music's development in the West (i.e., Europe and America) of its deceptively innocuous trappings and received ideas, thrusting it into the spotlight of contemporary critical inquiry. The result, virtually a priori, is a highly controversial reexamination of a narrative that will cause even the most open-minded music lover to do a number of double-takes. What's extraordinary about Taruskin's achievement is how immensely engrossing, insightful, provocative, fresh, and downright brilliant the "history of Western music" becomes in his weaving of it.

But why yet another sweeping history when the New Grove Dictionary of Music has been recently overhauled (in an edition to which Taruskin prolifically contributed), and when long-standing classic texts such as Paul Henry Lang's Music in Western Civilization continue to be reissued? The heart of the matter lies in the very ambition behind this new history. First, some of the fun factoids: at nearly 4,000 pages (along with an additional resource volume containing master index, chronologies, and bibliography), The Oxford History of Western Music weighs nearly 20 pounds and took a decade to write. In other words, this isn't history-by-committee. Its perspective from the point of view of one massively learned individual is at once the work's chief strength and its Achilles heel. Taruskin's powerful voice echoes the kind of "old-fashioned" synthesis, with its attempt at an "overarching trajectory," of such pioneering cultural historians as Jacob Burckhardt or perhaps even the epic sweep of Gibbon's The Decline and Fall of the Roman Empire—-an antidote to the curse of ivory-tower specialization. But, more crucially, Taruskin arms that voice with the toolkit of contemporary historiography to pursue a critical rethinking of how Western music turned out as it did, and where it is today. His singular viewpoint anchors Taruskin's attempt to show that "the literate tradition of Western music is coherent at least insofar as it has a completed shape."

It's important to realize, as Taruskin early acknowledges, that his work is meant not as a stock-taking "survey" but as a history. That is, it involves an unfolding both of that larger coherence and of many smaller narratives that are its tributaries: not of the artwork (or composer) alone, but those of its production, its social and political context, and its (often-changing) reception as integral components of musical "meaning." Taruskin's aim is to filter out the distorting perspectives of "historicism" (the myth of purposeful, goal-oriented evolution through history) and aestheticism (which considers the artwork as a "pure," timeless entity). Along the way, this means smashing rows upon rows of icons and legends (not surprisingly, the bulk of these stemming from the 19th-century Germanic tradition, but also comprising a good deal of 20th-century received ideas about Stravinsky, Soviet composers such as Shostakovich, and various postwar "elitisms").

Inevitably, Taruskin doesn't prove immune to resorting to some legends of his own. In an extraordinary overview of Wagner, for example, he persuasively debunks the routine citation of Tristan und Isolde as pointing toward the coming "collapse of tonality," demonstrating how such thinking is the epitome of "the historicist tendency to write history backward with an eye toward giving the present a justification." Yet he's also capable of reducing the Wagner of the Ring to an obsession with a "cult of strength" in what is an otherwise deeply insightful discussion of "the Wagner problem." In terms of the larger stakes of this history, Taruskin's strongly argued debating points (and debunkings) at times veer in more eccentric directions, especially when it comes to such pivotal figures as Stravinsky, who gets a particularly intense thrashing. And regardless of Taruskin's theoretical stances, the reader must be alert to alarming occasional lapses of "mere" fact (how, one wonders, could an editorial team of over 40 not notice the claim that Carmina burana is scored for eight soloists in their fact checks, or fail to ensure that the endnotes match actual citations in the text?) Other tics, such as the author's fondness for scare quotes, may leap out depending on one's particular allergies.

Despite its imperfections, Taruskin's work is undeniably a stunning and stimulating achievement. It's impossible to describe adequately the sheer artfulness of his method, whereby he can distill a multiple series of investigations into a few wonderfully insightful sentences. Ever the master contrapuntalist, Taruskin weaves his various levels of discourse into a meaningful whole. There is true virtuosity in his ability to toggle from social history to in-the-trenches musicological analysis, zeroing in with his uncanny intuition to the most rewardingly illustrative points. His method of the exemplifying metonym--using just a few examples to wring out maximum insight, like the linear perspective of Renaissance artists--becomes a tour de force in his examination of figures such as Du Fay, D. Scarlatti, J.S. Bach, Beethoven, Schoenberg, or Britten. Taruskin's scope moreover is as radically reorienting as the Big Bang theory when it comes to the relative proportions he accords the narrative of Western music. Beginning with the advent of "literate" musical culture in Carolingian times, he devotes a great deal of attention to what was long thrown together as the "pre-Bach" era. Even more radically, around 40% of the total text is devoted to music of the 20th century (two of the five volumes of the history proper). Within this span, amid all its mind-boggling diversity, a number of centripetal themes emerge: the interdependence of "absolute" and "program" music, the interplay of oral and folk with literate musical cultures, the power of myth, and the possibility for musical "meaning." Taruskin's journey is endlessly fascinating, and his work makes an enormous contribution to the field. For all the controversy it's destined to generate, it will become impossible to ignore. Perhaps its surest mark of success is the sense of urgent importance and connectedness with which this history invests the cultural matter of music. Wherever you dip in, Taruskin invites an open conversation that leaves plenty of new, revealing perceptions in its wake, but probably more questions that when you started. Indeed, there's a sense that Taruskin would consider his work to have failed if the reader were only to nod in assent to all he has to say. --Thomas May

Richard Taruskin (born 1945) is an American-Russian musicologist, music historian, and critic who has written about the theory of performance, Russian music, fifteenth-century music, twentieth-century music, nationalism, the theory of modernism, and analysis. As a choral conductor he directed the Columbia University Collegium Musicum. He played the viola da gamba with the Aulos Ensemble from the late seventies to the late eighties. He received various awards for his scholarship, including the Noah Greenberg Prize (1978) from the American Musicological Society, the Alfred Einstein Award (1980), the Dent Medal (1987), the ASCAP-Deems Taylor Award (1988) and the 1997 and 2006 Kinkeldey Prizes from the American Musicological Society. On the faculty of Columbia University until 1986, he is now professor of musicology at the University of California, Berkeley, holding the Class of 1955 Chair.

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