Overview

From his allegiance to punk rock in his adolescence to becoming an essential voice on music and culture, Kelefa Sanneh makes a deep study of how popular music unites and divides us. Distilling a career's worth of knowledge, he explores the tribes music forms, and how its genres, shape-shifting across the years, give us a way to track larger forces and concerns. This is a book to shock and awe the deepest music nerd, and at the same time to work as a heady gateway drug for the uninitiated. 'Kelefa Sanneh has achieved the impossible. Major Labels somehow manages to unspool everything you need to know about 50 years of music, but more impressively, he makes you care about all of it. Even the stuff you don't care about. It's funny, it's personal, and as a piece of writing the book borders on poetry' - David Letterman 'Entertaining, diligent ... His observations are always fresh and thought-provoking, and presented with clarity and wit' - Mojo

Full Product Details

9781838855949

Table of Contents

Reviews

The most elegant history of popular music ever written . . . Sanneh not only delivers a coolly dazzling overview of the battlefields of genre but also revels open-heartedly in the music itself, his taste unbound by dogma or prejudice. The operative word is keen: zealous in spirit, exact in execution, ferociously acute from the first sentence to the last -- ALEX ROSS * * author of The Rest is Noise * * Kelefa Sanneh has achieved the impossible. Major Labels somehow manages to unspool everything you need to know about 50 years of music, but more impressively, he makes you care about all of it. Even the stuff you don't care about. It's funny, it's personal, and as a piece of writing the book borders on poetry -- DAVID LETTERMAN An intellectually rigorous retelling of rock and pop history * * Sunday Times, Best Books of the Year * * The most wide-ranging music book of the year . . . elegantly written * * Herald, Music Books of the Year * * Inside this big, ambitious hybrid book was a smaller, more personal and altogether more compelling exploration of belonging and identity through music * * Guardian * * The book is immensely readable, and full of rich detail * * Independent * * This is a long-haul read, yet charmingly conducted in that languid, laconic New Yorker style that makes such a mammoth undertaking even possible. Its kick is to sew into the stories some near hidden gems - and socking ones too -- ANNIE NIGHTINGALE Intriguing, controversial, personal . . . a unique and absorbing read * * Guardian Weekly * * His observations are always fresh and thought-provoking, and presented with clarity and wit * * MOJO * * [Sanneh] gets high marks both for his encyclopedic knowledge and his breadth of taste . . . one of the best books of its time * * Wall Street Journal * *

'The most elegant history of popular music ever written . . . Sanneh not only delivers a coolly dazzling overview of the battlefields of genre but also revels open-heartedly in the music itself, his taste unbound by dogma or prejudice. The operative word is keen: zealous in spirit, exact in execution, ferociously acute from the first sentence to the last' - ALEX ROSS 'Kelefa Sanneh has achieved the impossible. Major Labels somehow manages to unspool everything you need to know about 50 years of music, but more impressively, he makes you care about all of it. Even the stuff you don't care about. It's funny, it's personal, and as a piece of writing the book borders on poetry' - DAVID LETTERMAN 'An intellectually rigorous retelling of rock and pop history' - Sunday Times, Best Books of the Year 'The most wide-ranging music book of the year . . . elegantly written' - Herald, Music Books of the Year 'Inside this big, ambitious hybrid book was a smaller, more personal and altogether more compelling exploration of belonging and identity through music' - Guardian 'The book is immensely readable, and full of rich detail' - Independent

Author Information

Kelefa Sanneh has been a New Yorker staff writer since 2008, when he left his position at the New York Times, where he had been the pop-music critic since 2002. Previously, he was the deputy editor of Transition, a journal of race and culture based at the W.E.B. Du Bois Research Institute, at Harvard University. His writing has also appeared in a number of magazines and a handful of books, including Shake It Up: Great American Writing on Rock and Pop from Elvis to Jay Z, a Library of America Special Publication, and Da Capo Best Music Writing (2002, 2005, 2007, and 2011).

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