Analyzing Recorded Music Collected Perspectives on Popular Music Tracks

Cover -- Half Title -- Title Page -- Copyright Page -- CONTENTS -- List of Figures and Examples -- List of Tables -- List of Contributors -- Foreword by Paul Théberge -- Disclaimer and Credits -- Introduction: Analyzing and Interpreting Recorded Song Tracks -- SECTION I: Musical Genre, Culture, and Technology -- 1. "I Been Studying Rain": What do We Hear When We Listen to the Blues of Robert Johnson? ("Preachin' Blues," 1936) -- 2. Analyzing Hip-Hop Hacktivism and Automobility in Injury Reserve's (2019) "Jailbreak the Tesla" (feat. Aminé) -- SECTION II: Track Revelations and Aural Mirrors -- 3. Hearing through the Grapevine: Marvin Gaye, Norman Whitfield, and the Long Journey of Motown's Biggest Hit, "I Heard it Through the Grapevine" (1968) -- 4. "Let the Music Play" (1975): Hearing the Disco Mainstream in Barry White -- 5. Reaching for Stardom: Live and Studio Sound in Prince's "Purple Rain" (1984) -- SECTION III: Layers Make the Record -- 6. "In a Sky Full of People": Spatial and Cinematic Staging in Seal's "Crazy" (1990) -- 7. Come Together: Feeling the Distemper of Murk and Elation with the Beatles (1969) and with Sheila E. and Ringo Starr (2017 -- 2020) -- 8. "A Tsunami of Voices": 10cc's "I'm Not in Love" (1975) -- 9. Counterpoint and Expression in the Music of U2: "Gloria" (1981) -- SECTION IV: Sonic Journeys -- 10. On the Structure of Feeling in Bob Dylan's "I've Made Up My Mind to Give Myself to You" (2020) -- 11. "You Never Give Me Your Money": The Abbey Road Medley (1969) -- 12. Listening Beyond the Record: The Judds' "John Deer Tractor" (1984) -- SECTION V: Sampling and Reframing -- 13. Sonic Materiality and Boom-Bap Embodiment in Conway's "Biscotti Biscuit" (2018): An Autoethnography of Recording Analysis -- 14. "It Ain't But One Kind of Blues": Kid Koala's Bluesy Embrace of the Fragmented ("1 bit Blues," 2012).