First Published in 2005. The Encyclopedia of Recorded Sound, 2nd edition, is an A to Z reference work covering the entire history of recorded sound from Edison discs to CDs and MP3. Entries range from technical terms (Acoustics; Back Tracking; Quadraphonic) to recording genres (blues, opera, spoken word) to histories of industry leaders and record labels to famed recording artists (focusing on their impact on recorded sound). Entries range in length from 25-word definitions of terms to 5000 word essays. Drawing on a panel of experts, the general editor has pulled together a wealth of information. The volume concludes with a complete reference bibliography and a deep index.

The story of the Ink Spots is a rags-to-riches story beloved in American mythology. The success of the Ink Spots inspired many others to attempt (some merely mimicking) their popular and musical success. They were, without question, the most influential black vocal group of the 1940s, and one of the earliest to sing "sweet ballads," which they elevated to an art form (although an increasingly formulaic one). Goldberg gets behind the streamers and glitter of the Ink Spots and the publicity machines of record labels, and provides the story of the group's creation, its music, and its monumental impact on the course of American music. More Than Words Can Say uncovers the mythos and origins of the Ink Spots, from the dramatic stories of finding the band name, to the dozens of individuals who still claim to be original members of the group. Goldberg interviews some of the singers, musicians, and arrangers associated with the original Ink Spots who provide invaluable first-hand accounts of the group. The book discusses the musical environment of the Ink Spots, including the ASCAP/BMI War, gas rationing, War of the Record Speeds, vinyl shortages, and all the lawsuits. Additionally, Goldberg has searched tirelessly through Billboard magazine and theater reviews to get a sense of the Ink Spots' contemporary reception. Also included is a bibliography of sources and a complete alphabetical listing of Ink Spots recordings released on Decca or Victor labels. A fascinating story filled with excellently researched information and exciting anecdotes, Goldberg's text brings out the "authentic" story of the Ink Spots, from their origins in the early 1930s through the tumultuous recording world of 1940s and 1950s America.

Louis 'Satchmo' Armstrong was not only jazz's greatest musician and innovator, but also arguably its most famous entertainer and the frontal figure in the development of contemporary popular music. Overcoming social and political obstacles, he created a long and impressive career and an enormous musical output. Now, his ground breaking musical career is amassed and detailed in this discography of all his works, from professionally made commercial releases, to amateur and unissued recordings. All of Me is a comprehensive, chronological discography born out of love and admiration for Louis Armstrong, and devotion to years of collecting his musical accomplishments. Author Jos Willems has meticulously compiled all of Satchmo's known recordings_both studio and live performances_and with assistance from internationally renowned specialists, has assembled an impressively detailed, accurate, and complete listing. This volume is superbly formatted and presented, logically organized, and thoroughly indexed by song title and individual. Researchers, collectors, and enthusiasts can easily look up any detail of a recording: issues and releases of particular songs; publishing companies; producers; catalog numbers; dates, times, and locations of recordings; musicians Armstrong played with; and format, be it 78 or 45 RPM records, LPs, CDs, or media appearances. Every detail of Armstrong's career is listed in this impressive volume, shedding light on the enormity of his impact on jazz and popular culture. This is the ultimate reference guide for the complete works of Louis Armstrong.

Since its first edition, in 1964, Dixon and Godrich's Blues and Gospel Records has been dubbed 'the bible' for collectors of pre-war African-American music. It provides an exhaustive listing of all recordings made up to the end of 1943 in a distinctively African-American musical style,excluding those customarily classed as jazz (which are the subject of separate discographies). The book covers recordings made for the commercial market (whether issued at the time or not) and also recordings made for the Library of Congress Archive of Folk Song and similar bodies -- about 20,000titles in all, by more than 3,000 artists. For each recording session, full details are given of: artist credit, accompaniment, place and date of recording, titles, issuing company and catalogue numbers, matrix numbers and alternate takes. There are also short accounts of the major 'race labels',which recorded blues and gospel material, and a complete list of field trips to the south by travelling recording units. Howard Rye has joined the original compilers for this thoroughly revised fourth edition. The scope has been enlarged by the addition of about 150 new artists, in addition tonewly discovered recordings by other artists. Early cylinder recordings of gospel music, from the 1890s, are also included for the first time. Previous editions of this work were applauded for their completeness, accuracy, and reliability. This has now been enhanced by the addition of newinformation from record labels and from record company files, and by listening to a wide selection of titles, and detailed cross-checking.

Billy May was a self-taught musician and arranger. In 1938, he received his first big break arranging and playing trumpet; first, for the Charlie Barnet band, and in 1940, the band of Glenn Miller. Settling in Hollywood in 1943, his first of many big breaks in radio was playing in Ozzie Nelson's band for the Red Skelton Show. Shortly thereafter, May was asked by Nelson to be musical director to his new show, The Adventures of Ozzie and Harriet. He was also fortunate to play in the orchestra and write arrangements for John Scott Trotter on Bing Crosby's Kraft Music Hall. Billy May's earliest collaboration with Frank Sinatra produced Don't Fence Me In for broadcast on December 23, 1944. Capitol Records paired Billy May and Alan Livingston to initiate a series of children's recordings with arrangements and compositions such as Bozo the Clown and the exceedingly popular I Taut I Taw a Putty Tat. As a band leader and arranger, his signature included the prominent saxophone section glissando (sliding, or slurping) effect, and highly imaginative arrangements. His last great project was the documentation on record of swing era music, commissioned by Time-Life, and completed in 1973. The discography covers Billy May as arranger and composer from 1944-1998, as sideman and arranger for others, his work on radio, television, movies, and international appearances, his road band, recordings, both domestic and foreign, and his transcriptions. Data is cross-indexed by song title and artist.