The fascinating lives and turbulent times of Henry Lawson and Andrew 'Banjo' Paterson - the two men who wrote Australia's story. Today most of us know that Henry Lawson and Andrew 'Banjo' Paterson were famous writers. We know about Matilda, Clancy of the Overflow and the Man from Snowy River; The Drover's Wife, While the Billy Boils and Joe Wilson and his mates, but little else. Here, in a compelling and engaging work, James Knight brings Henry and Banjo's own stories to life. And there is much to tell. Both were country born, just three years and three hundred kilometres apart, Henry on the goldfields of Grenfell and Banjo on a property near Orange, but their paths to literary immortality took very different routes - indeed at times their lives were ones of savage and all too tragic contrasts. Banjo, born into a life of comparative privilege, would rise from country boy to Sydney Grammar student, solicitor, journalist, war correspondent and revered man about town. Henry's formal education only began when his feminist mother finally won her battle for a local school but illness and subsequent deafness would make continuing his lessons difficult, seeing him find work as a labourer, a coach painter and a journalist, all the while wrestling with poverty, alcoholism and mental illness. Both men would become household names during their lifetimes. Both would have regrets. Henry and Banjo details two incredibly fascinating lives and delves into the famous (and not so famous) writings of the two men who had the power to influence and change Australia.

The first book devoted entirely to women in bluegrass, Pretty Good for a Girl documents the lives of more than seventy women whose vibrant contributions to the development of bluegrass have been, for the most part, overlooked. Accessibly written and organized by decade, the book begins with Sally Ann Forrester, who played accordion and sang with Bill Monroe's Blue Grass Boys from 1943 to 1946, and continues into the present with artists such as Alison Krauss, Rhonda Vincent, and the Dixie Chicks. Drawing from extensive interviews, well-known banjoist Murphy Hicks Henry gives voice to women performers and innovators throughout bluegrass's history, including such pioneers as Bessie Lee Mauldin, Wilma Lee Cooper, and Roni and Donna Stoneman; family bands including the Lewises, Whites, and McLains; and later pathbreaking performers such as the Buffalo Gals and other all-girl bands, Laurie Lewis, Lynn Morris, Missy Raines, and many others.

Gracing the cover of this pocket-sized notebook is The Banjo Lesson, the most famous painting by Henry Ossawa Tanner. Featuring 64 blank pages, it's perfect for jotting down notes, appointments, grocery lists, and more.

The banjo has been called by many names over its history, but they all refer to the same sound—strings humming over skin—that has eased souls and electrified crowds for centuries. The Banjo invites us to hear that sound afresh in a biography of one of America’s iconic folk instruments. Attuned to a rich heritage spanning continents and cultures, Laurent Dubois traces the banjo from humble origins, revealing how it became one of the great stars of American musical life. In the seventeenth century, enslaved people in the Caribbean and North America drew on their memories of varied African musical traditions to construct instruments from carved-out gourds covered with animal skin. Providing a much-needed sense of rootedness, solidarity, and consolation, banjo picking became an essential part of black plantation life. White musicians took up the banjo in the nineteenth century, when it became the foundation of the minstrel show and began to be produced industrially on a large scale. Even as this instrument found its way into rural white communities, however, the banjo remained central to African American musical performance. Twentieth-century musicians incorporated the instrument into styles ranging from ragtime and jazz to Dixieland, bluegrass, reggae, and pop. Versatile and enduring, the banjo combines rhythm and melody into a single unmistakable sound that resonates with strength and purpose. From the earliest days of American history, the banjo’s sound has allowed folk musicians to create community and joy even while protesting oppression and injustice.

Henry Lawson is one of Australia's best-known writers and poets. His short stories such as the 'The Drover's Wife' and 'The Loaded Dog' are colorful chronicles of the hardships, struggles and triumphs of Australian bush life at the turn of the nineteenth century.

Tony Trischka presents his groundbreaking guide to the melodic (chromatic) Banjo style, made famous by the great Bill Keith. The technique allows the Banjo player to create complex note-for-note renditions of Bluegrass fiddle tunes, as well as ornamenting solos with melodic fragments and motives. Along with a full step-by-step guide to developing the skills of the melodic style, this book also featuresBill Keith's personal explanation of how he developed his formidable technique, in his own words and music.37 tunes in tablature, including a section of fiddle tunes.Interviews with the stars of te melodic style including Bobby Thompson, Eric Weissberg, Ben Eldridge and Alan Munde.

Klezmer! is the fascinating story of survival against the odds, of a musical legacy so potent it can still be heard dispite assimilation and near annihilation. The scratchy, distant sound of the early recordings discovered and studied by Henry Sapoznik have formed a soundtrack for an entirely new generation of performers.