It is not an exaggeration that Matsutoya Yumi-better known by her stage name Yuming-is one of the most influential figures in Japanese popular music history. A singer-songwriter recognized globally for her songs used in Miyazaki Hayao's beloved animations, Yuming has captured the hearts of listeners of different generations since her debut in the early 1970s. Her fourth album, The 14th Moon, released in 1976, was a milestone in establishing her signature style: the posh, “city” sound that later paved the way to the 1980s City Pop and 1990s J-pop. In addition to examining the album's astonishing stylistic versatility, this book explores how Yuming revolutionized the position of women in Japanese popular music and how her work can help us understand social changes in Japan of the 1970s.

The album examined in this book transformed the singer John Farnham from a faded teen pop star into the most popular solo rock performer in Australia, in a career that has lasted for more than 30 years. Whispering Jack remains the top-selling album by an Australian artist in Australia, and constitutes the turning point in Farnham's bid to achieve credibility as an adult contemporary musician. The first single from the album, 'You're the Voice,' has achieved such iconic status that it is routinely referred to as Australia's unofficial national anthem. The book examines the album, its context and that history in order to recover a crucial conjuncture in the development of Australian rock and popular music, one that has previously been ignored in Australian popular music studies.

A study of the 1974 album Kogun by the Toshiko Akiyoshi-Lew Tabackin Big Band, this book assesses not just its importance in jazz history but also its part in public remembrance of World War II in Japan. In 1974 a Japanese soldier emerged from the Philippine jungle where he had hidden for three decades, unconvinced that World War II had ended. Later that year, the Toshiko Akiyoshi-Lew Tabackin Big Band released its first album, Kogun (“solitary soldier”), the title track of which adopted music from medieval Japanese no theater for the first time in a jazz context as aural commemoration of his experience. At a time when big band jazz was mostly a vehicle for nostalgia and no longer regarded as a vital art, the album was heralded as a revelation. Kogun elevated Akiyoshi's reputation as a brilliant composer/arranger and earned Tabackin acclaim as a compelling, versatile improviser on tenor saxophone and flute.

As market reforms and migration transformed Albania in the early 1990s, Ardit Gjebrea began mixing traditional folk music with world music and Italian pop. The resulting album, Projekt Jon (1997), provided a new model for song-Western and cosmopolitan, yet firmly rooted in the fertile soil of the nation-against a backdrop of deepening political uncertainty about the very future of Albania. The Ionian Project announced itself with the frenetic beating of the daullë and the traditional cries of Albania's highland shepherd. This sprawling collaboration between singer-songwriter Ardit Gjebrea, folk singer Hysni Zela, producer Paul Mazzolini, and a team of crack studio musicians in Italy, had an outsized ambition: to transcend the small postsocialist nation-state's borders, imaginatively crafting through sound a new home in Europe for its citizens. But as Gjebrea prepared to launch Projekt Jon, violence prompted by the collapse of widespread pyramid schemes threatened to tear Albania apart. And for the intellectuals concerned about growing cracks in the symbolic foundations of the Albanian nation-state, the album came to serve as a referendum on the nature of postsocialist citizenship.

The Front Lawn is a multi-award-winning, much-loved New Zealand duo-turned-trio made up of Don McGlashan, Harry Sinclair and, eventually, Jennifer Ward-Lealand. A 1980s variety act, The Front Lawn was part of an Aotearoa/New Zealand alternative tradition of duos that combine music, comedy, theatre and film. Their debut album Songs from The Front Lawn (1989) distilled McGlashan and Sinclair's theatrical stage show and their groundbreaking short films, Walkshort and The Lounge Bar, while also thrusting the band into the burgeoning New Zealand indie scene. The album is a snapshot of '80s New Zealand, a turbulent, creative period for indie music, indie film and musical theatre, celebrating local identity in new ways. Starting with a social and cultural background of New Zealand in the late 1970s, the book covers McGlashan and Sinclair's upbringing on Auckland's North Shore, early artistic influences and overseas experiences leading to the formation of the group. Much attention is paid to the duo's philosophy, early performances, the process of recording the album – including The Front Lawn's collaboration with Wellington avant-garde/cabaret group Six Volts and the addition of Jennifer Ward-Lealand as the group's third member – and analysis of each of the album's 10 songs. In parting, Matthew Bannister discusses the group's second and final album, More Songs from The Front Lawn, as well as the individual members' subsequent artistic careers

Alastair Riddell's band Space Waltz was a short-lived one-album New Zealand rock act who hit gold with a #1 hit single in October 1974 with the song 'Out On The Street' but thereafter failed to achieve anything even close to that feat. While relegated to one-hit-wonder status in the eyes of many, to this day Riddell and Space Waltz epitomize the mid-1970s heyday of glam rock in New Zealand. But in truth their impact went far beyond this. Their generationally divisive nation-wide debut on the hugely popular MOR television talent quest Studio One/New Faces demonstrated the power of mass media exposure – they were instantly signed to a record deal with industry giant EMI – while Riddell's controversial gender-bending image provided a cultural crossroads that greatly impacted the wider youth culture of Aotearoa New Zealand. In addition, while the album's most famous track, 'Out On The Street,' is rightly regarded as New Zealand's glam rock anthem, the wider album demonstrates a compositional and musical depth that goes far beyond glam rock and into the realm of sophisticated progressive rock, ultimately providing an unlikely and highly unique musical amalgam.

Perhaps the best musical encapsulation of the Cold War as experienced in the walled city of West-Berlin, Kollaps is a product of its time while remaining as vital, exhilarating and surprising as the day it was released. The book explores the contexts, themes and influences that shaped Kollaps. It describes the early days of Einstürzende Neubauten in West-Berlin, their infamous live performances and guerilla style recording tactics, and the scrap metal banging, piercing guitar noise and evocative lyricism that went on to inspire generations of fans. Most significantly, it explores the desire and deep sense of belonging that is expressed by what Nick Cave called the 'incredibly mournful, haunting' nature of this music. The beginning of a 40-year career, this first burst of energy remains their purest statement.

Melbourne, 1971: radical counterculture, hippies, opposition to the Vietnam War and consumerism. The birth of Oz blues rock. Influenced by American blues after Robert Johnson, parallel to developments with Paul Butterfield, the Bluesbreakers and Canned Heat, Chain's music also developed in distinct ways, taking on a style later referred to as Oz blues, or Oz indigo. The emergence of prog rock and the consolidation of blues rock globally made for interesting times. Rock shifted beyond the basics, in the direction of new musical forms and prefigurative politics. In this moment, Chain, four regional white boys with jazz cred and blues licks, recorded the classic Oz blues single Black and Blue and its bedrock LP, Toward the Blues. 50 years later, it remains a monument in Australian rock history. Based on interviews with guitarist and singer Phil Manning, scholarly research and memoirs, this book tells the story of the album's creation and its cultural impact on the Melbourne music scene in a time of significant social change, seeking to capture the magic of that moment.

Ed Kuepper's history as a rock pioneer with The Saints and Laughing Clowns means that his albums of the early 1990s represent a remapping of the singer-songwriter concept. His classic Honey Steel's Gold shares a looseness with blues and folk recordings of the 1940s and 1950s, capturing performances that take detours, stretch and contract, wax and wane, such as the album's hit “The Way I Made You Feel." Honey Steel's Gold is a landscape to be immersed in, to get lost in. It provides a space not where questions are answered but where we might stop and get a drink; an environment that provides solace, but not platitudes; where we can share a wry smile about the downsides of the human condition rather than attempt the illusion of blocking them out completely. This study incorporates a consideration of Kuepper's iconoclastic career, at odds with the music industry and the grunge era into which the album was released. Beyond the apparent facts, though, there is interpretation, speculation, and attempts to meet Honey Steel's Gold on its own terms in some imaginary place.

Upon its release, Don't Break the Oath charted fifth on the official British heavy metal album list and was supported by a two month long sold-out American tour in early 1985. The band's controversial stage appearance with burning crosses, a microphone stand formed as a cross made of two human leg bones, as well as other blasphemous rituals attracted the attention of the then newly formed PRMC (Parental Resource Music Center) committee, ironically reassuring the band its position on the charts. But though the album was hugely popular in the anglophone metal scene, it was conceived in peripheral Denmark. This book discusses the relationship between center and periphery. It juxtaposes the Anglophone reticent of heavy metal with the rather marginalized location of Copenhagen, and examines Mercyful Fate's relation to the Nordic region more generally. It also takes a close look at the methods involved in the production of King Diamond's vocals, and emphasizes the role of the vocalist as just as an important part of the over-all soundscape as the instrumental contributions.