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The James Bond Songs: Pop Anthems of Late Capitalism by Adrian Daub and Charles Kronengold

The Encyclopedia of Jazz History for All Musicians, 2012), but for this graphics-intensive effort, Rawlins actually started his own publishing company—and hopes to publish books by others as well. The approach here is not scholarly (no literary theory, no care-based musicology, and no footnotes, so that tracking the profusely detailed information any further will be out of the question). There is an index and a relatively brief biography. The author discusses about 250 songs arranged alphabetically, and mostly, but not entirely or strictly, from the 1920s, with some comments about music and form (less about the lyrics), but mainly, as promised, providing context on the early recordings, reception and dissemination of the tunes. No discographic details are given, which would be of interest only to 78 rpm collectors at any rate. He is an informative and pleasant companion for this tour through a repertoire that still lives on primarily in jazz interpretations (by my count about a quarter of these tunes—for example, “Ain’t Misbehavin’,” “Baby Won’t You Please Come Home,” and “Basin Street Blues,” just in the As and Bs) should be familiar to most jazz lovers). Here we have a book that might be of more interest to music lovers than to music historians and musicologists, but which should find a welcome spot both in public libraries and in college music libraries (where it could be especially useful as a supplemental resource for general education jazz history courses).