Blab Music
New Music-History Books Spotlight Elvis, Bluegrass, Australian Jazz, and More
A week of new releases brings fresh insight into several distinct corners of music history. The books cover Elvis Presley's 1968 comeback special, the rise of Washington, D.C. bluegrass, the early days of Australian jazz, a lost New Zealand psychedelic album, a comic‑book collection by indie musician Nick Thorburn, and a children’s book by Flaming Lips frontman Wayne Coyne.
The first title, The Comeback: Elvis & The Story Of The 68 Special, is written by Simon Goddard. It details how Elvis Presley, who had been in decline during the 1960s, returned to the stage with the NBC television special that aired on December 3, 1968. The book focuses on the collaboration between Presley and director Steve Binder, who shifted the project from a planned Christmas special into a concert that reflected contemporary musical trends. Goddard places the special in the context of the social upheaval of the late 1960s, including war, racism, riots and assassinations, and argues that the one‑hour performance was pivotal in restoring Presley’s public image.
Next is Buzz Busby: Father Of Washington, DC, Bluegrass by Kip Lornell and Tom Mindte. The book traces the career of mandolin player Buzz Busby, who moved to Washington, D.C. in 1951 and helped launch the city’s bluegrass scene. Busby’s high‑tempo playing and vocal style drew comparisons to Bill Monroe. The authors draw on interviews and 50 hours of Busby’s own commentary to chart his early success on a local television show, his appearances on the Louisiana Hayride, and the setbacks that followed, including a car accident and legal troubles that led to a decline in his career.
Australian jazz receives attention in 33⅓ | The Three Out’s Move by James Gaunt. The book examines the 1961 debut album Move by the trio of drummer Chris Karan, bassist Freddy Logan and pianist Mike Nock. It documents how the group formed at Sydney’s El Rocco jazz club, recorded the album in six weeks, and sold over 3,000 copies. Gaunt also follows each member’s later work with artists such as Dudley Moore, Tubby Hayes and Yusef Lateef, and notes the 2015 German reissue that revived interest in the trio.
A separate 33⅓ volume, The La De Da’s The Happy Prince by John Tebbutt, covers a 1969 psychedelic album by New Zealand band The La De Das. The record, recorded at EMI studios in Sydney, was a concept album based on an Oscar Wilde story and featured narration by Australian poet Adrian Rawlins. Tebbutt’s research shows that the album used eight‑track recording technology and was independently funded, but it never charted and the band did not record again.
Nick Thorburn, known for his work with Islands and Unicorns, published Pear Shape, a 64‑page color one‑shot comic book. The collection contains interconnected strips that echo underground comix traditions. The Believer magazine praised Thorburn’s “sharp social commentary” and noted the dark humor and body‑horror themes.
Finally, Wayne Coyne, frontman of the Flaming Lips, released I Am An Eye I Don’t Know Why, a 68‑page children’s book. Coyne provided all the original art and story, which follows a young character whose facial features must reunite to win a bike race. The book is positioned as a playful exploration of identity and togetherness.
Together, these titles offer a broad view of music history, from the revival of a rock icon to the development of niche genres and the creative output of contemporary artists. They provide new material for scholars, collectors and fans interested in the cultural contexts that shaped these works.
The first title, The Comeback: Elvis & The Story Of The 68 Special, is written by Simon Goddard. It details how Elvis Presley, who had been in decline during the 1960s, returned to the stage with the NBC television special that aired on December 3, 1968. The book focuses on the collaboration between Presley and director Steve Binder, who shifted the project from a planned Christmas special into a concert that reflected contemporary musical trends. Goddard places the special in the context of the social upheaval of the late 1960s, including war, racism, riots and assassinations, and argues that the one‑hour performance was pivotal in restoring Presley’s public image.
Next is Buzz Busby: Father Of Washington, DC, Bluegrass by Kip Lornell and Tom Mindte. The book traces the career of mandolin player Buzz Busby, who moved to Washington, D.C. in 1951 and helped launch the city’s bluegrass scene. Busby’s high‑tempo playing and vocal style drew comparisons to Bill Monroe. The authors draw on interviews and 50 hours of Busby’s own commentary to chart his early success on a local television show, his appearances on the Louisiana Hayride, and the setbacks that followed, including a car accident and legal troubles that led to a decline in his career.
Australian jazz receives attention in 33⅓ | The Three Out’s Move by James Gaunt. The book examines the 1961 debut album Move by the trio of drummer Chris Karan, bassist Freddy Logan and pianist Mike Nock. It documents how the group formed at Sydney’s El Rocco jazz club, recorded the album in six weeks, and sold over 3,000 copies. Gaunt also follows each member’s later work with artists such as Dudley Moore, Tubby Hayes and Yusef Lateef, and notes the 2015 German reissue that revived interest in the trio.
A separate 33⅓ volume, The La De Da’s The Happy Prince by John Tebbutt, covers a 1969 psychedelic album by New Zealand band The La De Das. The record, recorded at EMI studios in Sydney, was a concept album based on an Oscar Wilde story and featured narration by Australian poet Adrian Rawlins. Tebbutt’s research shows that the album used eight‑track recording technology and was independently funded, but it never charted and the band did not record again.
Nick Thorburn, known for his work with Islands and Unicorns, published Pear Shape, a 64‑page color one‑shot comic book. The collection contains interconnected strips that echo underground comix traditions. The Believer magazine praised Thorburn’s “sharp social commentary” and noted the dark humor and body‑horror themes.
Finally, Wayne Coyne, frontman of the Flaming Lips, released I Am An Eye I Don’t Know Why, a 68‑page children’s book. Coyne provided all the original art and story, which follows a young character whose facial features must reunite to win a bike race. The book is positioned as a playful exploration of identity and togetherness.
Together, these titles offer a broad view of music history, from the revival of a rock icon to the development of niche genres and the creative output of contemporary artists. They provide new material for scholars, collectors and fans interested in the cultural contexts that shaped these works.
