This starts just as you'd want – for a book that quotes "Graceland" in the title, at least – with the author having the burgeoning album sung to him and him alone by Paul Simon at a soiree one night. It continues just as you might expect, with the shock revelation (to some) of how Tight Fit, the purveyors of loincloth-clad cultural appropriation pop sans pareil, were a world music act. It continues as you might not wish, after that, however, with page after page of politico-history, socio-history, whatever-it-is-history, about how the Xhosa and Zulu aren't the same. The point is that they both sing, and both dance, and both play music, just differently – and we can't fully have the likes of Simon's collaborators without centuries of development, history and characters, all of which are here as context for the records.

The second chapter is the same – taking us through the whole gamut of Cuban-styled dance, from what Desi Arnaz knew to what is on 'Strictly' each week – while also proving you need to go right back to slave days to get the full, forensic gist of what is going on. In fact 1492 and the liberation of Iberia from Islam is where that story is forced to start. Don't get me wrong, this is no woke apologia, but it is saying there is a lifetime's worth of knowledge and experience to factor in, even if our tin western ears cannot exactly hear it on the discs we like to play.

This, then, is not nearly about what is in our CD players – the semi-exotic, the nun-like Bulgarians, the aged Havana guys, the Tony Allens of this world– but what is in their ancestry. The story of reggae, lover's rock and dub needs to factor in 1655; Ravi Shankar and his Beatling has the Mughals invade in the sixteenth century; "Starting in 732…" is not the world's worst counting-in. It's never a buyer's guide, or listening checklist. When it comes to Brazil, there is far more about their World Cup successes and about a Camus movie than recording "Rhythm of the Saints" – yes, the obvious child is almost denied.

This counts as practically the longest book I've ever reviewed – and digitally it came without two hundred pages of notes, index and pictures. It is wrist-breakingly dense stuff, and the author would not have been blamed for taking separate chapters, such as the one on Eastern European/Slavic/Russian song and all the nationalism it has ever inspired, and making separate books of them. Nobody could have researched all of this without a lifetime's exposure to producing Hungarian dance, Pink Floyd, ("hello to…") Fairport Convention and anything in between. This is a rarity, then, surely – a book of this length where every page is seeking to be definitive and achieving it. No musicology book will better it, and it's a most satisfying achievement all round.

A very comprehensive overview of various music traditions which have developed in popular music. Very detailed, but full of interesting history and cultural analysis.

(I received a free digital copy of this book from NetGalley in exchange for an honest review)

Panoramic is a cliché word in reviewing books, but one can't do without it when describing Joe Boyd's And the Roots of Rhythm Remain. The amount of sheer stuff in these pages is astonishing. Boyd loves the subject and has immersed himself in it. This is a remarkable book.

Book Review: And the Roots of Rhythm Remain by Joe Boyd

Joe Boyd's And the Roots of Rhythm Remain is a sprawling, masterfully crafted journey through the intricate and often surprising intersections of global music history. Drawing from his decades-long career as a producer, Boyd provides a vivid and engaging account of how the sounds that shaped popular music around the world have deep roots in various cultures, histories, and political movements.

This book is not just a history of popular music; it’s an exploration of the global rhythms that have influenced and enriched the music we know today. Boyd delves into the stories behind iconic moments and movements—from the pre-war samba and bossa nova of Brazil to the reggae rhythms of Kingston, the tango that once captivated Paris, and the African beats that infused rock and jazz. Each chapter unfolds like a richly woven tapestry, revealing the connections between these diverse musical traditions and the political and cultural contexts that shaped them.

One of the standout features of this book is Boyd's ability to intertwine personal anecdotes with historical analysis. His firsthand experiences with legendary artists such as Paul Simon, Pink Floyd, and Toots and the Maytals provide a unique and intimate perspective that few other writers could offer. These stories not only make the book a fascinating read but also highlight the profound influence of global music on the development of rock, jazz, and other Western music genres.

Boyd's writing is both authoritative and accessible, making complex musical and cultural concepts understandable to readers who may not be experts in the field. His passion for the subject is evident on every page, and it’s infectious—by the end of the book, you’ll find yourself eager to explore the music of South Africa, Bulgaria, Cuba, and beyond.

And the Roots of Rhythm Remain is an essential read for anyone interested in the history of music, particularly those who are curious about the global influences that have shaped the sounds of today. It’s a book that will deepen your appreciation for the rich and diverse roots of rhythm and leave you with a greater understanding of how music can transcend borders and bring people together.

For fans of music history, sociology, and cultural studies, this book is a treasure trove of insights and stories that will resonate long after you’ve turned the final page. It’s a colossal, comprehensive work that stands as a testament to the enduring power of music across cultures and eras.

What to say about this one? Like Boyd’s experience, and coming out of his pen, And the Roots of Rhythm Remain is colossal, comprehensive, rhythmic, and roots for the lost music. This is the type of book that you would like to refer to when you wish to make an informed remark on a music topic. I am not an expert in music and I gain so much insights and learned plenty by reading this book. This is one of its kind with lived and professional expertise oozing from the pages, and the historical and sociological perspectives coupled with philosophy.
I did not expect it to be this deeply rooted in the philosophy of music.
I had zero knowledge about South African or Bulgarian music scenes. Now, I have a better understanding about cultural eras and trends in music as well as different culture’s music industries. As someone who likes Cuban music, I enjoyed the Afro-Cuban music anecdotes and analysis plenty.
It is impossible to summarise and review this book in such a limited space. Hope you read it if you are a sociology, music history, and music fan.