Your cart is empty
Featuring lyrics from Paul Simon's ten solo albums, four collaborations with Art Garfunkel, and his 'Songs from the Capeman', Lyrics is a landmark collection of folk history.
Renowned rock author Martin Popoff's exhaustive and detailed timeline of Deep Purple milestones from 1980 - 2011, including some similar bands, influences, cultural milieu, tour stuff, recording sessions, charts, singles, certification news, break-ups, personal stuff, trivia for miles, and lots and lots of artist quotes to add to the entries, turning the book into a quasi-oral history loaded with factual matter. But as this is about family the text weaves in and out of the story of Purple proper, the dastardly diaries of Rainbow, Whitesnake, Gillan, Blackmore's Night, all the solo projects, guest slots, Gary Moore, Black Sabbath and Black Country Communion, always with contextual explanation plus rare and very cool archival advertisements of shows and records.
In this original memoir following Billy Idol from his childhood in England to his fame at the height of the punk-pop revolution, the iconic superstar tells the real story behind the sex, drugs and rock 'n' roll that he is famous for. A member of the punk rock revolution whose music crossed over into the pop mainstream during the 1980s, Billy Idol is a rock 'n' roll legend. Dancing With Myselfwill cover the events and the people who shaped his life, his music, and his career, including accounts of his childhood in England and the U.S., his year at Sussex University, his membership in the Bromley Contingent, his period spent hanging out with the Sex Pistols, his time in Siouxsie and the Banshees, Chelsea, and Generation X. Idol also tackles his successful solo career, which involved collaboration with Steve Stevens and, ultimately, some of the most influential, ground-breaking music videos ever seen on MTV. In Dancing With Myself, Idol renders detailed accounts of his life's highs and lows with the unapologetically in-your-face attitude and exuberance that made him famous. In part a survivor's story, but equally a very funny and always riveting account of one man's creative drive.
How has a group conceived as a short-lived commodity outlived many more 'real' bands by nearly fifty years? Why are The Monkees still important, and what does this tell us about their music, their TV show, and our understanding of popular culture today? Despite being built in Hollywood, and not necessarily to last, that is precisely what their music, TV, and cinematic output has done. They in many ways unique-as the first 'made for TV' band, their success introduced methods of marketing pop that have since become standard industry practice; their 'big screen' use of film and images in live performance is likewise now a firmly established principle of concert staging; and in the way they changed the rules of the game, taking control over their own affairs at the height of the success, risking magnificent failure by doing so. The Monkees invented a new kind of TV, gave a new model to the music industry, and left behind one of the most enigmatic movies of the modern era, Head. This book is about all that and more. Beginning by exploring the origins and personalities of the four Monkees before looking in depth at their work together on screen, on stage, and on record, this is the first serious study of the band and the first to fully acknowledge their importance to the development of pop as we now know it.
As the fiftieth anniversary of the Woodstock festival nears, Woodstock 1969 stands out for its singular voice. Photojournalist Jason Laure followed his unerring instinct for being in the right place at the crucial moment. He and coauthor Ettagale Blauer trace the historic events that preceded the festival and then envelop the reader with photographs of the headliner rock stars that performed during the landmark three-day concert including The Who, Janis Joplin, Grace Slick of Jefferson Airplane, and Santana. Threading his way back and forth from the stage, through a sea of happy audience members, Jason Laure photographed the communal life that was an essential part of the phenomenon that was Woodstock. Never intrusive, yet working close-up, he managed to capture these innocent moments in the pond and in the woods with the same compassion and intimacy he brought to his coverage of all the crucial events of the era. After Woodstock, he photographed such legends as Jimi Hendrix, Tina Turner, and Jim Morrison of the Doors. Woodstock 1969 gives the reader an appreciation of the lasting impact of the festival, showing the way it changed the lives of all who experienced it. It served as the high point of the counterculture that started in earnest in the Summer of Love, and also as a leading influence in the decades that followed. The book concludes with a look at Woodstock's lasting legacy, from Greenwich Village and the rock scene of the Fillmore East to the establishment of Earth Day and the burgeoning environmental movement.
"Music From Big Pink" is a factional novella: a place where fictional characters rub shoulders with real people, and where actual documented events thread their way through the text alongside imagined scenarios. Through the eyes of twenty-three-year-old Greg Keltner, drug dealer, wannabe musician, and hanger-on, we witness the gestation and birth of an album that will go on to cast its spell across forty years. John Niven brings these characters to life with remarkable skill, and the result is an exhilarating, vivid, and powerfully moving book about the highs - and lows - of creating musical history.
Here is Jim Morrison in all his complexity-singer, philosopher, poet, delinquent-the brilliant, charismatic, and obsessed seeker who rejected authority in any form, the explorer who probed "the bounds of reality to see what would happen..." Seven years in the writing, this definitive biography is the work of two men whose empathy and experience with Jim Morrison uniquely prepared them to recount this modern tragedy: Jerry Hopkins, whose famous Presley biography, Elvis, was inspired by Morrison's suggestion, and Danny Sugerman, confidant of and aide to the Doors. With an afterword by Michael McClure.
Born in 1953 to Anglo-Jewish/Nigerian parents, Pauline Black was subsequently adopted by a white, working class family in Romford. Never quite at home there, she escaped her small town background and discovered a different way of life - making music. Lead singer for platinum-selling band The Selecter, Pauline Black was the Queen of British Ska. The only woman in a movement dominated by men, she toured with The Specials, Madness, Dexy's Midnight Runners when they were at the top of the charts - and, sometimes, on their worst behaviour. From childhood to fame, from singing to acting and broadcasting, from adoption to her recent search for her birth parents, Black By Design is a funny and enlightening story of music, race, family and roots.
A riveting look at the transformative year in the lives and careers of the legendary group whose groundbreaking legacy would forever change music and popular culture. They started off as hysteria-inducing pop stars playing to audiences of screaming teenage fans and ended up as musical sages considered responsible for ushering in a new era. The year that changed everything for the Beatles was 1966-the year of their last concert and their first album, Revolver, that was created to be listened to rather than performed. This was the year the Beatles risked their popularity by retiring from live performances, recording songs that explored alternative states of consciousness, experimenting with avant-garde ideas, and speaking their minds on issues of politics, war, and religion. It was the year their records were burned in America after John's explosive claim that the group was "more popular than Jesus," the year they were hounded out of the Philippines for "snubbing" its First Lady, the year John met Yoko Ono, and the year Paul conceived the idea for Sgt. Pepper's Lonely Hearts Club Band. On the fiftieth anniversary of this seminal year, music journalist and Beatles expert Steve Turner slows down the action to investigate in detail the enormous changes that took place in the Beatles' lives and work during 1966. He looks at the historical events that had an impact on the group, the music they made that in turn profoundly affected the culture around them, and the vision that allowed four young men from Liverpool to transform popular music and serve as pioneers for artists from Coldplay to David Bowie, Jay-Z to U2. By talking to those close to the group and by drawing on his past interviews with key figures such as George Martin, Timothy Leary, and Ravi Shankar-and the Beatles themselves-Turner gives us the compelling, definitive account of the twelve months that contained everything the Beatles had been and anticipated everything they would still become.
In the late 70s, the Bee Gees spectacularly revived their career and, with their soundtrack to the Saturday Night Fever film, became the biggest disco group in the world. But when the disco boom crashed they went from icons to punch lines overnight. The band was inescapably frozen in time: all long, flowing manes, big teeth, falsettos, medallions, hairy chests, and skintight satin trousers, one finger forever pointing in the air. The Bee Gees would spend the next forty years trying to convince people there was more to them, growing ever more resentful of their gigantic disco success. We d like to dress Stayin Alive up in a white suit and gold chains and set it on fire, they said. Staying Alive finally lifts that millstone from around their necks by joyfully reappraising and celebrating their iconic disco era. Taking the reader deep into the excesses of the most hedonistic of music scenes, it tells how three brothers from Manchester transformed themselves into the funkiest white group ever and made the world dance. No longer a guilty pleasure but a national treasure.
Throughout Brazil, Afro-Brazilians face widespread racial prejudice. Many turn to religion, with Afro-Brazilians disproportionately represented among Protestants, the fastest-growing religious group in the country. Officially, Brazilian Protestants do not involve themselves in racial politics. Behind the scenes, however, the community is deeply involved in the formation of different kinds of blackness-and its engagement in racial politics is rooted in the major new cultural movement of black music. In this highly original account, anthropologist John Burdick explores the complex ideas about race, racism, and racial identity that have grown up among Afro-Brazilians in the black music scene. By immersing himself for nearly a year in the vibrant worlds of black gospel, gospel rap, and gospel samba, Burdick pushes our understanding of racial identity and the social effects of music in new directions. Delving into the everyday music-making practices of these scenes, Burdick shows how the creative process itself shapes how Afro-Brazilian artists experience and understand their racial identities. This deeply detailed, engaging portrait challenges much of what we thought we knew about Brazil's Protestants,provoking us to think in new ways about their role in their country's struggle to combat racism.
The story of Heart is a story of heart and soul and rock 'n' roll. Since finding their love of music and performing as teenagers in Seattle, Washington, Ann Wilson and Nancy Wilson, have been part of the American rock music landscape. From 70s classics like "Magic Man" and "Barracuda" to chart- topping 80s ballads like "Alone," and all the way up to 2012, when they will release their latest studio album, Fanatic, Heart has been thrilling their fans and producing hit after hit. In Kicking and Dreaming, the Wilsons recount their story as two sisters who have a shared over three decades on the stage, as songwriters, as musicians, and as the leaders of one of our most beloved rock bands. An intimate, honest, and a uniquely female take on the rock and roll life, readers of bestselling music memoirs like Life by Keith Richards and Steven Tyler's Does the Noise in My Head Bother You? will love this quintessential music story finally told from a female perspective.
An illustrated alphabetical tribute that celebrates the many faces and facets of cultural icon David Bowie. From Aladdin Sane to Ziggy Stardust, Bowie A-Z is densely packed with everything you need to know about the rock legend - from the greatest hits of trivia to the most obscure B-side facts.
A stunning collection of photographs from Frank Stefanko featuring the Godmother of Punk herself, iconic musician-turned-author Patti Smith. -Frank always shot your internal life. He let your external imperfections show. His photos had a purity and poetry; there was some humor . . .- --Bruce Springsteen Patti Smith was a favorite photographic subject for Frank Stefanko during his college years. -Patti had jet-black hair and pale blue eyes that could see right through you. When I visited New York, I started photographing Patti. I was captivated by her look . . . tall, thin, with porcelain skin, sharp features, and those piercing eyes. With me, in terms of portraits, it's always the eyes first, then the rest of the face comes into view.- Patti Smith came to prominence during the punk rock movement in the 1970s, with her highly regarded 1975 debut album, Horses. She has been called -punk rock's poet laureate- because of her feminist sensibilities and intellectual approach to her music. As a result, she is one of rock and roll's most influential female musicians and according to Rolling Stone, one of -The 100 Greatest Artists of All Time.- Among some of Patti Smith's early influences were Robert Mapplethorpe, Jim Carroll, and Tom Verlaine. She spent the early 1970s painting, writing, and performing spoken-word poetry--frequently at the St. Mark's Poetry Project. By 1974, she was performing as a musician, initially with guitarist and rock archivist Lenny Kaye. The Patti Smith Group produced four albums in the 1970s, reaching #13 on Billboard's Top 100 in 1978 with the single -Because The Night, - cowritten with Smith's friend Bruce Springsteen.
The Rolling Stones documents the extraordinary career of the band decade by decade, album by album and member by member, accompanied by 130 images and 30 items of fascinating memorabilia reproduced on the page. How many bands have rocked the world solidly for 50 years? Played in front of 1,500,000 people at one concert? Set the record for the highest grossing tour of all time? Had hit records in every decade since the 1960s? That's right, just one: the Rolling Stones. Many have tried but none have even come close to the blues/rock domination of the eternally youthful band from London.
This is the first of two titles by the Manic Street Preachers' bassist and lyricist, Nicky Wire. For more than twenty years and from Blackwood, Wales to Tokyo, Japan, Nicky Wire has kept a personal visual history of the band in their various stages from Generation Terrorists through Holy Bible and right up to last year's remarkable album, Postcards from a Young Man. Edited down from over 1,000 of Wire's personal polaroid's and with accompanying text by the man himself, Death of The Polaroid promises to be a rich, visual biography of one of the most loved and iconoclastic British bands of the past two decades.
Lionel Bart was a writer and composer of British pop music and musicals, best known for creating the book, music and lyrics for Oliver! He also wrote the famous songs Living Doll (Cliff Richard) and From Russia With Love (Matt Munroe).He was a millionaire aged thirty in the Sixties, bankrupt in the Seventies and died in 1999.In this first revealing biography, the authors gained exclusive access to Bart's personal archives - his unfinished autobiography, his letters and scrapbooks. They detail how he signed away the rights to Oliver! to finance his new musical Twang - based on Robin Hood - which flopped badly in the theatre. Reveal how his heavy drinking led to diabetes and how he died in 1999 aged 69 from liver cancer. They have interviewed his personal secretaries, friends, family, counsellors and many of the performers, musicians and producers who worked with him. Interviewees include Rocky Horror's Richard O'Brien and actors Dudley Sutton and Nigel Planer.
As the United States transitioned from a rural nation to an urbanized, industrial giant between the War of 1812 and the early twentieth century, ordinary people struggled over the question of what it meant to be American. As Brian Roberts shows in Blackface Nation, this struggle is especially evident in popular culture and the interplay between two specific strains of music: middle-class folk and blackface minstrelsy. The Hutchinson Family Singers, the Northeast's most popular middle-class singing group during the mid-nineteenth century, are perhaps the best example of the first strain of music. The group's songs expressed an American identity rooted in communal values, with lyrics focusing on abolition, women's rights, and socialism. Blackface minstrelsy, on the other hand, emerged out of an audience-based coalition of Northern business elites, Southern slaveholders, and young, white, working-class men, for whom blackface expressed an identity rooted in individual self-expression, anti-intellectualism, and white superiority. Its performers embodied the love-crime version of racism, in which vast swaths of the white public adored African Americans who fit blackface stereotypes even as they used those stereotypes to rationalize white supremacy. By the early twentieth century, the blackface version of the American identity had become a part of America's consumer culture while the Hutchinsons' songs were increasingly regarded as old-fashioned. Blackface Nation elucidates the central irony in America's musical history: much of the music that has been interpreted as black, authentic, and expressive was invented, performed, and enjoyed by people who believed strongly in white superiority. At the same time, the music often depicted as white, repressed, and boringly bourgeois was often socially and racially inclusive, committed to reform, and devoted to challenging the immoralities at the heart of America's capitalist order.
In recent years, Bjoerk's artistry has become ever more ambitious and ever more respected. With the release of her conceptual app-album Biophilia in 2011, and a huge retrospective exhibition at New York's Museum of Modern Art coinciding with her most recent album, Vulnicura, in 2015, her status as artpop auteur has been secured. The album that made all this possible, though is 1997's Homogenic, a turning point in Bjoerk's career and still among her finest musical achievements. Produced under great strain, it moves beyond the stylistic magpie rush of Debut and the urbanophile future-pop of Post, to something darker, stronger and braver, full of dramatic assertions of independence, sharp, stuttering beats, rich strings and raw outbursts of noise. It created, as the Alexander McQueen designed sleeve clearly asserted, a new Bjoerk, one who would never stop hunting.
Two and a half decades on, Jawbreaker's 24 Hour Revenge Therapy (1993-94) is the rare album to have lost none of its original loyalty, affection, and reverence. If anything, today, the cult of Jawbreaker-in their own words, "the little band that could but would probably rather not"-is now many times greater than it was when they broke up in 1996. Like the best work of Fugazi, The Clash, and Operation Ivy, the album is now is a rite of passage and a beloved classic among partisans of intelligent, committed, literary punk music and poetry. Why, when a thousand other artists came and went in that confounding decade of the 90s, did Jawbreaker somehow come to seem like more than just another band? Why do they persist, today, in meaning so much to so many people? And how did it happen that, two years after releasing their masterpiece, the band that was somehow more than just a band to its fans-closer to equipment for living-was no longer? Ronen Givony's 24 Hour Revenge Therapy is an extended tribute in the spirit of Nicholson Baker's U & I: a passionate, highly personal, and occasionally obsessive study of one of the great confessional rock albums of the 90s. At the same time, it offers a quizzical look back to the toxic authenticity battles of the decade, ponders what happened to the question of "selling out," and asks whether we today are enriched or impoverished by that debate becoming obsolete.
You may like...
I'll Never Write My Memoirs
Grace Jones Paperback (1)
CSNY - Crosby, Stills, Nash and Young
Peter Doggett Hardcover
Go Ahead in the Rain - Notes to A Tribe…
Hanif Abdurraqib Paperback
The Only Girl - My Life and Times on the…
Robin Green Paperback (1)
Rocking Toward a Free World - When the…
Andras Simonyi Hardcover
It's Me, Marah - An Autobiography
Marah Louw Paperback (2)
When Giants Walked The Earth - 50 Years…
Mick Wall Paperback (1)
Unfaithful Music & Disappearing Ink
Elvis Costello Paperback (1)
My Love Story - The Autobiography
Tina Turner Paperback (2)
Michelle Morgan Paperback (1)