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Book SynopsisLooks at the Rolling Stones band in the late 70s - inspired by a year just spent in the disco/punk cauldron of New York City. Weaving together the history of the band and the city, this title traces the genesis and legacy of the album that Mick Jagger would later call the band's best since Let It Bleed.Trade ReviewThis latest entry in the wonderful 33 1/3 series features the last great album by the Rolling Stones... * Globe & Mail *Listed in Rolling Stones books feature on examiner.com * https://www.examiner.com/rolling-stones-in-national/rolling-stones-books-set-for-publication-2011-and-2012 *Table of Contents1. Personal reflections; 2. The Stones and NYC in the 70s, in parallel; 3. Some Girls, track-by-track; 4. The album's aftermath; 5. Epilogue.

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Book Synopsis*** By the Sunday Times bestselling author of BOHEMIAN RHAPSODY ***''A fascinating insight into one of the greatest artists of our lifetime.'' Evening Standard''This is a personal friendship in writing... an endearing and powerful tale of a man who conquered the entire entertainment industry with his creative force.'' VarietyHis music thrilled the generation it was written for, and has entertained and inspired every generation since. HERO: DAVID BOWIE is an intelligent exploration of the man behind the myths and the makeup told from the very beginning.Respected music journalist and biographer Lesley-Ann Jones knew David Jones from the days before fame, when he was a young musician starting out, frustrated by an industry that wouldn''t give him a break and determined to succeed. Here she traces the epic journey of the boy from Bromley born into a troubled background, to his place as one of Trade Review'[Jones] evocatively portrays his fascinating life, often with a tenderness you wouldn't expect.' - DAILY EXPRESSThrough interviews with friends and colleagues, as well as detailed research, the writer has gained unprecedented knowledge of the true story behind the legend. This is a fascinating insight into one of the greatest artists of our lifetime. - EVENING STANDARD

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Book SynopsisA GUARDIAN AND CHOICE BOOK OF THE YEAR''A walk on the wild side with the alt-rock pioneer'' GQ''DeCurtis is well placed to trace Reed''s five-decade career, drawing on insider knowledge but skilfully balancing it with detailed research and fascinating interviews'' Mojo MagazineAs lead singer and songwriter for the Velvet Underground and a renowned solo artist, Lou Reed invented alternative rock. His music, at once the height of sanctity and perversity, transcended a genre, speaking to millions of listeners, inspiring a new generation of musicians, and forever changing the way we think of that iconic era of sex, drugs, and rock ''n'' roll. Throughout his five-decade career, Reed embodied artistic self-awareness and captured the beauty, paranoia, and vivacity of his time into an array of hit songs, experimental albums, and a larger-than-life persona. With such masterpieces as ''Sweet Jane'' and ''Walk on Trade ReviewI'm not the first musician to pledge allegiance to Lou and the Velvets, and I won't be the last. Read this book, and explore the f*cking genius that was Lou Reed * Peter Buck, co-founder and lead guitarist of R.E.M. *Anthony DeCurtis captures the soul and the essence of Lou Reed in his terrific new biography of the brilliant, culture-shaping musician. DeCurtis' great gift of storytelling gives fascinating insight and perspective to Reed's complex personality and cutting-edge musical talent. This is a must read * Clive Davis *How did a middle-class suburban boy grow up to be king of Manhattan's wild side? Thanks to this groundbreaking biography, now we know . . . A must-read for fans of rock and roll, New York City, or sex * Ada Calhoun, author of St. Marks is Dead *Lou Reed was one of music's most brilliant and complicated figures-an explorer, a provocateur, and always a true artist. With grace and grit, Anthony DeCurtis has delivered a revelatory and insightful chronicle of this most challenging rock & roll icon, and Lou Reed gets the biographer he deserves * Alan Light, author of The Holy or the Broken *Lou Reed is Lou Reed! * Iggy Pop *A brilliant artist has found a biographer with the insight to, as Lou said, 'pass through the fire' and be a definitive interpreter of both his music and his life * Sting *Completely captivating * GQ *An eloquent account of a harrowing life transformed by love in the end. Anthony DeCurtis does a brilliant job of synthesizing the disparate parts of Lou Reed's life into an insightful, moving narrative. I highly recommend it * Suzanne Vega *Anthony DeCurtis was one of the few music critics Lou Reed read and whose company he enjoyed. After reading this sublime and subtle book, the mystery of Lou's respect for Anthony is revealed. Anthony is a great story teller, a writer's writer, turning pain into beauty the way Lou did in his songs * Bono *There were, [DeCurtis] states in the introduction, "aspects of his sex life, his drug use, and his cruelty" that Reed would "have loved to erase" - yet, while less prurient than other recent biographers, DeCurtis recognises that an airbrushed portrait would be a travesty of a life * Sunday Times *An even-handed, well-researched portrait * Financial Times *A serious and comprehensive account * Guardian, Books of the Year *DeCurtis is well placed to trace Reed's five-decade career, drawing on insider knowledge but skilfully balancing it with detailed research and fascinating interviews * Mojo Magazine *

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Book SynopsisTHE IRISH TIMES NUMBER ONE BESTSELLER 'He holds nothing back and gives everything' Bono Christy Dignam, lead singer of Aslan and one of Ireland’s greatest rock stars, reveals all in this extraordinary tale of excess and devotion to his music.   Growing up in Finglas, Dublin, there was only one thing Christy Dignam ever wanted to do – and that was sing. By the early 1980s, he had formed the band Aslan, part of a new wave of acts coming out of Ireland. Repeatedly chewed up and spat out in the feeding frenzy to sign 'the next U2', they stuck to their principles. developed a loyal following, and their first album Feel No Shame went to No 1 in their home country, showcased by the song ‘This Is’, which Christy proudly acknowledges has become 'part of Ireland's DNA'.   But just as America seemed ready to fall for Aslan, D

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Book SynopsisTHE BIOGRAPHY BEHIND THE MAJOR MOTION PICTURE I SAW THE LIGHT, STARRING TOM HIDDLESTON AND ELIZABETH OLSEN (COMING MAY 2016)Trade ReviewAn impressive book... Probably the definitive word on Hank Williams' life * Boston Globe *Our best look yet into Williams' pained, piercing eyes... Escott has peeled away the layers of legend * Philadelphia Enquirer *Deftly written and ably researched * Newsweek *Escott mixes careful reporting, a sympathetic viewpoint, and wry and occasionally cutting humour in a blend that makes for fast and interesting reading * Boston Globe *PRAISE FOR THE FILM I SAW THE LIGHT'Hiddleston's performance is gutsy and heartfelt, as playful and soulful as the best of Williams's songs' * Time Out London *The British star makes a compelling, convincing and sometimes downright frightening country singer... Hiddleston's turn slowly reveals itself as one of great intelligence and integrity, as well as a lack of vanity. His Hank isn't often a likable sight, but it's a memorable one. And what it suggests about how sceptical a performer you can be for people to still take succor from your work, to buy into its sincerity, is curious - and bruising. He also has notably good chemistry with Elizabeth Olsen, who plays Audrey with hearty compassion * Guardian *Hiddleston did all his own singing, and he's extraordinary... Olsen gives a potent performance, showing us how her affection for Hank fought with her pride. * BBC.com *a thoroughly committed, impressive performance from Tom Hiddleston as Williams (and an even better one from Elizabeth Olsen as his first wife, Audrey)Hiddleston makes for a very effective country singer; he doesn't necessarily sound like Williams, but as with Joaquin Phoenix's Johnny Cash in Walk the Line, the sheer amount of effort the actor took to nail a number of the singer's distinctive tics, hiccups and blue notes is obvious... Olsen's seems to have seeped several layers beneath her skin, and she brings a vital sense of lived-in authenticity to her scenes. * Variety *Hiddleston sings the Williams catalogue with aplomb in I Saw The Light; as an actor, he's certainly got the ambition to deliver this bravura turn... But as Hanks' tricksy hard-edged wife, Elizabeth Olsen is the film's find - she flashes her deepening talent like a diamond, proving she's got the depth and range for more complex performances. * ScreenDaily *

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Book SynopsisCan you feel nostalgic for a life you''ve never known?Suffused with her much-loved warmth and wit, Emma John''s memoir follows her moving and memorable journey to master one of the hardest musical styles on earth - and to find her place in an alien world.Emma had fallen out of love with her violin when a chance trip to the American South introduced her to bluegrass music. Classically trained, highly strung and wedded to London life, Emma was about as country as a gin martini. So why did it feel like a homecoming?Answering that question takes Emma deep into the Appalachian mountains, where she uncovers a hidden culture that confounds every expectation - and learns some emotional truths of her own.Trade ReviewWayfaring Stranger goes beyond being an entertaining, informative book about a niche musical genre: it becomes the story of John's personal mission to shake off a kind of existential stiffness - an inhibiting perfectionism - to rediscover not just her passion for music, but also for life . . . Books like this work best when they manage to pull in even the most casual reader, saturating them in the colours, emotions and sensations of hidden subcultures, and John more than delivers * Observer *There is a touch of Bill Bryson to her escapades. She is the well-meaning outsider stumbling through unfamiliar surroundings. She knows how to tell a good joke, and how to laugh at herself * The Times *John chronicles in lively prose the setbacks, breakthroughs and devilish difficulties encountered . . . More than a memoir, Wayfaring Stranger is a valuable contribution to musicology and an informative tribute to a musical culture . . . an excellent Bluegrass primer * Times Literary Supplement *

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Book Synopsis''A wholly successful endeavour carried along by waves of infectious enthusiasm'' Mojo''Fascinating'' New StatesmanThe ''80s were about big ideas writ large - new money, new style, gender fluidity, gay pride, attritional politics, the ''special relationship'', nuclear fear, AIDS, cocaine, ecstasy, tabloid royalty, the rise of urban pop, and ultimately geopolitical chaos. Dylan Jones'' history of the decade in pop frames the ''80s through some of its most important and popular hits, choosing records which either epitomised their time, or ushered in a new cultural shift. So we move seamlessly from ''Rapper''s Delight'' and the genre defining moment of hip hop into The Specials'' spectral, ''Ghost Town''; from ABC and the apotheosis of New Pop (''The Look of Love'') to Madonna''s breakthrough moment with ''Like a Virgin'', and so on.Subjective and idiosyncratic, Shiny and New takes us from downtown New York to post-industrial Manch

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Book SynopsisIn Soundworks Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially. Soundwork is Reed’s term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes’s collaboration with Charles Mingus, Amiri Baraka’s work with the New York Art Quartet, Jayne Cortez’s albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requTrade Review“Offering a new way of thinking about black soundwork as an understanding of text, Anthony Reed makes a deep theoretical intervention in black studies by opening up the role of recordings in the black aesthetic avant-garde. The beauty and appeal of Soundworks lies in Reed's fresh focus on the records that allow us to hear the more ephemeral and unrecordable situation of blackness.” -- Margo Natalie Crawford, author of * Black Post-Blackness: The Black Arts Movement and Twenty-First-Century Aesthetics *“Anthony Reed adds his instrument to the slowly swelling chorus of intently listening, jazzed readers and critics. We've gone from the veritable whisper to a scream, and now is the time to consider the black media concept we have been inhabiting. Reed argues for an ‘overhearing,’ a phonographic mode of what he terms disalienation. Baraka called it ‘word-music’ form. Whatever we term it, it remains Black soundwork. Give it a listen.” -- Aldon Lynn Nielsen, author of * Integral Music: Languages of African American Innovation *"Reed’s work . . . clears needed space to think through Black creative production on its own terms, and likewise, to see its revolutionary and radical ambitions as immanent expressions of Black soundwork. Overall, Soundworks offers a rich and nuanced account of media and materiality that will aid scholars in rethinking the conceptual tools and labor with which we approach Black music." -- Celeste Day Moore * Journal of Musicological Research *"[T]his book is a vital addition to the growing secondary literature about the jazz-poetry interface. . . . Reed is certainly qualified to address this topic, because in addition to being an established scholar he writes poetry and is a musician. Highly recommended. Upper-division undergraduates through faculty." -- B. Wallenstein * Choice *"The most satisfying aspects of Soundworks are found in Reed’s analysis of the recordings and performances he examines. Moreover, it is these sections that contain Reed’s best writing. He seems able to match the tone of his analysis and description of the musical and poetic personalities of these artists, and his enthusiasm for their art is evident." -- Duncan Heining * Popular Music *"A critical contribution to music, jazz, and Black studies in particular. . . . A richly poetic text, whose depth and subtlety rewards patient, repeated engagement." -- Dan DiPiero * Journal of Popular Music Studies *“It is significant that Reed describes this work as recreation, and that he highlights the significance of remediation in Black soundwork. One of this book’s key innovations is that it is a media history of poetry, and an examination of poetry’s work as mediation.” -- Sarah Dowling * Poetics *"The conceptualization of soundwork as both a textual and auditory practice is perhaps the most revelatory contribution made by Reed’s book, for it is a concept whose salience extends beyond phonographic poetry or black radical performance. . . . Across the book, Reed balances heady theoretical imaginings of contingent practices of freedom with attentive close listening to mediated forms of black sound." -- Jessica E. Teague * Contemporary Literature *Table of ContentsAcknowledgments ix Introduction. Black Sonic: Textuality 1 1. Voice Prints: Toward a Black Media Concept 23 2. Communities in Transition: A Poetics of Black Communism 61 3. Tomorrow is the Question! Amiri Baraka's Poetics for a Post-Revolutionary Age 103 4. Body/Language: The Semiotics and Poetics of Improvisation and Black Embodiment 143 Coda. No Simple Explanations 181 Notes 195 Bibliography 235 Index 251

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Book SynopsisIn Soundscapes of Liberation, Celeste Day Moore traces the popularization of African American music in postwar France, where it signaled new forms of power and protest. Moore surveys a wide range of musical genres, soundscapes, and media: the US military''s wartime records and radio programs; the French record industry''s catalogs of blues, jazz, and R&B recordings; the translations of jazz memoirs; a provincial choir specializing in spirituals; and US State Department-produced radio programs that broadcast jazz and gospel across the French empire. In each of these contexts, individual intermediaries such as educators, producers, writers, and radio deejays imbued African American music with new meaning, value, and political power. Their work resonated among diverse Francophone audiences and transformed the lives and labor of many African American musicians, who found financial and personal success as well as discrimination in France. By showing how the popularity of African AmerTrade Review“Celeste Day Moore takes us on a dazzling and deeply researched tour through the soundscapes and multisensory experiences of the Francophone Black world. Soundscapes of Liberation is indispensable reading for scholars and students of the African Diaspora, liberation projects, and the circulation of music in the twentieth century.” -- Penny M. Von Eschen, author of * Satchmo Blows Up the World: Jazz Ambassadors Play the Cold War *“Celeste Day Moore provides the best account of the process by which African American culture was popularized in postwar France at a time when France was negotiating its relationship to decolonization, American culture, and power writ large. This fascinating and detailed book made me think anew about things I thought I knew well.” -- Daniel Widener, author of * Black Arts West: Culture and Struggle in Postwar Los Angeles *"What Moore describes is not a simple love affair between a music maligned at home and a country destined to embrace it. . . . Navigating broad territories, she moves from an era when African-American music could only be apprehended fragmentarily to the advent of mass broadcasting, long playing records, and the involvement of state powers. Although this history's outlines can feel familiar, it is approached in a fresh way." -- Pierre Crépon * The Wire *"Thoroughly researched, erudite, and well written, this volume is required reading for those who study the African diaspora and African American music. Recommended. Lower-division undergraduates through faculty and professionals; general readers." -- F. J. Hay * Choice *"Soundscapes of Liberation is a meticulously, deeply, and broadly, researched work. It is well-written and compelling." -- Brett A. Berliner * Diplomatic History *Table of ContentsAbbreviations ix Acknowledgments xi Introduction: Making Soundwaves 1 1. Jazz en Liberté: The US Military and the Soundscapes of Liberation 17 2. Writing Black, Talking Back: Jazz and the Value of African American Identity 43 3. Spinning Race: The French Record Industry and the Production of African American Music 71 4. Speaking in Tongues: The Negro Spiritual and the Circuits of Black Internationalism 103 5. The Voice of America: Radio, Race, and the Sounds of the Cold War 133 6. Liberation Revisited: African American Music and the Postcolonial Landscape 161 Epilogue: Sounding like a Revolution 195 Notes 201 Sources 251 Index 283

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Book SynopsisExplains what happened to musicfor both artists and fanswhen music went online. Playing to the Crowd explores and explains how the rise of digital communication platforms has transformed artist-fan relationships into something closer to friendship or family. Through in-depth interviews with musicians such as Billy Bragg and Richie Hawtin, as well as members of the Cure, UB40, and Throwing Muses, Baym reveals how new media has facilitated these connections through the active, and often required, participation of the artists and their devoted, digital fan base.Before the rise of social sharing and user-generated content, fans were mostly seen as an undifferentiated and unidentifiable mass, often mediated through record labels and the press. However, in today's networked era, musicians and fans have built more active relationships through social media, fan sites, and artist sites, giving fans a new sense of intimacy and offering artists unparalleled informationTrade ReviewBaym's enthusiasm and experience makes this academic study accessible to professional musicians as well as musicology and communication scholars. * Library Journal *Nancy K. Baym was researching the impact of emerging technologies and music when most of us did not have the foresight to anticipate the changing music landscape. This is not her first pioneering work, and it certainly won't be her last, but it is, as always, fun and intriguing. An innovative wordsmith and an engaging storyteller, Baym explains how musicians transition from technologies designed to render them remote deities to those that invite them to be irrevocably intimate. Her observations carry weight and her interpretations are timely and timeless. She is a sharp researcher with a curious mindthe type that unfailingly seduces, educates and inspires you with their writing. -- Zizi Papacharissi,University of Illinois at ChicagoNancy K. Bayms Playing to the Crowdis a major advance in our understanding of new media, music and audiences. Through careful ethnographic and historical work, Baym offers a definitive reception history of popular music as it went online. She also offers a transformative theory of music in the age of social media. Methodologically rich, beautifully written, and full of great storytelling, Playing to the Crowdexplains the novel aspects of our emergent online environment, all while linking it to music as a cultural practice that transcends any one context, and insisting that we understand online relationships as fundamentally human relationships. It will change the way you think about music, technology and people. -- Jonathan Sterne,author of MP3: The Meaning of a FormatBaym’s book sheds light on the previously unexplored territory of musicians’ own management of their social media presence through ethnography, and for this reason many sections of this volume deserve a place in music and media syllabi for undergraduate and graduate studies, particularly to study Western cultural contexts and popular music scenes. * Yearbook for Traditional Music *

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Book SynopsisJAZZ GUITAR HANDBOOK: A COMPLETE COURSE IN ALL STYLES OF JAZZ

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Book Synopsis(Piano Instruction). Expand your keyboard knowledge with the Keyboard Lesson Goldmine series! The series contains four books: Blues, Country, Jazz, and Rock. Each volume features 100 individual modules that cover a giant array of topics. Each lesson includes detailed instructions with playing examples. You''ll also get extremely useful tips and more to reinforce your learning experience, plus access to online audio featuring performance demos of all the examples in the book! 100 Blues Lessons includes 12-bar blues, 8-bar blues, 16-bar blues; right-hand fills, left-hand patterns; stylings of the great blues pianists; chord voicings; dominant 7th chords, dominant 9th chords; and much more! The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

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Book Synopsis(Mandolin). Named one of the "Best Mandolin Books of All Time" by BookAuthority.org! 20 favorite Beatles tunes in chord melody arrangements for mandolin including: All You Need Is Love * Blackbird * Can''t Buy Me Love * Eight Days a Week * Here Comes the Sun * Hey Jude * In My Life * Let It Be * Michelle * Strawberry Fields Forever * Twist and Shout * We Can Work It Out * Yesterday * and more.

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Book SynopsisAddicted to Noise collects the best interviews, profiles, and essays Michael Goldberg has written during his forty-plus years as a journalist. From combative interviews with Frank Zappa and Tom Waits to essays on how Jack Kerouac influenced Bob Dylan and the lasting importance of San Francisco's first punk rock club, Goldberg, as novelist Dana Spiotta wrote, shows us how consequential music can be.Contained within these pages: interviews with Sleater-Kinney, Sonic Youth, Patti Smith, Lou Reed, Flipper, John Fogerty, Neil Young, and Rick James, along with profiles of Robbie Robertson, John Lee Hooker, James Brown, the Clash, Prince, Michael Jackson, the Flamin' Groovies, Ramblin' Jack Elliott, X, Laurie Anderson, Stevie Wonder, George Clinton, Devo, San Francisco punks Crime, and more. Plus short takes on Muddy Waters, Townes Van Zandt, Captain Beefheart, Professor Longhair, and others. As Greil Marcus writes in the Foreword, You can feel the atmosphere: someone has wal

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Book Synopsis(Guitar Educational). Jazz music forces guitarists to learn their fretboards. There is no getting around it. In all of its harmonic complexities and demands for virtuosity, there is no choice but to head on down the bumpy road to fretboard mastery. Enter Visual Improvisation for Jazz Guitar a comprehensive practice method for understanding and commanding the fretboard. Through a system of visually connecting the shapes, patterns, and intervals of the fretboard, this book and audio pack will be your guide to fretboard freedom. Topics include: triads and seventh chords; altered chords and extensions; scales and arpeggios; licks and exercises; audio demonstrations; fretboard diagrams; and much more! The price of this book includes access to audio online, for download or streaming, using the unique code inside. Includes PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, pan left or right.

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Book SynopsisIn 1979, from the basement of a London squat, the Raincoats reinvented what punk could be. They had a violin player. They came from Portugal, Spain, and England. Their anarchy was poetic. Working with the iconic Rough Trade Records at its radical beginnings, they were the first group of punk women to actively call themselves feminists. In this short book the first on the Raincoats author Jenn Pelly tells the story of the group's audacious debut album, which Kurt Cobain once called wonderfully classic scripture. Pelly builds on rare archival materials and extensive interviews with members of the Raincoats, Sleater-Kinney, Bikini Kill, Hole, Scritti Politti, Gang of Four, and more. She draws formal inspiration from the collage-like The Raincoats itself to explore this album's magic, vulnerability, and strength.Trade ReviewIt is a record that could only be made by women, and although Pelly doesn't labor over this, she does an excellent job of showing its truth. Pelly writes of how, without any pretension or the slightest concern for the surface fashion of the movement, The Raincoats embodied the true expressive spirit of punk, and how these four women created music that was very much of their lives rather than by using any proven yet worn-out formulas. * Under the Radar *The book is a seamless hybrid of criticism and reportage; Pelly spent time with the band and visited their old haunts. But what’s extraordinary is that she doesn’t seem to be recounting the Raincoats’ early years so much as time-traveling back to the squats of late-’70s London and mind-melding with each of the four very different women who came together to make this strange, enchanting music. Over the years, The Raincoats has become a sort of talisman for feminist punks, a document that is somehow challenging and comforting at once. Pelly doesn’t just describe that effect—her writing recreates it. * Pitchfork *Pelly's writing is a pitch-perfect blend of academic references and a genuine fan's adoration that raises both the band and their debut record to a status they very much deserve but haven't received until now. * Record Collector: Books of 2017 *Recent years have seen some excellent additions to the [33 1/3] series ... Joining this list is Jenn Pelly's study of The Raincoats' self-titled debut album. * The Wire *The 33 1/3 series of books on individual albums ... is an intriguing project, and this title is a welcome addition. * International Times *One of the strangest and most inspiring of punk rock stories, finally brought into the light. Jenn Pelly’s brilliant book is a crucial work of history, not just music history, opening up the story of how four women formed a band and created a legend, passed from fan to fan around the world. * Rob Sheffield, author of Love Is a Mixtape and Dreaming the Beatles *Jenn Pelly's The Raincoats brings much-needed attention to the British post-punk group's landmark self-titled 1979 album. [Pelly] adeptly traces the connections between The Raincoats' arty, playfully inventive and boldly feminist music and the male-dominated classic-rock music scene they were rebelling against, and also points out how their unpredictable songs still resonate today. * LA Weekly *[An] empathetic, encyclopedic, and eloquent reclamation of the musical canon. Pelly’s vivid study offers a meticulously detailed look at the band’s origins, influences, and legacy from their days squatting in London basements to Kurt Cobain’s passionate fandom. * Bookforum *This book from Bloomsbury's 33 1/3 series is more than a history of The Raincoats' eponymous album. It is a very comprehensive and entertaining biography up until the release of the album, that also documents the development of the British punk and post-punk scene in the 1970s. * OX-Fanzine (Bloomsbury Translation) *Table of ContentsTracklist Preface I II III IV Epilogue Acknowledgements Works Cited

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Book SynopsisRefazenda connects a remarkable album by one of the 20th and 21st centuries'' great musicians to a dazzling, often unexpected, array of people and places spread across the globe from Brazil to England to Chile to Japan. Critics and fans often project (or impose) desires and interpretations onto Gil that don''t seem to fit. This book explores why familiar political and musical categories so often fall flat and explains why serendipity may instead be the best way to approach this mercurial album and the unrepeatable artist who created it. Based on years of listening to, studying, and teaching about Gil, and the author''s own encounters with the album around the world, this book argues that Refazenda does, in fact, contain radical messages, though they rarely appear in the form, shape, or places that we might expect. The book also includes the first English-language translations of the album''s lyrics, never-discussed-before 1970s Japanese liner notes, and a recounting of a Table of ContentsAcknowledgments Notes on Translations 1. Directions to a Serendipitous Encounter 2. Race and Radical Serendipity 3. Cover to Cover (and an Invitation) 4. Elastic, Fractured, Connected Worlds 5. Gil’s Early Work and Influences 6. From Bahia to London and Back 7. "Returning to the Depths of History" 8. Thirsty but Not Quite Alone 9. The Avocado Tree 10. "This Is to Be Played on the Radio" 11. The Tour, the Critics, the Censor 12. The End? Song Lyrics Notes Bibliography Index

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Book SynopsisBy 1985 Tom Petty had already obtained legendary status. He had fame. He had money. But he was restless, hoping to stretch his artistry beyond the confining format of songs like The Waiting and Refugee. Petty's response to his restlessness was Southern Accents. Initially conceived as a concept album about the American South, Southern Accents's marathon recording sessions were marred by aesthetic and narcotic excess. The result is a hodgepodge of classic rock songs mixed with nearly unlistenable 80s music. Then, while touring for the album, Petty made extensive use of the iconography of the American Confederacy, something he soon came to regret. Despite its artistic failure and public controversy, Southern Accents was a pivot point for Petty. Reeling from the defeat, Petty reimagined himself as deeply, almost mythically, Californian, obtaining his biggest success with Full Moon Fever. Michael Washburn explores the history of Southern Accents and how iTrade ReviewMichael Washburn, in his first book, [Tom Petty’s Southern Accents] argues that we can glean significant cultural understanding from [Tom] Petty’s failure. * LA Review of Books *This is a great read that digs hard into the background of the making of the album … This is a book that every Tom Petty fan should read – but you don’t have to be a fan to appreciate it. Washburn has written an assessment of the creative process that anyone could appreciate. Creativity is not just about the great artistic successes; it’s often just as well served by the flawed visions as the realised masterpieces, something that Michael Washburn clearly understands and conveys through this book. * Americana UK *In Michael Washburn’s new book for the 33 1/3 project — a series of insightful, deep dives into albums — he confronts the conundrum that swirls around [Tom Petty’s] Southern Accents. * Leo Weekly *Table of ContentsTrack Listing Introduction Down South Who Did You Expect to Meet? Southern Accents Rebels Born in the CSA Free Fallin' The Best of Everything Acknowledgements Endnotes

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Book SynopsisThe first in-depth study of David Bowie's music videos across a sustained period takes on interweaving storyworlds of an iconic career. Remarkable for their capacity to conjure elaborate imagery, Bowie's videos provide fascinating exemplars of the artistry and remediation of music video. When their construction is examined across several years, they appear as time-travelling vessels, transporting kooky characters and strange story-world components across time and space. By charting Bowie's creative and collaborative process across five distinct phases, David Bowie and the Art of Music Video shows how he played a vital role in establishing music video as an artform. Filling a gap in the existing literature, this book shines a light on the significant contributions of directors such as Mick Rock, Stanley Dorfman and David Mallet, each of whom taught Bowie much about how to use the form. By examining Bowie''s collaborative process, his use of surrealist strategies and his integration of avant-garde art with popular music and media, the book provides a history of music video in relation to the broader fields of audiovisual media, visual music and art.Trade ReviewIn this wonderful book, Lisa enables us to see and hear the remarkable assemblages that we find in David Bowie’s time-travelling audio-visual work. Art and culture, the aesthetics of fashion and performance, and the politics of race and otherness, are the inter-planetary orbits that are deftly explored through close examination of Bowie’s television, promotional and music video performances. Bowie emerges as a figure who remade himself and recast the artforms that he visited – always alien-like, in flux, thirsting for water that would replenish him and us. A must-read addition to the literature on the Starman who killed and saved the world. * Sean Redmond, Professor of Film and Television, Deakin University, Australia *In David Bowie and the Art of Music Video Lisa Perrott takes us on an entertaining yet scholarly journey through David Bowie’s early music videos, from the pre-fame promos of Love You ‘Till Tuesday in 1969, all the way up to 1983’s global smash Let’s Dance. With thoughtful and satisfying analysis, she drills down through layers of representation and reference, revealing new insights into Bowie’s creative practice. Perrott’s book looks at Bowie’s work with music video as the interconnected, interdisciplinary, richly nuanced body of work that it is. She makes a compelling case for the cultural and scholarly significance of music video as a collaborative, transmedial artform, worthy of deep study. * Leah Kardos, Senior Lecturer in Music, Kingston University, UK, and author of Blackstar Theory (Bloomsbury, 2022) *It’s been a long time coming, but the wait is over! Finally, a book-length study about the music videos of David Bowie. Lisa Perrott has written a comprehensive and thought-provoking study of the music videos of Bowie from the 1969-83 (the sequel, dealing with the later videos is being published this year). This is a significant work that examines the role Bowie played as an avant-garde creator and collaborator who transformed (and helped create) the music video into an art form that generated a dialogue with music, theatre, film, dance, and other artistic forms. The writing is engaging and accessible and Perrott takes the reader on a journey through the cultural, social, and artistic processes that fuelled the mind of this larger-than-life figure and his various personas. It was an utter pleasure diving into the deep analysis of classics such as Space Oddity, Jean Genie, and Ashes to Ashes, while also reading about the intertextual threads that ran across many of the videos across time. This is a must read. * Angela Ndalianis, Professor of Screen and Entertainment Media, Swinburne University of Technology, Australia *Table of ContentsList of figures Acknowledgements Preface 1. The Art of Music Video 2. Traversing Stage and Screen 3. Opening the Third Eye 4. Painting the Truth 5. Future Nostalgia 6. Eclosion Epilogue Bibliography Index

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Book SynopsisAfter his breakthrough with Ziggy Stardust and before his U.S. pop hits Fame and Golden Years David Bowie produced a dark and difficult concept album set in a post-apocalyptic Hunger City populated by post-human mutants. Diamond Dogs includes the great glam anthem Rebel Rebel and utterly unique songs that combine lush romantic piano and nearly operatic singing with scratching, grungy guitars, creepy, insidious noises, and dark, pessimistic lyrics that reflect the album''s origins in a projected Broadway musical version of Orwell''s 1984 and Bowie''s formative encounter with William S. Burroughs. In this book Glenn Hendler shows that each song on Diamond Dogs shifts the ground under you as you listen, not just by changing in musical style, but by being sung by a different I who directly addresses a different you. Diamond Dogs is the product of a performer at the peak of his powers but uncomfortable with the rock star role he had constructed. All of theTrade Review[Hendler’s] textual analysis of Bowie’s lyrics and the influences of the album is deep, yet he doesn’t skimp on musicology … This 33 1/3 is worth reading even if you know nothing about Diamond Dogs. * Bomb *This latest volume of Bloomsbury’s 33 1/3 series sees US academic Glenn Hendler manfully take a crack at forensically unpacking the disparate ingredients of Bowie’s greatest future dystopia Diamond Dogs and passing with flying colours. * Shindig! Magazine *Table of ContentsTrack Listing Acknowledgments 1. This Is Not America 2. Who Can You Be Now? 3. 1984 in 1974 4. Mr. Burroughs Goes to Hunger City 5. Boys and Things 6. Rough Trade 7. Futures 8. This Ain’t Rock ‘n’ Roll 9. Repetition I 10. Repetition II 11. Wild Mutations 12 Everybody Wants to Be a Fascist 13. After the Human 14. It’s No Game

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Book SynopsisDerek Pardue holds a PhD in Cultural Anthropology and is an Associate Professor in Global Studies at Aarhus University, Denmark. He has conducted fieldwork and archival research in Brazil, Portugal, Denmark, and Cape Verde. His books include: Living (Il)legalities in Brazil (2020), Cape Verde: Let's Go (2015), Brazilian Hip Hoppers Speak from the Margins (2011), and Ruminations on Violence (2008).Table of ContentsAn Opening Salve 1. Who Cares about Brazilian Rap? 2.Brazilian Hip Hop: A Brief Genealogy 3.Sound, Text, Delirium 4.Dreams at the Beginning 5.A Go-getter 6.The Wait 7.It’s Everywhere 8.Wesley’s House 9. The Laugh and the Echo 10. Nóia / The Sounds of Paranoia 11. Guina’s Turn 12. Surroundings 13. … 14. Aleph in the Periferia 15. In Search of Authority 16. Outro Notes Glossary

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Book SynopsisBoth Dylan and Cohen have been a presence on the music and poetry landscape spanning six decades. This book begins with a discussion of their contemporary importance, and how they have sustained their enduring appeal as performers and recording artists. The authors argue that both Dylan and Cohen shared early aspirations that mirrored the Beat Generation. They sought to achieve the fame of Dylan Thomas, who proved a bohemian poet could thrive outside the academy, and to live his life of unconditional social irresponsibility. While Dylan's and Cohen's fame fluctuated over the decades, it was sustained by self-consciously adopted personas used to distance themselves from their public selves. This separation of self requires an exploration of the artists' relation to religion as an avenue to find and preserve inner identity. The relationship between their lyrics and poetry is explored in the context of Federico García Lorca's concept of the poetry of inspiration and the emotional depths oTrade ReviewA] volume full of information and thought-provoking insight and ideas ... It is a very worthwhile read. * Americana UK *RouteNote's "Top 10 new music books in 2021 – so far" * RouteNote *Table of ContentsIntroduction 1. Dying to Get Back Home 2. The Road Back 3. Redemption Men 4. Starting Out: Bob Dylan, Leonard Cohen, The Beat Generation and Dylan Thomas 5. The Masked Crusader: Bob Dylan 6. The Lone Ranger: Leonard Cohen 7. Poetry and Song 8. The Spirit of Duende 9. Mine’ve Been Like Verlaine’s and Rimbaud Conclusion Acknowledgments Index

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Book SynopsisDarkthrone's A Blaze in the Northern Sky (1992) is a foundational keystone of the musical and aesthetic vision of the notorious Norwegian black metal scene and one of the most beloved albums of the genre. Its mysterious artwork and raw sound continue to captivate and inspire black metal fans and musicians worldwide. This book explores the album in the context of exoticism and musical geography, examining how black metal music has come to conjure images of untamed Nordic wildernesses for fans worldwide. In doing so, it analyzes aspects of musical style and production that created the distinctly grim sound of Darkthrone and Norwegian black metal.Trade ReviewHagen is uniquely placed to navigate [black metal's] paradoxes, as well as the sub-genre’s wider social significance. His exploration here of black metal’s appeal as a form of contemporary Nordic folk music, and his theoretical deliberations on the scene’s “romantic” and "modernist” aspects, are both forthright and stimulating ... [A] thought-provoking analysis. * Record Collector *Table of ContentsAcknowledgments Introduction: “Kathaarian Life Code” 1. “In the Shadow of the Horns” 2. “Where Cold Winds Blow” 3. “Paragon Belial” 4. “The Pagan Winter” Notes Bibliography

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Book SynopsisUpon 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 vocalTable of ContentsFigures Acknowledgments Tracklisting A note to the reader 1. Introduction: A broken yet completed circle 2. Sounds, atmospheres and 43 minutes of not breaking the Oath 3. The satanic endeavors: Intentional transgressions and antinomian discourses 4. Diabolus in musica and other musical modes of symbolic Satanism 5. Unmasking the masks of masculinities:(Dis)appearances of the paint mask 6. Queer-Satanism galore: Otherings of the Oath 7. Conclusion: Rewriting the Heavy Metal canon of hegemonic masculinity Notes References Index

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Book SynopsisFor decades, the state-run music industry in Hungary has artificially isolated musical worlds. The 2010 album I'll Be Your Plaything is a concept album comprising at times drastically re-imagined cover versions of Hungary's most popular hits from the socialist era. As such it is a testament to music as a medium's aptness to reflect on public and personal pasts. The album moreover exemplifies how rich and appealing synthesis of sounds and traditions can be concocted when folk, classically trained, rock, and jazz musical artists collaborate. Along with this freedom to blend and synthesize, the album opens up some long overdue space for women; playing with personas, voices, and singing styles, Palya reflects on issues of femininity, maternity, sexuality, and coupledom across generations.Table of ContentsList of Figures Acknowledgments Preface 1. Playing Music, Playing with Music: Bea Palya and Samu Gryllu's Musical Partnerships 2. Memory Work with Souvenirs, Bronzes, and Tunes of State Socialism 3. "Play it One More Time, Play it All Night Long": Recycling, Re-working, and Reflecting in Popular Music Discourse 4. Start Making a New Sense 5. "A Babe in Toyland" or Pop-cultural Feminism in Bea Palya's Music and Early Career (2005-2014) 6. In the Aftermath of "I'll Be Your Plaything": A Woman Writing her Self References Track Listing of "I'll Be Your Plaything" Discography Index

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Book SynopsisThere has never been a band like Pearl Jam. The Seattle quintet has recorded eleven studio albums; sold some 85 million records; played over a thousand shows, in fifty countries; and had five different albums reach number one. But Pearl Jam's story is about much more than music. Through resilience, integrity, and sheer force of will, they transcended several eras, and shaped the way a whole generation thought about art, entertainment, and commerce.Not for You: Pearl Jam and the Present Tense is the first full-length biography of America's preeminent band, from Ten to Gigaton. A study of their role in history from Operation Desert Storm to the Dixie Chicks; Jeremy to Columbine; Kurt Cobain to Chris Cornell; Ticketmaster to Trump Not for You explores the band''s origins and evolution over thirty years of American culture. It starts with their founding, and the eruption of grunge, in 1991; continues through their golden age (Vs., VitalogyTrade ReviewRonen Givony's Not for You does what Givony would like Pearl Jam to do: it rises above its immediate purpose. It is a critical annotation to a body of work which lifts off the ground and becomes an extravagant performance about time, rebellion, fame, disenchantment, civil discourse, the idea of the mainstream, the desire of a fan, and what a band can do to answer it. * Ben Ratliff, author of Every Song Ever *An enjoyable book and, as a non-fan, I found myself coming around to their music and what they were trying to achieve. Whether you love them or not, it is clear they were trying to be genuine and reach out to their fans. -- Simon Cocking * Irish Tech News *Brilliantly contextualises the early ’90s socio-political climate from which the grunge icons emerged. It paints a vivid portrait … Not For You is a compelling examination of one of modern rock’s most enduring and compelling groups. -- Kate Brayden * Hot Press *Near perfect Pearl Jam prose… Not For You: Pearl Jam and the Present Tense is a book every Pearl Jam fan needs to read. Not only is it an excellent biography it is also the definitive unofficial Pearl Jam book for fans of the Last Grunge Band Standing.™ * Guerrilla Candy *[A] hefty and impressive work, digging into its subject with the kind of relentlessness any fan will appreciate… A thoughtful celebration of a band who’s still going strong, and should even be of interest to non-PJ fans, especially if they have an interest in alt rock of the ‘90s. * Record Collector News *[A]n insightful work for many reasons, not least its temperate analysis of fandom. Author Ronen Givony never forgets the whys and wherefores of the Seattle outfit and of how from their early days in the 1990s, despite their status as one of the mostpopular US acts, they sidelined traditional commercial channels in favour of servicing their fans … Givony incisively reflects on th[is] and more, but the primary selling point is what the band have meant to their fans across the years and the often-profound bonds that can be made. -- Tony Clayton-Lea * The Irish Times *The strength of Givony’s book lies in his readiness to make the tough call. His book is unreservedly opinionated, as so few these days are … Givony proves himself a master of the bon mot, the memorable soundbite, demonstrating ample literary chops throughout. If I had room, I’d quote a hundred worthy passages. -- Des Cowley * Rhythm Magazine *Givony trenchantly argues that Pearl Jam haven’t made a great album since 1998. Yet his sometimes contentious analysis is always delivered with a wry snap and bolstered by diligent sociocultural contextualisation, pinpointing one aspect of the band’s appeal; they’re more ‘for you’ than might initially appear to be the case. -- Keith Cameron * MOJO *CHOICE Magazine’s “New Year Reads” 2021 * CHOICE *CBC’s “18 Books for the Holiday Season” * CBC *Table of ContentsIntroduction: A Personal Preface 1 The Cast 2 A Dozen Moments in the Prehistory of Pearl Jam 3 The Bacchanal, San Diego (November 21, 1989) 4 The Off Ramp, Seattle (October 22, 1990) 5 “Jeremy,” “Garden,” “Yellow Ledbetter” (1991) 6 J.C. Dobbs, Philadelphia (July 12, 1991) 7 The Palladium, Hollywood (October 6, 1991) 8 Cow Palace, San Francisco (December 31, 1991) 9 MTV Unplugged (March 16, 1992) 10 Pinkpop Festival, Holland (June 8, 1992) 11 The Singles Soundtrack (1992) 12 Stadio Flaminio, Rome (July 6, 1993) 13 Lakefront Arena, New Orleans (November 16, 1993) 14 Hints, Allegations, and Things Left Unsaid (1993) 15 Civic Center, Pensacola (March 9, 1994) 16 Bayfront Amphitheater, Miami (March 28, 1994) 17 Patriot Center, Fairfax (April 8, 1994) 18 Rayburn House Office Building, Washington DC (June 30, 1994) 19 Dave (1994) 20 Self-Pollution Radio (January 8, 1995) 21 Soldier Field, Chicago (July 11, 1995) 22 38th Annual Grammy Awards (February 28, 1996) 23 Cox Arena, San Diego (July 10, 1998) 24 Binaural and the Battle of Seattle (1999) 25 Roskilde Festival, Denmark (June 30, 2000) 26 Madison Square Garden (October 15, 2000) 27 Nassau Veterans Memorial Coliseum, Uniondale (April 30, 2003) 28 Thin Air (2006—2013) 29 Tomas Young and Body of War (2005—2014) 30 Wells Fargo Center, Philadelphia (April 29, 2016) 31 Altice Arena, Lisbon (June 20, 2019) Afterword (For Chris Cornell) In Memoriam Acknowledgments Bibliography Index About the Author

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Book SynopsisWhat happens in our unconscious minds when we listen to, produce or perform popular music? The Unconscious a much misunderstood concept from philosophy and psychology works through human subjects as we produce music and can be traced through the music we engage with. Through a new collaboration between music theorist and philosopher, Smith and Overy present the long history of the unconscious and its related concepts, working systematically through philosophers such as Schopenhauer and Nietzsche, psychoanalysts such as Freud and Lacan, to theorists such as Deleuze and Kristeva. The theories offered are vital to follow the psychological complexity of popular music, demonstrated through close readings of individual songs, albums, artists, genres, and popular music practices. Among countless artists, Listening to the Unconscious draws from Prince to Sufjan Stevens, from Robyn to Xiu Xiu, from Joanna Newsom to Arcade Fire, from PJ Harvey to LCD Sound System, each of Trade ReviewExploring how conscious and unconscious states of mind are channeled through musical expression, Kenneth Smith and Stephen Overy collaborate here to offer post-Freudian and post-Lacanian readings of popular songs. With clear reference to psychoanalytic concepts, their analytic applications reveal remarkable ways in which states of being emerge through expressive musical strategies. Listening to the Unconscious will reward readers with persuasive and stimulating reflections on how music channels the very core of human experience. * Lori Burns, Professor of Music, University of Ottawa, Canada *Three particular values strike me in reading Smith and Overy's Listening to the Unconscious. First, they provide an entry-level, cogent introduction to key psychoanalytic concepts and the ways they enable navigation of the unconscious, but with a musical purpose in mind. Second, they give much all-too-rare attention to musical detail in the light of these concepts, leading to persuasive elucidations of a wide range of songs at rather greater depth than often found. And, third, they present sufficient richness of demonstration to enable interested readers to apply these ideas to music of their own choosing, and thus to understand music more convincingly from this useful perspective. What more could one want? * Allan Moore, Professor Emeritus, University of Surrey, UK *Listening to the Unconscious provides a compelling approach to music listening. It is an invaluable addition to the field of popular music studies, demonstrating deftly the relevance of psychoanalysis in music scholarship. Comprising an extensive collection of musical examples, Smith and Overy have developed an impressive array of theories that lay the foundations for important forms of critical thinking. * Stan Hawkins, Professor Emeritus, University of Oslo and University of Agder, Norway *Kenneth Smith and Stephen Overy present a unique approach to the analysis of popular music that links conventional music theoretic and Freudian/Lacanian psychoanalytic concepts providing the analyst a window into the unconscious drives shaping popular music. * Ciro Scotto, Associate Professor of Music Theory, Ohio University, USA *Table of ContentsIntroduction 1. Charting Three Freudian Hypotheses with Pop Music: the economic, the topographic, the structural 2. Freud, Music, and the Psychological Condition 3. Bright Eyes (and friends) and the Antlers Meet Jacques Lacan 4. Phallocentrism, Sexuation and the Chora, from Lacan to Kristeva; Gaga to Björk 5. The Death Drive and Unconscious Production 6. “Do you want to be the ebb of this great tide?” Lacan, Freud, Nietzsche, Deleuze, and “Joy in Repetition”: Prince and LCD Soundsystem 7. S & M, & Pop Perversion 8. Polly Jean Harvey asks,“Is this desire [enough]?” Bibliography Index

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Book SynopsisOn Saturday, June 28, 1986, George Michael picked up his tasselled leather jacket, walked out of London's Wembley Stadium and cheerfully tore up five years of glittering pop history. He'd just disposed of Wham!, the band he'd formed with school friend Andrew Ridgeley when they were teenagers, and now, at 23, he knew he was all grown up. He just needed to convince everyone else. Faith is what happens when you've outstripped your dreams, your peers, your friends and your fans, and no one's caught up yet. It's about pouring all of that confusion, insecurity and sizzling ambition into music that comes out confused, insecure and ambitious and then selling 25 million copies of it. George Michael was always preparing for this and, in the process, he set a template for all disaffected singers making that move. This book examines that model and the themes that went into Faith from engaging in politics to crossing over to a Black audience and writing classic pop songs to endure Table of ContentsTrack listing Acknowledgements 1. Wham! wrapped 2. The public image 3. Freedom 87 4. Sex and the serious man 5. Politics (the pop remix) 6. I will be your adult contemporary 7. Bearing the crossover 8. Signing off Notes Selected bibliography

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Book SynopsisKylie Minogue's self-titled debut album produced hits, controversy and a perfect mainstream storm. The then soap and children's television star crossed over' to music with hit writer/producers SAW and the shamelessly commercial approach of all involved saw the real' music industry get its back up. This book interrogates the way that commercial pop albums are remembered in both the popular music press and in academic research. Is there a way of dealing with mainstream' pop without denigrating the music and (just as importantly) without validating it according to the terms of a high art' canon? This text sheds light on the way that notions of mainstream' and other' play out in a local contextspecifically, Australia and New Zealand music on a global stage.Table of ContentsAcknowledgements Introduction K - Kinda Girlie, Kinda Gay Y - Youth L - Long Player I - Industry E - Endurance Outro References Index

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Book SynopsisAfter a string of commercial disappointments, in 1986 Australian rock band The Church were simultaneously dropped by Warner Brothers in the US and EMI in Australasia. The future looked bleak. Seemingly from nowhere, their next record, Starfish, became an unlikely global hit. Its alluring and pensive lead single, ''Under the Milky Way'', stood in stark contrast to the synth pop and hair metal dominating the 1980s. A high watermark of intelligent rock, Starfish musically anticipated alternative revolutions to come. Yet in making Starfish, The Church struggled with their internal contradictions. Seeking both commercial and artistic success, they were seduced by fame and drugs but cynical towards the music industry. Domiciled in Australia but with a European literary worldview, they relocated to Los Angeles to record under strained circumstances in the heart of the West Coast hit machine. This book traces the story of Starfish, its background, composition, produTrade ReviewIt is the best well-written account and perfectly expresses the character of the band members as well. I can thoroughly recommend it. * Peter Koppes, guitarist for The Church *In his contribution to the 33 1/3 Oceania series, Chris Gibson provides an engaging, insightful look at Starfish, the album that dragged The Church into the surreal world of late-1980s Los Angeles and left them both better-known internationally and forever altered (for better or worse) by the experience. Inviting Gibson, a cultural geographer, to author the book was a stroke of genius. His geographer’s eye and musician’s ear enable him to capture what is so distinctive about a band that combines the construction of sonic cathedrals and the enigmatic exploration of inner space. Even for fans who have spun Starfish thousands of times, Gibson’s narrative opens up new ways of hearing and understanding both the album and the powerful convergence of personal, cultural, geographic, and musical circumstances that produced it. His chapter on the album’s ominous opener, “Destination,” is especially noteworthy, weaving together pieces of the band’s artistic own journey with sharp observations about the construction of a song that remains as stubbornly impenetrable as it is enticing. Drawing on focused, revealing interviews with the band members, later chapters provide memorable stories about legendary Church tracks such as “Under the Milky Way”, “Reptile”, and “Hotel Womb”. Along the way, Gibson also paints a sharp and sensitive picture of the big-city, big-label environment and the punishing studio regimen that yielded one of the most timeless records of the 1980s. * John Collins, Professor and Chair of Global Studies, St. Lawrence University, USA *Table of ContentsPrologue Side 1 1 Destination 2 Under the Milky Way 3 Blood money 4 Lost 5 North, South, East, and West Side 2 6 Spark 7 Antenna 8 Reptile 9 A New Season 10 Hotel Womb Postscript Acknowledgments Endnotes Index

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Book SynopsisIn Long and Winding Roads: The Evolving Artistry of the Beatles, Revised Edition, Kenneth Womack brings the band's story vividly to lifefrom their salad days as a Liverpool Skiffle group and their apprenticeship in the nightclubs and mean streets of Hamburg through their early triumphs at the legendary Cavern Club and the massive onslaught of Beatlemania itself. By mapping the group's development as an artistic fusion, Womack traces the Beatles' creative arc from their first, primitive recordings through Abbey Road and the twilight of their career. In this revised edition, Womack addresses new insights in Beatles-related scholarship since the original publication of Long and Winding Roads, along with hundreds of the group's outtakes released in the intervening years. The updated edition also affords attention to the Beatles' musical debt to Rhythm and Blues, as well as to key recent discoveries that vastly shift our understanding of formative events in the band's timelessTrade ReviewCombining masterful storytelling and intellectual rigor, Kenneth Womack takes readers on a spellbinding tour of Beatles history. Journeying through the band’s music-making album by album, this revised edition of Long and Winding Roads: The Evolving Artistry of the Beatles captures all the dynamism, poignancy, and magic behind the now-iconic discography. An engaging and invaluable text, Womack demonstrates once more why he is a leading voice in Beatles scholarship. * Christine Feldman-Barrett, author of A Women’s History of the Beatles (Bloomsbury, 2021) *Follow the Beatles down their Long and Winding Roads with Kenneth Womack as guide. This is the Goldilocks choice of Beatles books: meticulous sourcing and highly readable prose strike a just-right balance. Incorporating the latest research in an ever-growing field, the revised edition continues to be the choice for scholars and students of the band. Offering an authoritative reference and a book to tuck into, Womack will have you turning the pages of a story you only thought you knew. * Katie Kapurch, co-editor of New Critical Perspectives on the Beatles (2016) *Table of ContentsPrologue: The End 1. The Beginning 2. A Cellarful of Noise 3. And the Band Begins to Play 4. Rock and Roll Music 5. The Biggest Showbiz Town Ever 6. War-Weary 7. Yesterday and Today 8. Plastic Soul 9. The End of the Road 10. The Act You’ve Known for All These Years 11. Roll Up for the Mystery Tour 12. Whiter Shades of Pale 13. Getting Back 14. The Dream Is Over Epilogue: Long Live the Dream Acknowledgments Bibliography Notes Index

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Book SynopsisDrop the record needle on any vinyl album in your collection, then read the first pages of that novel you've been meaning to pick upthe reverberations between them will be impossible to miss. Since Dylan went electric, listening to rock 'n' roll has often been a surprisingly literary experience, and contemporary literature is curiously attuned to the history and beat of popular music. In The Ink in the Grooves, Florence Dore brings together a remarkable array of acclaimed novelists, musicians, and music writers to explore the provocatively creative relationship between musical and literary inspiration: the vitality that writers draw from a three-minute blast of guitars and the poetic insights that musicians find in literary works from Shakespeare to Southern Gothic. Together, the essays and interviews in The Ink in the Grooves provide a backstage pass to the creative processes behind some of the most exciting and influential albums and novels of our time. Contributors: Laura Cantrell, Michael Chabon, Roddy Doyle, Bob Dylan, Steve Earle, William Ferris, Dom Flemons, Rhiannon Giddens, Dave Grohl, Peter Guralnick, Amy Helm, Randall Kenan, Jonathan Lethem, Greil Marcus, Rick Moody, Lorrie Moore, the John Prine band (Dave Jacques, Fats Kaplin, Pat McLaughlin, Jason Wilber), Dana Spiotta, John Jeremiah Sullivan, Richard Thompson, Scott Timberg, Daniel Wallace, Colson Whitehead, Lucinda Williams, Warren Zanes.Trade ReviewNovelists, musicians, and other cultural movers and shakers muse on the intersection of literature and rock music in this rich collection of essays. Music lovers with a literary bent will find this worth tuning in to. * Publishers Weekly *Florence Dore has created an excellent collection of old and new writing that explores the convergence of rock and literature. Readers will want to take the time to slowly savor this rich gathering. * Booklist *Florence Dore's search along the seam of rock music and fiction evinces rare moments in the lives of writers and musicians, epiphanies suggesting a shared psyche of art seeking freedom, art quaking with hungers of expression that anyone who has gone stomp-down dancing in a club where the music soars will feel into the bone. * The Daily Beast *Table of ContentsIntroduction: Needles and Pens, by Florence Dore Part 1: The Inescapable Dylan 1. Let it Rock 2. The Genius and Modern Times of Bob Dylan 3. All the Poets (Musicians on Writing): An Interview with Rhiannon Giddens 4. Chronicles: Volume One (Excerpt) Part II: Rock 'N' Roll Saved My Life: Writers on Music 5. Banjo Interlude: An Idle Teen's Life Is Saved by Music 6. Tonight We Improvise: From Sag Harbor (Excerpt) 7. Ubu Lives! Remembering Punk and Its Stories 8. By Heart: From Eat the Document (Excerpt) 9. Precious Resource (Rock and Our Generation of Novelists): An Interview with Jonathan Lethem and Dana Spiotta 10. Whack Fol the Daddy-O: How I Learned to Hate Irish Music Slightly Less Part III: Rock's Literary Identity: Musicians on Literature 11. Dear Dylan: An Interview with Lucinda Williams 12. Iambic Pentameter and the Blues: An Interview with Steve Earle 13. Sir Patrick Rocks! Dragging Ancient Ballads into the Twentieth Century, and What That Can Do to Fragile Young Minds 14. Two Blue Suedes Part IV: Don't Let Anyone Write Your Story: Musings on Rock as Literature 15. When We All Get to Heaven 16. English as a Second Language 17. Cosmic Ray: How Ray Charles's "I Got a Woman" Transformed the Music of Ray Charles, Allowed Him to Keep His Band, and Created a Musical and Social Revolution 18. Ain't It Always Stephen Stills Part V: Losses and Erasures 19. Black Cowboys and Jimi Hendrix: An Interview with Dom Flemons 20. Anatomy of a Canned Heat Hit: "Let's Work Together" by Wilbert Harrison 21. John Prine (The Reluctant Genius): An Interview with Dave Jacques, Jason Wilbur, Fats Kaplin, and Pat McLaughlin 22. The Day the Live Concert Returns 23. Unknown Band on a Forgotten Stage 24. Right on Time: An Interview with Amy Helm,

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