You'll follow his intensely personal journey through big breaks and broken dreams, desperate dashboard prayers, and limelight glories. Along the way, you'll find the same constant source of strength that he has--hope that is powerful enough to hold you up through whatever trials come your way.

    We live in an age when the most beautiful of recording formats, vinyl, is back in vogue and thriving. In the early 90s, with the march of the cd and record company disinterest oin the format, vinyl was looking like an anachronism. And with its demise came the gradual erosion of a once beautiful and unique landscape known as the independent record shop. Richard King, author of How Soon is Now, blends memoir and elegiac music writing on the likes of Captain Beefheart, CAN and Julian Cope, to create a book that recalls the debauched glory days of the independent record shop. Chaotic, amateurish and extravagantly dysfunctional, this is a book full of rare personalities and rum stories. It is a book about landscape, place and the personal; the first piece of writing to treat the environment of the record shop as a natural resource with its own peculiar rhythms and anecdotal histories.

    . . A rollicking you-are-there history of the 60s-80s rock era.---Entertainment WeeklyIn this extraordinary memoir, world-renowned guitarist Andy Summers provides the revealing and passionate account of a life dedicated to music. From his first guitar at age thirteen and his early days on the English music scene to the ascendancy of his band, the Police, Summers recounts his relationships and encounters with the Big Roll Band, Jimi Hendrix, Eric Clapton, the Animals, John Belushi, and others, all the while proving himself a master of telling detail and dramatic anecdote. Andy's account of his role as guitarist for the Police---a gig that was only confirmed by a chance encounter with drummer Stewart Copeland on a London train---has been long-awaited by music fans worldwide. The heights of fame that the Police achieved have rarely been duplicated, and the band's triumphs were rivaled only by the personal chaos that such success brought about, an insight never lost on Summers in the telling. Complete with never-before-published photos from Summers's personal collection, One Train Later is a constantly surprising and poignant memoir, and the work of a world-class musician and a first-class writer.

    This edition features increased emphasis on multicultural influences, development across the lifespan, and substance abuse disorders. More than 1,000 clinicians and researchers have contributed to the revision of this classic reference.

     Bono's career is unlike any other in rock history. As the lead singer of U2, Bono has sold 130 million albums, won fourteen Grammys, and played numerous sold-out world tours, but he has also lobbied and worked with world leaders from Bill Clinton and George W. Bush to Nelson Mandela on debt relief, AIDS, and other critical global issues. He has collaborated with the same musicians for nearly three decades and has been married to his childhood sweetheart since 1982. His life, at all turns, resists the rock star clich?s. In a series of intimate conversations with his friend Michka Assayas, a music journalist who has been with the band since the very beginning, Bono reflects on his transformation from the extrovert singer of a small Irish post-punk band into one of the most famous individuals in the world; and from an international celebrity to an influential spokesperson for the Third World. He speaks candidly about his faith, family, commitment, influences, service, and passion. "Bono: A Self-Portrait in Conversation" is the closest we will come, for now, to a memoir from the iconic frontman of U2.

    In Rob Neyer's Big Book of Baseball Legends, Neyer breathes new life into both classic and obscure stories throughout twentieth-century baseball—stories that, while engaging on their own, also tell us fascinating things about their main characters and about the sport's incredibly rich history. With his signature style, Rob gets to the heart of every anecdote, working through the particulars with careful research drawn from a variety of primary sources. For each story, he asks: Did this really happen? Did it happen, sort of? Or was the story simply the wild invention of someone's imagination? Among the scores of legends Neyer questions and investigates... -Did an errant Bob Feller pitch really destroy the career of a National League All-Star? -Did Greg Maddux mean to give up a long blast to Jeff Bagwell? -Was Fred Lynn the clutch player he thinks he was? -Did Tommy Lasorda have a direct line to God? -Did Negro Leaguer Gene Benson really knock Indians second baseman Johnny Berardino out of baseball and into General Hospital? -Did Billy Martin really outplay Jackie Robinson every time they met? -Oh, and what about Babe Ruth's “Called Shot”? Rob checks each story, separates the truths from the myths, and places their fascinating characters into the larger historical context. Filled with insider lore and Neyer's sharp wit and insights, this is an exciting addition to a superb series and an essential read for true fans of our national pastime.

    It is also an unprecedentedly revealing and instructive guide to how songs and records are made.Developed from a series of interviews conducted over many months, the book explores in detail some thirty XTC songs--including well-know singles such as 'Senses Working Overtime' and the controversial 'Dear God'--from throughout the group's thirty-year career. It casts new light on the writing of lyrics, the construction of melodies and arrangements, the process of recording, and the workings of the music industry. But it is also filled with anecdotes about Partridge, his XTC bandmates, and their adventures around the world, all told with the songwriter's legendary humor.

     It was the anthem of the sixties. The psychedelic code by which many lived--and died. And John Phillips, legendary founder and songwriter of the Mamas and the Papas, experienced it all. Now Phillips takes us on a dizzying roller-coaster ride from stardom in L.A. to drug busts in the Big Apple. In an intimate, gritty, all-too-true self-portrait, he offers a startling, reflective look at the turbulent sixties and beyond. From a nightmarish, yet oddly tender childhood through a disastrous military school education in Virginia, John Edmund Andrew Phillips found music the only outlet for his brilliant, restless energy. He developed a personal sound after a rumbling journey through the clubs and honky-tonks of Greenwich Village, the Virgin Islands, Los Angeles, and the segregated South. He began to form the groups that soon brought him into the national spotlight: first the Smoothies, then the Journeyman, and finally the phenomenally successful the Mamas and the Papas. And as the hits rolled in for Papa John-- "Creeque Alley," "Monday, Monday," "California Dreamin'," "Go Where You Wanna Go," "Words of Love" --so did fame and wealth. He paid cash for a fabulous mansion in Los Angeles. He was instrumental in staging the historic Monterrey Pop Festival, where Janis Joplin debuted and Jimi Hendrix memorably lit his guitar on fire. And he immersed himself in a bizarre world of dope, parties, and parasitic hangers-on that rapidly took over his life. Throughout the seventies and into the eighties, Phillips spent over a million dollars on drugs, his imposing six-foot-four-inch frame turning specter like as his weight dropped to 140 pounds. Drifting from his family and dropping out of society, he ended up--busted, broke, and burned out--in a New York City slammer. But though the songs no longer came easy for Papa John Phillips, the music was far from over. And with a supporting cast of superstars that includes Princess Margaret, Mick Jagger, Warren Beatty, Roman Polanski, Elvis Presley, Mia Farrow, and the Beatles, PAPA JOHN tells a fascinating saga of one remarkable and troubled man who, after everything else is a survivor.

    The heartbreaking story of this mysterious sonata—Schubert’s last, and his most elusive and haunting—is the soundtrack of Andrea's story.Sonata is a breathtaking exploration of a “Janus-head miracle”—Andrea's extraordinary talent and even more extraordinary illness. With no cure for her R.A. possible, Andrea must learn to live with this disease while not letting it define her, even though it leaves its mark on everything around her—family, relationships, even the clothes she wears. And in this riveting account, she never loses her wit, humor, or the raw artistry of a true performer.As the goshawk becomes a source of both devotion and frustration for Helen Macdonald in H is for Hawk, so the piano comes to represent both struggle and salvation for Andrea in her extraordinary debut.

    Many of those are thanks to Muscle Shoals Sound Studio and the Muscle Shoals Rhythm Section, dubbed "the Swampers."Some of the greatest names in rock, R&B and blues laid tracks in the original, iconic concrete-block building--the likes of Cher, Lynyrd Skynyrd, the Rolling Stones and the Black Keys. The National Register of Historic Places now recognizes that building, where Lynyrd Skynyrd recorded the original version of "Free Bird" and the Rolling Stones wrote "Brown Sugar" and "Wild Horses." By combing through decades of articles and music reviews related to Muscle Shoals Sound, music writer Carla Jean Whitley reconstructs the fascinating history of how the Alabama studio created a sound that reverberates across generations.

    If you don't live it, it won't come out of your horn." — Charlie Parker"What is jazz? The rhythm — the feeling." — Coleman Hawkins"The best sound usually comes the first time you do something. If it's spontaneous, it's going to be rough, not clean, but it's going to have the spirit which is the essence of jazz." — Dave BrubeckHere, in their own words, such famous jazz musicians as Louis Armstrong, King Oliver, Fletcher Henderson, Bunk Johnson, Duke Ellington, Fats Waller, Clarence Williams, Jo Jones, Jelly Roll Morton, Mezz Mezzrow, Billie Holiday, and many others recall the birth, growth, and changes in jazz over the years. From its beginnings at the turn of the twentieth century in the red-light district in New Orleans (or Storyville, as it came to be known), to Chicago's Downtown section and the Original Dixieland Jazz Band and Chicago's South Side to jam sessions in Kansas City to Harlem during the Depression years, the West Coast and modern developments, the story of jazz is vividly and colorfully documented in hundreds of personal interviews, letters, tape recorded and telephone conversations, and excerpts from previously printed articles that appeared in books and magazines.There is no more fascinating and lively history of jazz than this firsthand telling by the men who made it. It should be read and re-read by all jazz enthusiasts, musicians, students of music and culture, students of American history, and other readers. "A lively book bearing the stamp of honesty and naturalness." — Library Journal. "A work of considerable substance." — The New Yorker. "Some of the quotations are a bit racy but they give the book a wonderful flavor." — San Francisco Chronicle.

    Cultural Studies. In the new INCREDIBLY STRANGE MUSIC, VOL. 1, the editors push way beyond the cheesy TV-celebs-do-pop-faves LP's beloved by garden-variety music cultists. Less a practical guide than a treatise on the philosophical underpinnings of such ephemeria. -- Rolling Stone.

    Anselmi covers the bands and musicians that have impacted those styles most―Black Sabbath, Candlemass, Melvins, Eyehategod, Godflesh, Neurosis, Saint Vitus, and many others―while diving into the cultural doom that has spawned such music, from the bombing of Birmingham and hurricane devastation of New Orleans to glaring economic inequality, industrial alienation, climate change, and widespread addiction. Along the way, Anselmi interweaves the musical experiences that have led him to proudly identify as one of the doomed.

    He cured a dying sparrow with Joan Baez. He counted a pile of cash with Aretha Franklin. He got bamboozled by Chuck Berry. Kenny Weissberg followed the music his entire career. A disc jockey, critic, rock singer, bandleader, and concert promoter, he lived all his childhood dreams - some of which turned into nightmares. In Off My Rocker, he presents a rollicking, backstage look at the joys and painful realities of a life devoted to music. During his early years as a radio personality, he basks in the creative glow of the free-spirited, post-Woodstock era but later rebels against the soulless corporate takeover of the music he's loved forever. Along the way, he detours to the dark side, succumbing to the greed, deceit, theft, and drugs so rampant in the entertainment industry. Equal parts spicy confessional and pop-culture adventure, with trenchant insights throughout, this page-turner of a memoir will stay with you long after the closing credits.

    Updated with an insightful introduction and a revised discography, both written by celebrated music writer David Ritz.Lady Sings the Blues is the fiercely honest, no-holds-barred autobiography of Billie Holiday, the legendary jazz, swing, and standards singing sensation. Taking the reader on a fast-moving journey from Holiday’s rough-and-tumble Baltimore childhood (where she ran errands at a whorehouse in exchange for the chance to listen to Louis Armstrong and Bessie Smith albums), to her emergence on Harlem’s club scene, to sold-out performances with the Count Basie Orchestra and with Artie Shaw and his band, this revelatory memoir is notable for its trenchant observations on the racism that darkened Billie’s life and the heroin addiction that ended it too soon. We are with her during the mesmerizing debut of “Strange Fruit”; with her as she rubs shoulders with the biggest movie stars and musicians of the day (Bob Hope, Lana Turner, Clark Gable, Benny Goodman, Lester Young, Coleman Hawkins, and more); and with her through the scrapes with Jim Crow, spats with Sarah Vaughan, ignominious jailings, and tragic decline. All of this is told in Holiday’s tart, streetwise style and hip patois that makes it read as if it were written yesterday.