Although "Pink Flag "appeared before the end of 1977, it was already a meta-commentary on the punk scene and was far more revolutionary musically than the rest of the competition. Few punk bands moved beyond pared-down rock 'n' roll and garage rock, football-terrace sing-alongs or shambolic pub rock and, if we're honest, only a handful of punk records hold up today as anything other than increasingly quaint period pieces. While the majority of their peers flogged one idea to death and paid only lip service to punk's Year Zero credo, Wire took a genuinely radical approach, deconstructing song conventions, exploring new possibilities and consistently reinventing their sound. THIS IS A CHORD. THIS IS ANOTHER. THIS IS A THIRD. NOW FORM A BAND, proclaimed the caption to the famous diagram in a UK fanzine in 1976 and countless punk acts embodied that do-it-yourself spirit. Wire, however, showed more interesting ways of doing it once you'd formed that band and they found more compelling uses for those three mythical chords.

    Elliott Smith's XO should not be one of them. Smith's 1998 major label debut defies the tortured singer-songwriter stereotype, and takes up this defiance as a central theme. At a time when Smith was being groomed for a particular (and particularly condescending) brand of stardom, he produced a record that eviscerated one of the central assumptions of singersongwriterdom: that pain is beautiful. XO insists that romanticizing personal tragedy can only leave you deaf and dumb and done. And it backs up this claim with some of the most artful and intelligent music of its day. Matthew LeMay writes an original take on a widely beloved album, steering clear of the sensationalist suicide angles that have dogged most analysis of Elliott Smith's extraordinary work.

    In this remarkable book, Warren Zanes explores his own love affair with the record.

    No album represented this rip-it-up-and-start-again movement better than the act's breakthrough 1982 LP, Rio. A cohesive album with a retro-futuristic sound-influences include danceable disco, tangy funk, swaggering glam, and Roxy Music's art-rock-the full-length sold millions and spawned smashes such as "Hungry Like the Wolf" and the title track.However, Rio wasn't a success everywhere at first; in fact, the LP had to be buffed-up with remixes and reissued before it found an audience in America. The album was further buoyed by colorful music videos, which established Duran Duran as leaders of an MTV-driven second British Invasion, and the group's cutting-edge visual aesthetic. Via extensive new interviews with band members and other figures who helped Rio succeed, this book explores how and why Rio became a landmark pop-rock album, and examines how the LP was both a musical inspiration-and a reflection of a musical, cultural, and technology zeitgeist.

    Neither the band’s hip origins in the Lower East Side scene nor Flood’s platinum certification can cover up the record's singular importance at the geek fringes of culture.Flood’s significance to this audience helps us understand a certain way of being: it shows that geek identity doesn’t depend on references to Hobbits or Spock ears, but can instead be a set of creative and interpretive practices marked by playful excess—a flood of ideas. The album also clarifies an historical moment. The brainy sort of kids who listened to They Might Be Giants saw their own cultural options grow explosively during the late 1980s and early 1990s amid the early tech boom and America’s advancing leftist social tides. Whether or not it was the band's intention, Flood’s jubilant proclamation of an identity unconcerned with coolness found an ideal audience at an ideal turning point. This book tells the story.

    Savidge was co-founder and head of legendary public relations company Savage and Best, the company that represented most of the artists associated with the scene, including Suede, Pulp, The Verve, Elastica, Kula Shaker, Spiritualized, Menswear, The Auteurs, and Black Box Recorder. Savidge published her first book, Lunch With The Wild Frontiers as Phill Savidge but had transitioned just prior to its publication and she is now known as Jane Savidge. In Lunch .. she suggests that Britpop came about by accident because she refused to represent any American bands. She subsequently ended up with an extremely accessible, media-friendly roster that lived around the corner and included the most exciting press-worthy acts of the era.Savidge's unique experience at the epicentre of Britpop led to many intimate, not entirely self-congratulatory encounters with a who's who of popular culture including Brett Anderson, Damon Albarn, Roy Orbison, David Bowie, Joe Strummer, Lou Reed, Michael Barrymore, Richard Ashcroft, Andrew Lloyd Webber, Mick Jagger, George Lucas, Damien Hirst, and Dave Stewart, among others. But did she really Sellotape a cassette of Suede's 'Animal Nitrate' single to a purple velvet cushion with a note that said 'another great disappointment' and then bike it to the NME? And could she and Jarvis Cocker really have fallen out simply because a journalist thought she was more glamorous than the Pulp front man?If you've ever wondered what it's like to represent Hirst, Cocker, and The Verve in the same decade, and then wake up in bed with Keith Allen in the Ritz in Paris courtesy of Mohammed Al Fayed then you should read this book. Imagine David Sedaris with a hangover and an expense account and you're halfway to appreciating the delinquent delights of Lunch With The Wild Frontiers.Savidge is currently working on her second book.

    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.

    Published posthumously, this volume rounds out the life of the legendary guitarist and composer, providing more backstory behind his creative ferocity. The stories provide a personal view into decades of his poignant insights into life and music.

    Here, Bruce Eaton examines the key ingredients of Radio City's lasting appeal- and through extensive interviews with all of those involved, gets to the heart of the cult of Big Star.

    David Bowie is holed up in his Bel-Air mansion, drifting into drug-induced paranoia and confusion. Obsessed with black magic and the Holy Grail, he's built an altar in the living room and keeps his fingernail clippings in the fridge. There are occasional trips out to visit his friend Iggy Pop in a mental institution. His latest album is the cocaine-fuelled Station To Station (Bowie: "I know it was recorded in LA because I read it was"), which welds R&B rhythms to lyrics that mix the occult with a yearning for Europe, after three mad years in the New World. Bowie has long been haunted by the angst-ridden, emotional work of the Die Brucke movement and the Expressionists. Berlin is their spiritual home, and after a chaotic world tour, Bowie adopts this city as his new sanctuary. Immediately he sets to work on Low, his own expressionist mood-piece.

    Over 50,000 copies have been sold! Passionate, obsessive, and smart. Nylon an inspired new series of short books about beloved works of vinyl. Details Nicholas Rombes is an English professor at the University of Detroit Mercy, where he teaches and writes about film, music, and pop culture. His writing has appeared in a range of journals and magazines, including Exquisite Corpse (edited by Andrei Codrescu) and McSweeney s. He is also the editor of the forthcoming book Post-Punk Cinema. Description What could be more punk rock than a band that never changed, a band that for decades punched out three-minute powerhouses in the style that made them famous? The Ramones repetition and attitude inspired a genre, and Ramones set its tone. Nicholas Rombes examines punk history, with the recording of Ramones at its core, in this inspiring and thoroughly researched justification of his obsession with the album. Excerpt: When I sat down to write about the album s opening song, Blitzkreig Bop, my first line was This is the best opening song to any rock album. Then I decided that sounded too creepily fanatic and more than a little disingenuous, since I haven't heard every rock album ever made, and I took it out. But then I went downstairs to the turntable and played it and midway through ran back upstairs and put the line back in even before the screensaver clicked in. Here s why: Blitzkrieg Bop succeeds not only as a song in its own right, but also as a promise kept. The songs that follow live up to the speed, humor, menace, absurdity, and mystery of that first song, whose opening lines Hey ho, let's go offer not so much a warning as an invitation to the listener, an invitation and a threat that the song isn t a fluke or a one-off, but that it sets the stage for an entire album that will be fast and loud.

    With full participation from reclusive singer and chief songwriter Paul Westerberg, bassist Tommy Stinson, guitarist Slim Dunlap, and the family of late band co-founder Bob Stinson, author Bob Mehr is able to tell the real story of this highly influential group, capturing their chaotic, tragic journey from the basements of Minneapolis to rock legend. Drawing on years of research and access to the band's archives at Twin/Tone Records and Warner Bros. Mehr also discovers previously unrevealed details from those in the group's inner circle, including family, managers, musical friends and collaborators.

    Tracey's music career was just beginning, while Lindy, drummer for The Go-Betweens, was ten years her senior. They became confidantes, comrades and best friends, a relationship cemented by gossip and feminism, books and gigs and rock 'n' roll love affairs.Morrison - a headstrong heroine blazing her way through a male-dominated industry - came to be a kind of mentor to Thorn. They shared the joy and the struggle of being women in a band, trying to outwit and face down a chauvinist music media.In My Rock 'n' Roll Friend Thorn takes stock of thirty-seven years of friendship, teasing out the details of connection and affection between two women who seem to be either complete opposites or mirror images of each other. This important book asks what people see, who does the looking, and ultimately who writes women out of - and back into - history.

    Features interviews with producer Joe Boyd, string arranger Robert Kirby, and even the marketing team behind the VW Cabrio commercial that launched the album to platinum status more than thirty years after its release.

    As the 1970s ended, Waits felt increasingly constrained and trapped by his persona and career. Bitter and desperately unhappy, he moved to New York in 1979 to change his life. It wasn't working. But at his low point, he got the phone call that changed everything: Francis Ford Coppola tapped Tom to write the score for One From the Heart. Waits moved back to Los Angeles to work at Zoetrope's Hollywood studio for the next 18 months. He cleaned up, disciplined himself as a songwriter and musician, collaborated closely with Coppola, and met a script analyst named Kathleen Brennan - his "only true love."They married within 2 months at the Always and Forever Yours Wedding Chapel at 2am. Swordfishtrombones was the first thing Waits recorded after his marriage, and it was at Kathleen's urging that he made a record that conceded exactly nothing to his record label, or the critics, or his fans. There aren't many love stories where the happy ending sounds like a paint can tumbling in an empty cement mixer.Kathleen Brennan was sorely disappointed by Tom's record collection. She forced him out of his comfortable jazzbo pocket to take in foreign film scores, German theatre, and Asian percussion. These two stories of a man creating that elusive American second act, and also finding the perfect collaborator in his wife give this book a natural forward drive.