The concert and the live album, Johnny Cash at Folsom Prison, propelled him to worldwide superstardom. He reached new audiences, ignited tremendous growth in the country music industry, and connected with fans in a way no other artist has before or since.Johnny Cash at Folsom Prison is a riveting account of that day, what led to it, and what came after. Scrupulously researched, rich with the author's unprecedented access to Folsom Prison's and Columbia Records' archives, illustrated with more than 100 photos, Johnny Cash at Folsom Prison shows how Johnny Cash forever became a champion of the downtrodden, as well as one of the more enduring forces in American music.

    For the next 15 years, Trident Studios, was at the epicentre of the music industry, recording some of the era's greatest artists, from The Beatles and David Bowie to Elton John and Genesis. Trident also developed their own talent, including a raw and demanding four-piece band called Queen. After an acrimonious split with Trident, their volatile leader Freddie Mercury famously dedicated a song to Norman: Death On Two Legs. In Life On Two Legs, this legendary music figure breaks his forty year silence and sets the record straight, not just about Freddie and Queen but also about artists from John Lennon and Marc Bolan to Harry Nilsson and Phil Collins and the recording of such classics as Hey Jude by The Beatles and Space Oddity by David Bowie. Funny, fascinating and occasionally irreverent - and with a foreword by Sir Paul McCartney - this is an unmissable memoir that brings to vivid life some of rock's greatest characters as well as the era and the studio that produced some of its classic music.

    You'd expect a drummer to have better timing. Yes, he parted ways before The Patrol became the Stone Roses. Yes, he turned down The Smiths because he didn't like Morrissey's voice. Right place, right time, wrong choices. Timing is everything.But the beat goes on and while Simon Wolstencroft can see what might have been, cultivating bitterness bears no fruit. And 'Funky Si' has tasted the nectar. Spending an unlikely 11 years in The Fall and hooking up with his old mate Ian Brown during his solo days, 'You Can Drum But You Can't Hide' reflects on a life driven by a passion for playing. Taking you from the warehouses of Manchester and the beaches of Rio de Janeiro to the high rises of Tokyo, this book hands you a backstage pass to an evocative age that restored pride to the city of Manchester. With humour and detail, Si recounts a fascinating tale of drumming and drugs, friendships and fall outs, but, above all, a love of music.

    In the 1970s, as the disco tsunami engulfed America, the once-innocent question, “Do you wanna dance?” became divisive, even explosive. What was it about this much-maligned music that made it such hot stuff? In this incisive history, Alice Echols captures the felt experience of the Disco Years—on dance floors both fabulous and tacky, at the movies, in the streets, and beneath the sheets. Disco may have presented itself as shallow and disposable—the platforms, polyester, and plastic vibe of it all—but Echols shows that it was inseparable from the emergence of “gay macho,” a rising black middle class, and a growing, if equivocal, openness about female sexuality. The disco scene carved out a haven for gay men who reclaimed their sexuality on dance floors where they had once been surveilled and harassed; it thrust black women onto center stage as some of the genre’s most prominent stars; and it paved the way for the opening of Studio 54 and the viral popularity of the shoestring-budget Saturday Night Fever, a movie that challenged traditional notions of masculinity, even for heterosexuals. As it provides a window onto the cultural milieu of the times, Hot Stuff never loses sight of the era’s defining soundtrack, which propelled popular music into new sonic territory, influencing everything from rap and rock to techno and trance. Throughout, Echols spotlights the work of precursors James Brown and Isaac Hayes, dazzling divas Donna Summer and the women of Labelle, and some of disco’s lesser known but no less illustrious performers such as Sylvester. After turning the final page of this fascinating account of the music you thought you hated but can’t stop dancing to, you can rest assured that you’ll never say “disco sucks” again. 20 photos.

    No one is better qualified to talk about Springsteen than the man himself, and he’s often as articulate and provocative in interviews and speeches as he is emotive onstage and in recordings. While many rock artists seem to suffer through interviews, Springsteen has welcomed them as an opportunity to speak openly, thoughtfully, and in great detail about his music and life. This volume starts with his humble beginnings in 1973 as a struggling artist and follows him up to the present, as Springsteen has achieved almost unimaginable wealth and worldwide fame. Included are feature interviews with well-known media figures, including Charlie Rose, Ted Koppel, Brian Williams, Nick Hornby, and Ed Norton. Fans will also discover hidden gems from small and international outlets, in addition to radio and TV interviews that have not previously appeared in print. This collection is a must-have for any Springsteen fan.

    He interviewed 82 inductees into the Rock and Roll Hall of Fame ... 174 recording artists who had at least one No. 1 hit. His interviews were heard daily on radio stations around the globe during much of the late ‘70s and ‘80s, until severe bipolar disorder took full control. In One Brain Cell Left, Rosy doesn’t always paint a rosy picture of the Mega-Stars he interviewed. Some were absolute sweethearts; others were absolute assholes. And they’re not always the ones you’d expect. He’s never asked what he talked about with celebrities. People only want to know what the stars were like in person. This book answers the “What were they like?” questions about a cross-section of superstar entertainers, newsmakers and athletes that Rosy interviewed. But it’s equally about the unique and unusual life that he’s led outside the entertainment industry. He REALLY didn’t want to like Paul McCartney. He found George Harrison to be completely down-to-earth. Unfortunately, he can’t say the same about Ringo. He found Madonna to be “Queen Shit with a muffin top.” Mickey Mantle swore at him. Mel Brooks ran after him. Kareem Abdul-Jabbar intentionally treated him like shit. His first words to Lionel Richie were, “So they tell me you’ve become a real asshole since you’ve gotten all this success.” And you’ll laugh at his self-deprecating chapters “Always wear a cup when you play tennis” and “Free drinks, a blind hockey goalie and a goat.” You’ll likewise be drawn in by the poignant “I’m no Belushi, but I’ve become Joe Cocker” and the riveting “A machine gun and explosives.” His stories aren’t always pretty. But they’re always pretty interesting. And he’s got the brain cell to prove it.

    Richard Coles, led a pilgrimage to all the major historic sites of the Holy Land: from Nazareth and the Sea of Galilee in the North, via Jericho and the Jordan River, to Bethlehem and, finally, Jerusalem. All of the pilgrims in his care were practising Christians, except one: the writer Kevin Jackson, a diffident and sympathetic atheist intrigued by the chance to take part in this modern-day version of an ancient act of piety, and to learn some more about his old friend, the media clergyman.Coles to Jerusalem is Kevin Jackson’s light-hearted diary of that pilgrimage, and a close-up portrait of Richard Coles both as priest and as man. As the journey proceeds, Coles reminisces at length about his past life as a rock star and radical gay agitator, his new life as a spiritual leader and a popular broadcaster on BBC radio and television, and the strange, unpredictable path that led him from self-destructive debauchery to faith and vocation.With a lively supporting cast of fellow pilgrims, Coles to Jerusalem ranges among the magnificence of ancient monuments and the banalities of the guided tour, the grim political background of contemporary Israel and the comedy of a group of idiosyncratic English folk abroad, the intensity of worship and the lightness of banter. It will be irresistible to all admirers of Richard Coles, who has contributed a foreword; and a revelation to those who have never encountered his wisdom and warmth.

    The chafing restrictions of a typical upbringing in upper-class, small town Alabama simply did not apply to Zelda, who was described as an unusual child and permitted to roam the streets with little supervision. Zelda refused to blossom into a typical 'Southern belle' on anyone's terms but her own and while still in high school enjoyed the status of a local celebrity for her shocking behavior. Everybody in town knew the name Zelda Sayre. Queen of the Montgomery social scene, Zelda had a different beau ready and willing to show her a good time for every day of the week. Before meeting F. Scott Fitzgerald, Zelda's life was a constant pursuit of pleasure. With little thought for the future and no responsibilities to speak of, Zelda committed herself fully to the mantra that accompanied her photo in her high school graduation book: "Why should all life be work, when we all can borrow. Let's think only of today, and not worry about tomorrow." But for now Zelda was still in rehearsal for her real life to begin, a life she was sure would be absolutely extraordinary. Zelda Sayre married F. Scott Fitzgerald on the 3rd of April 1920 and left sleepy Montgomery behind in order to dive headfirst into the shimmering, glamourous life of a New York socialite. With the publication of Scott's first novel, This Side of Paradise, Zelda found herself thrust into the limelight as the very epitome of the Flapper lifestyle. Concerned chiefly with fashion, wild parties and flouting social expectations, Zelda and Scott became icons of the Jazz Age, the personification of beauty and success. What Zelda and Scott shared was a romantic sense of self-importance that assured them that their life of carefree leisure and excess was the only life really worth living. Deeply in love, the Fitzgeralds were like to sides of the same coin, each reflecting the very best and worst of each other. While the world fell in love with the image of the Fitzgeralds they saw on the cover of magazines, behind the scenes the Fitzgerald's marriage could not withstand the tension of their creative arrangement. Zelda was Scott's muse and he mercilessly mined the events of their life for material for his books. Scott claimed Zelda's memories, things she said, experiences she had and even passages from her diary as his possessions and used them to form the basis of his fictional works. Zelda had a child but the domestic sphere offered no comfort or purpose for her. The Flapper lifestyle was not simply a phase she lived through, it formed the very basis of her character and once the parties grew dull, the Fitzgeralds' drinking became destructive and Zelda's beauty began to fade, the world held little allure for her. Zelda sought reprieve in work and tried to build a career as a ballet dancer. When that didn't work out she turned to writing but was forbidden by Scott from using her own life as material. Convinced that she would never leave her mark on the world as deeply or expressively as Scott had, Zelda retreated into herself and withdrew from the people she knew in happier times. The later years of Zelda's life were marred by her detachment from reality as, diagnosed with schizophrenia, Zelda spent the last eighteen years of her life living in and out of psychiatric hospitals. As Scott's life unraveled due to alcohol abuse, Zelda looked back on the years they had spent together, young and wild and beautiful, as the best of her life. She may have been right but she was wrong about one thing, Zelda did leave her mark on the world and it was a deep and expressive mark that no one could have left but her. Zelda Fitzgerald: The Biography

    But it is Stella’s voice, the amazing way that she tells her story, that makes this Holocaust story so unique, powerful and endearing. The reader listens to Stella’s stunning simplicity of expression, her use of Polish and Yiddish phrases, her humor, her all-so-frequent grammatical errors – and is charmed. It is a story that only Stella Yollin can tell, and it can only be told in Stella’s sweet and incomparable way.

    B-36 crews trained for the one flight when they would be ordered to drop combat nuclear bombs on the USSR. Flights of fifteen hours over continental United States to grueling thirty-hour nonstop flights overseas were routine, all without the benefit of in-flight refueling—not yet invented. The experiences of this crew, as they flew their assigned missions, are part of the history of our nation’s defense. They were part of our Cold War Shield.

    After several failed attempts he got out over the wire and journeyed for weeks as a fugitive from northern France to Marseilles, then across the Pyrenees to Spain and Gibraltar and freedom. He was guided along the way by French civilians, resistance fighters and the organizers of the famous Pat escape line. His straightforward, honest and vivid memoir of his work as a surgeon at Dunkirk, life in the prison camps and his escape attempts gives a fascinating insight into his wartime experience. It records the ingenuity and courage of the individuals, the ordinary men and women, who risked their lives to help him on his way. It is also one of the best accounts we have of what it was like to be on the run in occupied Europe.

    Neither of those works, however, undertakes to give a detailed account of the great Anarchy that marked the conclusion of the eighteenth century, the dark time that came before the dawn of British power in the land of the Moghul.

    I don’t just play around on the fringes.’ – Bob DylanIn 1979 there was… trouble in mind, and trouble in store for the ever-iconoclastic Dylan. But unlike in 1965-66, the artifactal afterglow – three albums in three years, Slow Train Coming, Saved and Shot of Love – barely reflected the explosion of faith and inspiration. One has to look elsewhere, and in Trouble In Mind, Clinton Heylin has; connecting the dots on the man’s gospel years by drawing on a wealth of new information, newly-found recordings and new interviews. His primary goal? To make the case for a wholesale re-evaluation of the music Bob Dylan produced in these inspiring times.

    With exclusive access to the RCA vaults, producer Ernst Jorgensen brings to intimate life every moment that Elvis spent in the studio--from the spontaneous joy of his early sessions to the intensely creative periods of his later career. At once the definitive recording session guide and a compellingly readable narrative, this is the ultimate companion to the singer and his songs.

    Fierce, raw voices; tormented drifters; deals with the devil at the crossroads at midnight. In this extraordinary reconstruction of the origins of the Delta blues, historian Marybeth Hamilton demonstrates that the story as we know it is largely a myth. The idea of something called Delta blues only emerged in the mid-twentieth century, the culmination of a longstanding white fascination with the exotic mysteries of black music. Hamilton shows that the Delta blues was effectively invented by white pilgrims, seekers, and propagandists who headed deep into America’s south in search of an authentic black voice of rage and redemption. In their quest, and in the immense popularity of the music they championed, we confront America’s ongoing love affair with racial difference.