Burdon was ripped off by unscrupulous agents, accountants, and record labels, hounded by the police, and framed for a crime he didn't commit. Yet through it all, he never became bitter. He was the first rocker to play behind the Iron Curtain. He sang with Jimi Hendrix, chased Jim Morrison out of his house with a .44, and introduced John Lee Hooker to the toughest venue Hooker ever played. Eric Burdon explains how he became the "Egg Man" in the Beatles' "I am the Walrus." With the enthusiasm and good humor of his live shows, Burdon recalls the tense reunion between John Lennon and Lennon's long-estranged father; racing motorcycles across the California desert with Steve McQueen; picketing the offices of MGM Records for nonpayment of royalties; performing in wartime Sarajevo with a symphony orchestra; getting run out of Meridian, Mississippi for promoting black music, and singing his heart out year after year. A complete discography and fifty photographs, many never before published, are included in this unforgettable memoir. "Burdon has lived like a real rocker." -New York Times Book Review "Riveting and informative."-Los Angeles Times "These reminiscences will delight Burdon's fans . . . in general."-Library Journal

    A biography of Townes Van Zandt which traces his background as the scion of a prominent Texas family; his troubled early years and his transformation from promising pre-law student to wandering folk singer; his life on the road and the demons that pursued and were pursued by him; and the women who loved and inspired him.

    The catalogue of current classical CDs runs to more than two and half thousand tightly packed pages, and lists nearly three hundred composers before reaching the second letter of the alphabet. An average month sees some four hundred recordings and re-issues added to the pile. The Rough Guide to Classical Music attempts to make sense of this overwhelming volume of music, giving you the information that's essential whether you're starting from the beginning or have already begun exploring. As well as being a buyer's guide to CDs, this book is a who's who of classical music, ranging from Hildegard of Bingen, one of the great figures of eleventh-century European culture, to Thomas Adès, born in London in 1971. Of course we've had to be selective, both with the composers and with their output - Domenico Scarlatti, for example, was a fascinating musician, but no book of this scope could do justice to each of his five hundred keyboard sonatas. Gaetano Donizetti wrote more than seventy operas, but you wouldn't want to listen to all of them. We've gone for what we think are the best works by the most interesting composers, mixing some underrated people with the big names, and highlighting some we think you should keep an eye on. When it comes to CDs the situation requires even greater ruthlessness. Beethoven may have written only nine symphonies, but there are more than one hundred versions of the fifth in the catalogue, and scores of recordings of all the others. Several of these CDs should never have been issued - they are there simply because any up-and-coming conductor has to make a Beethoven recording as a kind of calling card, regardless of any aptitude for the music. However, a fair proportion of the Beethoven CDs are worth listening to, because a piece of music as complex as a Beethoven symphony will bear as many different readings as a Shakespeare play. Although there are recordings that stand head and shoulders above the competition, no performance can be described as definitive, which is one reason why we have often recommended more than one account of a work. Whereas all our first-choice CDs make persuasive cases for the music, some of the additional recommendations are included because they make provocative counter-arguments. Where price is a consideration, we've also listed a lower-cost alternative whenever appropriate - thus we might suggest a mid-price boxed set of symphonies as an alternative to buying them as full-price individual CDs. Finally, in many instances we've picked an outstanding pre-stereo performance as a complement to a modern recording. These `historic' reissues are the one reliable growth area in the classical music industry, and their success is not due to mere nostalgia. There are some great musicians around today, but there's also a lot of hype in the business, with many soloists owing their success more to the way they look than to the way they play - and conversely, many superlative musicians who remain obscure because they don't project the requisite glamour. It's in the area of orchestral music and opera that the situation is especially bad, notwithstanding the technically immaculate quality of many digital recordings. Orchestral musicians are now trained to a very high standard, but only a few of the top-class orchestras enjoy the sort of long-term relationship with an individual conductor that can mould a distinctive identity. The same goes for opera companies, which used to have a stable core of singers and musicians working under the same conductor for years. Now there's a system based on jet-setting stars, who might be performing in London one night, New York the next, then in the recording studio for a few days to record something with people they hadn't met until the day the session started. You don't necessarily get a good football team by paying millions for a miscellaneous batch of top-flight players, and you don't build a good musical team that way either. Musically, then, new is not always best. And don't assume that a recording made more than thirty years ago will sound terrible. Sound quality won't match that of digital CDs, but you'll be surprised at how good it can be - indeed, many people prefer the warmth of the old analogue sound to the often chilly precision produced by modern studios. (We've warned you if surface noise or tinny quality might be a hindrance to enjoyment.) In short, you'll be missing a lot if you insist on hi-tech - few recent releases can match Vladimir Horowitz's 1940 account of Tchaikovsky's Piano Concerto No. 1, for instance, or Josef Hofmann's versions of the Chopin piano concertos from the 1930s.

     Theo Aronson's The Kaisers is the story of six people whose bitter differences were a microcosm of, and greatly influenced, a national conflict which echoed all round the world. Kaiser Wilhelm I, born 1797, King of Prussia 1861, proclaimed Emperor of all Germany 1871, died only in 1888 an autocratic, militaristic man of the eighteenth century completely opposed to the liberalizing ideas which swept Europe in his lifetime. In contrast his Empress, Augusta, was progressive in thought, open-minded in outlook, yet with all had a taste for the theatrical and pageantry of her royal status. The best of her was seen in their son, Kaiser Frederick III, who was Crown Prince for all but the last few cancer-torn weeks of his life. He personified the best of European liberalism of the nineteenth century. In this he was supported—many said unduly influenced by his energetic and vivacious English wife Victoria, Queen Victoria's eldest and 'Dearest Child', who brought to the marriage the enlightened ideals and hopes of her shrewd, practical mother and her far-seeing father, the Prince Consort. The tragedy, the tempting speculation of Germany's history, is that this couple reigned for only three months before Frederick III's death brought their son to the throne. Kaiser Wilhelm II, 'Kaiser Bill' of the first World War, was again the antithesis of everything his parents stood for. Queen Victoria's hopes that her grandson might be 'wise, sensible, courageous — liberal-minded — good and pure', could hardly have been more misplaced. The sixth, the dominating figure in the Hohenzollern story, is Prince Otto von Bismarck, the ruthless 'Iron Chancellor', virtual dictator of Germany for nearly thirty years. He served all three Kaisers, claiming with justification that on his shoulders he had carried the first to the Imperial throne—where he manipulated him to his will despite the hatred and manoeuvrings of the Empress Augusta. He feared the reign of the short-lived second Kaiser and feared more perhaps (and never missed an opportunity to disparage) the Empress Victoria and the constant, commonsense influence from England of her mother. (`That', he said ruefully after their one meeting, 'was a woman ! One could do business with her ! ') Their son he flattered, siding with him against his parents, and in so doing brought about his own downfall, when the vainglorious young man he had schooled as Crown Prince came as Kaiser to believe that he could do without his mentor. But for Europe it was too late, and the policies of one and the vanities of the other were already leading Europe helter-skelter into the holocaust of 'the Kaiser's War'. Theo Aronson's gifts as a writer have deservedly brought him high regard as a chronicler of the complex histories of Europe's great ruling Houses. Rarely have his talents been better employed than in this study of the comet-like rise and fall of the House of Hohenzollern, the House of the Kaisers of Germany. It is a story of bitter, almost continual conflict, yet even in what can now be seen as a path to inevitable destruction Mr. Aronson finds passages of light and shade that show the Hohenzollerns not simply as Wagnerian puppets posturing on a vast European stage, but people deserving of our understanding and compassion.

    Barber takes you on another delightful romp through the pages of music history - as it ought to be taught.

    Vale: Four leading figures in social movements discuss the state of Western culture and what led to its demise, with firsthand accounts of their own experiences, including subjects that concern every creative artist and thinker: The Internet and social change; why every one must paint( ); mind control, marketing, branding and consumerism; corporate chain stores and the problem of Amazon; punk rock history; the rise of Do-It-Yourself (D-I-Y) culture production; fame and its downside; sex and relationships.

    In The Essential Canon of Classical Music, David Dubal comes to the aid of the struggling listener and provides a cultural-literacy handbook for classical music. Dubal identifies the 240 composers whose works are most important to an understanding of classical music and offers a comprehensive, chronological guide to their lives and works. He has searched beyond the traditional canon to introduce readers to little-known works by some of the most revered names in classical music-Bach, Haydn, Mozart, Schubert-as well as to the major works of lesser-known composers. In a spirited and opinionated voice, Dubal seeks to rid us of the notion of "masterpieces" and instead to foster a new generation of master listeners. The result is an uncommon collection of the wonders classical music has to offer.

    Illustrated with previously unseen photographs and drawing on over 300 hours of interviews with band members, producers, friends, former lovers and associates, this biography traces the artist's life from his Minneapolis roots through controversial stardom to his rejection of the Prince persona.

    He's timeless. His appeal spans over many decades and many generations. The Man Comes Around addresses why Cash is so important now and why he's always been important. It unpacks the anchor from which all Cash's artistry comes-his spirituality. From the cotton fields of Arkansas to the air fields of Germany, and from the streets of Memphis to the gospel road in Israel, this comprehensive, dripping-with-detail book on the spiritual journey of Johnny Cash will take the reader on an odyssey of earthy, workingman's music and war-torn, complex Christianity.

    From the moment the metronomic pulse of a heartbeat thudded out to begin "Speak to Me" to the soaring guitar solo that climaxed "Comfortably Numb," these self-effacing men in their late fifties stole the show. Almost a year later, the death of their troubled founder-member Syd Barrett made headline news worldwide. Both events signaled a kind of closure to the remarkable tale of one of the world's biggest bands. Now, in the first full-length history of the group for more than fifteen years, Mark Blake tells the story of how a group of middle-class Englishmen conquered the world. Drawing on his own interviews with all of the band members, interviews with the group's friends, road crew, producers, former housemates and university colleagues, as well as musical contemporaries including Pete Townshend and Alice Cooper, Comfortably Numb follows Pink Floyd all the way from the early psychedelic nights at UFO in the mid-sixties to the stadium-rock and concept-album zenith of the seventies, and finally the acrimonious schism that sundered the band in the '80s and '90s.

    This version of the Beatles legend smoothed the rough edges and filled in the fault lines, and for more than forty years this manicured version of the Beatles story has sustained as truth - until now.The product of almost a decade of research, hundreds of unprecedented interviews, and the discovery of scores of never-before-revealed documents, Bob Spitz's The Beatles is the biography fans have been waiting for -- a vast, complete account as brilliant and joyous and revelatory as a Beatles record itself. Spitz begins in Liverpool, a hard city knocked on its heels. In the housing projects and school playgrounds, four boys would discover themselves -- and via late-night radio broadcasts, a new form of music called rock 'n roll.Never before has a biography of musicians been so immersive and textured. Spitz takes us down Penny Lane and to Strawberry Field (John later added the s), to Hamburg, Germany, where -- amid the squalor and the violence and the pep pills -- the Beatles truly became the Beatles. We are there in the McCartney living room when Paul and John learn to write songs together; in the heat of Liverpool's Cavern Club, where jazz has been the norm before the Beatles show up; backstage the night Ringo takes over on drums; in seedy German strip clubs where George lies about his age so the band can perform; on the lonely tours through frigid Scottish towns before the breakthrough; at Abbey Road Studios, where a young producer named George Martin takes them under his wing; at the Ed Sullivan Show as America discovers the joy and the madness; and onward and upward: up the charts, from Shea to San Francisco, through the London night, on to India, through marmalade skies, across the universe...all the way to a rooftop concert and one last moment of laughter and music.It is all here, raw and right: the highs and the lows, the love and the rivalry, the awe and the jealousy, the drugs, the tears, the thrill, the magic never again to be repeated. Open this book and begin to read -- Bob Spitz's masterpiece is, at long last, the biography the Beatles deserve.

    There are many books out there about the Dead told from the perspective of roadies, journalists, third party observers, and fans. However, with the exceptions of Jerry Garcia's ramblings in Garcia: A Signpost to New Space and Conversations With the Dead, Lesh's Searching for the Sound is the first time a founding member of America's favorite band tells their own story of what it was like inside the Grateful Dead. And what a wonderful, strange tale it is.Phil Lesh, considered the most academic of the group due to his avant-garde classical composition training, literate mind, and passion for the arts, decided to write his story himself. Written without the crutch of a ghostwriter, Searching for the Sound might be considered disjointed in places, but overall it comes across as conversational, intimate, informative, and candid (particularly regarding topics of drug use and death). If you are familiar with the band and their extended family, their history, the sixties' musical milestones and influences and all the band's famous tales (the Garcia/ Lesh "silent" confrontation, being busted on Bourbon Street, the Wall of Sound), you may be a little disgruntled there is not much new here in the way of content. However, what is "new" and totally satisfying is Phil's warm, optimistic perspective on the many events that helped shape his life. As described by Lesh, his life's journey, much like the Dead's music, is "a [series] of recurring themes, transpositions, repetitions, unexpected developments, all converging to define form that is not necessarily apparent until it's ending has come and gone." For the many fans who enjoyed the fruits of his life pursuit of sonic explorations, Searching for the Sound is a welcome addition to their Dead library.

    Fay has gone back to primary documents: Shostakovich's many letters, concert programs and reviews, newspaper articles, and diaries of his contemporaries. An indefatigable worker, he wrote his arresting music despite deprivations during the Nazi invasion and constant surveillance under Stalin's regime. Shostakovich's life is a fascinating example of the paradoxes of living as an artist under totalitarian rule. In August 1942, his Seventh Symphony, written as a protest against fascism, was performed in Nazi-besieged Leningrad by the city's surviving musicians, and was triumphantly broadcast to the German troops, who had been bombarded beforehand to silence them. Alone among his artistic peers, he survived successive Stalinist cultural purges and won the Stalin Prize five times, yet in 1948 he was dismissed from his conservatory teaching positions, and many of his works were banned from performance. He prudently censored himself, in one case putting aside a work based on Jewish folk poems. Under later regimes he balanced a career as a model Soviet, holding government positions and acting as an international ambassador with his unflagging artistic ambitions. In the years since his death in 1975, many have embraced a view of Shostakovich as a lifelong dissident who encoded anti-Communist messages in his music. This lucid and fascinating biography demonstrates that the reality was much more complex. Laurel Fay's book includes a detailed list of works, a glossary of names, and an extensive bibliography, making it an indispensable resource for future studies of Shostakovich.

     The music that he shaped in his tiny Memphis studio with artists as diverse as Elvis Presley, Ike Turner, Howlin' Wolf, Jerry Lee Lewis, and Johnny Cash, introduced a sound that had never been heard before. He brought forth a singular mix of black and white voices passionately proclaiming the vitality of the American vernacular tradition while at the same time declaring, once and for all, a new, integrated musical day. With extensive interviews and firsthand personal observations extending over a 25-year period with Phillips, along with wide-ranging interviews with nearly all the legendary Sun Records artists, Guralnick gives us an ardent, unrestrained portrait of an American original as compelling in his own right as Mark Twain, Walt Whitman, or Thomas Edison.

    Shirer's new book - written in his ninth decade - explores the passionate, highly charged, and extraordinary lives of Leo and Sonya Tolstoy. It is a compelling illumination both of the nature of genius and of the universal problems of love, sex, and marriage - themes that Tolstoy played out in his great fiction and that haunted him in his tangled domestic life. Rich in anecdotes, wise, full of sweeping history, and imbued with Shirer's profound knowledge of literature and life, Love and Hatred ranks beside such works as Robert Massie's Nicholas and Alexandra and Nigel Nicolson's Portrait of a Marriage as a masterly, intuitive, and sympathetic exploration of the love/hate relationship between two famous, bigger-than-life people. Beginning in 1862, when Tolstoy committed the blunder of asking his young bride to read his diaries of his bachelor life so there should be no secrets between them, and ending with his tragic flight from home (and marriage) in 1910 while the whole world waited for news of him, Love and Hatred tells the story of a great romance between two people who could live neither together nor apart - a romance that exhausted and obsessed them both, and that forms the basis for much of Tolstoy's work. The final book of William L. Shirer's long and brilliant career, it is - appropriately - a masterly re-creation of a time, of two extraordinary people, and of the very nature of love, marriage, and old age.