and the Clash. The East Coast editor of Launch magazine, Randall is undoubtedly one of the many journalists eager to exclaim "genius!" again, but his biography of the Grammy winners is economical, restrained and unauthorized (band members "respectfully declined" Randall's requests to cooperate). After briefly reenacting the now mythic June 1997 concert at New York City's Irving Plaza, attended by rock's superstar aristocracy (Bono, Lenny Kravitz, Madonna, etc.), Randall smartly spends most of his narrative on the band's fascinating, decade-long conception in and around culturally barren Oxford, whose Radiohead landmarks he visited and lays out. Non- and neo-Anglophiles will especially appreciate Randall's definitions of British terms and background on the British music industry, music press and education system (all five musicians met at the all-male Abingdon School). As for the inevitable "record critique" chapters, Randall rarely throws in his two cents, preferring to sprinkle passages with the band's own pithy observations and recording-session anecdotes culled from magazine interviews. Exit music? Not quite, as Radiohead are pushing the boundaries of pop music (the new record is rumored to include Miles Davis and backwards singing). Because the book will be published right before the new album debuts, it will be nearly out of date by the time it hits bookstores. However, Randall's work will still serve as a reliable introduction to an ever-evolving band.

    Universally acclaimed as a musical genius, Miles is one of the most important and influential musicians in the world. The subject of several biographies, now Miles speaks out himself about his extraordinary life.Miles: The Autobiography, like Miles himself, holds nothing back. For the first time Miles talks about his five-year silence. He speaks frankly and openly about his drug problem and how he overcame it. He condemns the racism he has encountered in the music business and in American society generally. And he discusses the women in his life. But above all, Miles talks about music and musicians, including the legends he has played with over the years: Bird, Dizzy, Monk, Trane, Mingus, and many others.The man who has given us some of the most exciting music of the past few decades has now given us a compelling and fascinating autobiography, featuring a concise discography and thirty-two pages of photographs.

    This was the New York of Palladium; of Mars, Limelight, and Twilo; of unchecked, drug-fueled hedonism in pumping clubs where dance music was still largely underground, popular chiefly among working-class African Americans and Latinos. And then there was Moby--not just a poor, skinny white kid from Connecticut, but a devout Christian, a vegan, and a teetotaler. He would learn what it was to be spat on, to live on almost nothing. But it was perhaps the last good time for an artist to live on nothing in New York City: the age of AIDS and crack but also of a defiantly festive cultural underworld. Not without drama, he found his way. But success was not uncomplicated; it led to wretched, if in hindsight sometimes hilarious, excess and proved all too fleeting. And so by the end of the decade, Moby contemplated an end in his career and elsewhere in his life, and put that emotion into what he assumed would be his swan song, his good-bye to all that, the album that would in fact be the beginning of an astonishing new phase: the multimillion-selling Play.At once bighearted and remorseless in its excavation of a lost world, Porcelain is both a chronicle of a city and a time and a deeply intimate exploration of finding one's place during the most gloriously anxious period in life, when you're on your own, betting on yourself, but have no idea how the story ends, and so you live with the honest dread that you're one false step from being thrown out on your face. Moby's voice resonates with honesty, wit, and, above all, an unshakable passion for his music that steered him through some very rough seas.Porcelain is about making it, losing it, loving it, and hating it. It's about finding your people, your place, thinking you've lost them both, and then, somehow, when you think it's over, from a place of well-earned despair, creating a masterpiece. As a portrait of the young artist, Porcelain is a masterpiece in its own right, fit for the short shelf of musicians' memoirs that capture not just a scene but an age, and something timeless about the human condition. Push play.

    when it was released in 1996, and what makes it still resonate today, is the way in which it loosens itself from the mooring of the known and sails off into an uncharted territory that seems to exist both in and out of time. Josh Davis is not only a master sampler and turntablist supreme, he is also a serious archeologist with a world-thirsty passion (what Cut Chemist refers to as Josh's spidey sense) for seeking out, uncovering and then ripping apart the discarded graces of some other generation that pile of broken dreams and weaving them back together into a tapestry of chronic bleakness and beauty. Over the course of severallong conversations with Josh Davis (DJ Shadow), we learn about his early years in California, the friends and mentors who helped him along the way, his relationship with Mo'Wax and James Lavelle, and the genesis and creation of his widely acknowledged masterpiece, Endtroducing....

    With a voice like Ace Frehley's guitar, Klosterman hacks his way through hair-band history, beginning with that fateful day in 1983 when his older brother brought home Mötley Crüe's Shout at the Devil. The fifth-grade Chuck wasn't quite ready to rock -- his hair was too short and his farm was too quiet -- but he still found a way to bang his nappy little head. Before the journey was over, he would slow-dance to Poison, sleep innocently beneath satanic pentagrams, lust for Lita Ford, and get ridiculously intellectual about Guns N' Roses. C'mon and feel his noize.

    And that's where I come in." --Greg Dulli, introducing "When We Two Parted" onstage in San FranciscoLike no record before or since, Gentlemen is fraught with the psychological warfare, bedroom drama, Catholic guilt, reprehensible deception and uncleansable shame that coincide with relationships gone seriously wrong. This story explores what happens when intellectual sophistication is star-crossed with outspoken braggadocio, a charismatic mixture that managed to alienate the mainstream horde and arms-folded indie scenesters while, for good measure, incited outsider jealousy and condescending rumors advanced by the Fat Greg Dulli 'zine. In addition to dissecting the record's organization, arrangements and lyrics, as well as examining old articles, reviews and interviews, this book delves into the memories, experiences and influences of the Afghan Whigs, most notably those that drive Dulli, a polarizing frontman whose fierce pretentiousness, GQ appearance and gloves-off boisterousness concealed deep-rooted mental depression and chemical dependency.

    Here's the first book to dissect the trio that countless critics and musicians have cited as one of the most influential bands of the 1980s. Author Andrew Earles examines how Hüsker Dü became the first hardcore band to marry pop melodies with psychedelic influences and ear-shattering volume. Readers witness the band create the untouchable noise-pop of LPs like New Day Rising, Flip Your Wig, and Candy Apple Grey, not to mention the sprawling double-length Zen Arcade. Few bands from the original American indie movement did more to inform the alternative rock styles that breached the mainstream in the 1990s. Hüsker Dü truly were visionaries.

    Lloyd recounts the founding of Television, the band's rise alongside other bands and personalities in the 1970’s New York Music scene, and the legend-making of the unparalleled music venue CBGB. As the rock ‘n’ roll tales unfold, he accompanies them with insights into his approach to music and the electric guitar.Lloyd’s mid-career vignettes detail his solo years, including the backstory of critically praised records such as Alchemy and Field of Fire, his drug addiction and recovery, his 90s-era work, and touring adventures with artists such as Matthew Sweet, John Doe, and Robert Quine. Throughout the book is an undercurrent—Lloyd’s continually evolving spiritual-philosophical approach to life, emerging from the conscious digestion of the highs and the lows—both ends of the same stick.In Everything is Combustible, Richard Lloyd relates his life, both inner and outer, in the narrative style, digging beneath the events and revealing their meanings.Considered a foundational band of alternative rock, Television’s debut record, Marquee Moon, is widely viewed by critics and musicians as one of the greatest albums ever recorded. As one half of Television’s unique guitar sound, and a legendary solo artist in his own right, Richard Lloyd’s music has influenced a range of bands and artists from U2, Johnny Marr and Joy Division to R.E.M., Sonic Youth, Wilco and John Frusciante.

    His journals reveal an artist who loved music, who knew the history of rock, and who was determined to define his place in that history. Here is a mesmerizing, incomparable portrait of the most influential musician of his time.

    But as the end of the millennium neared, cutting-edge bands began emerging from Seattle, Austin, and London, pushing New York further from the epicenter. The behemoth music industry, too, found itself in free fall, under siege from technology. Then 9/11/2001 plunged the country into a state of uncertainty and war—and a dozen New York City bands that had been honing their sound and style in relative obscurity suddenly became symbols of glamour for a young, web-savvy, forward-looking generation in need of an anthem.Meet Me in the Bathroom charts the transformation of the New York music scene in the first decade of the 2000s, the bands behind it—including The Strokes, The Yeah Yeah Yeahs, LCD Soundsystem, Interpol, and Vampire Weekend—and the cultural forces that shaped it, from the Internet to a booming real estate market that forced artists out of the Lower East Side to Williamsburg. Drawing on 200 original interviews with James Murphy, Julian Casablancas, Karen O, Ezra Koenig, and many others musicians, artists, journalists, bloggers, photographers, managers, music executives, groupies, models, movie stars, and DJs who lived through this explosive time, journalist Lizzy Goodman offers a fascinating portrait of a time and a place that gave birth to a new era in modern rock-and-roll.

    Pepper’s Lonely Hearts Club Band by The Beatles was released, an LP which changed the face of popular culture and continues to top public and critical polls of the greatest albums ever made. The Act You’ve Known for All These Years reconstructs the life and times of Sgt. Pepper, the cultural backstory of the band and rock's turbulent early adulthood. Weaving the activities of the Beatles in with those of their contemporaries and rivals — notably Bob Dylan, the Beach Boys and Pink Floyd — heralded music critic Clinton Heylin reveals the inspirations and explodes the myths behind this talismanic, iconic album — and "the summer of love" itself. In addition, the book surveys what happened next, telling the history of the LP’s "afterlife" from 1967 to the present day. Featuring interviews both with those who were there at the time and those who followed in the Beatles’ wake, The Act You’ve Known for All These Years is the definitive book on the defining LP of the pop era.

    Started by two twenty-year-old musicians, Merge is a lesson in how to make and market great music on a human scale. The fact that the company is prospering in a failing industry is something of a miracle. Yet two of their bands made the Billboard Top 10 list; more than 1 million copies of Arcade Fire's Neon Bible have been sold; Spoon has appeared on Saturday Night Live and The Tonight Show; and the Magnetic Fields' 69 Love Songs is a contemporary classic.In celebration of their twentieth anniversary, founders Mac and Laura offer first-person accounts—with the help of their colleagues and Merge artists—of their work, their lives, and the culture of making music. Our Noise also tells the behind-the-scenes stories of Arcade Fire, Spoon, the Magnetic Fields, Superchunk, Lambchop, Neutral Milk Hotel, and Butterglory. Hundreds of personal photos of the bands, along with album cover art, concert posters, and other memorabilia are included.

    Seventeen years after their last album, they resurrected themselves with an intense, socially conscious record, We Got It from Here . . . Thank You 4 Your Service, which arrived when fans needed it most, in the aftermath of the 2016 election. Poet and essayist Hanif Abdurraqib digs into the group's history and draws from his own experience to reflect on how its distinctive sound resonated among fans like himself. The result is as ambitious and genre-bending as the rap group itself.Abdurraqib traces the Tribe's creative career, from their early days as part of the Afrocentric rap collective known as the Native Tongues, through their first three classic albums, to their eventual breakup and long hiatus. Their work is placed in the context of the broader rap landscape of the 1990s, one upended by sampling laws that forced a reinvention in production methods, the East Coast-West Coast rivalry that threatened to destroy the genre, and some record labels' shift from focusing on groups to individual MCs. Throughout the narrative Abdurraqib connects the music and cultural history to their street-level impact. Whether he's remembering The Source magazine cover announcing the Tribe's 1998 breakup or writing personal letters to the group after bandmate Phife Dawg's death, Abdurraqib seeks the deeper truths of A Tribe Called Quest; truths that--like the low end, the bass--are not simply heard in the head, but felt in the chest.

    Pioneers of electronic minimalism in the 60s, 70s, and 80s, Kraftwerk redefined pop music. When they split up in the early 1980s, founding member Wolfgang Flur discovered his name dropped from album credits and the drum machine of his own invention being patented by his bandmates. Kraftwerk: I Was a Robot documents the group's alternately inspiring and bitter story from its unsteady beginnings through worldwide fame to the legal battle in a Hamburg court that vindicated the author but left lasting scars on all. Color photographs are included.

    Even its cover—the instantly recognizable image of Paul Simonon smashing his bass guitar—has attained iconic status, inspiring countless imitations and even being voted the best rock ’n’ roll photograph ever by Q magazine.Now the breakthrough album from the foremost band of the punk era gets the close critical eye it deserves. Marcus Gray examines London Calling from every vantage imaginable, from the recording sessions and the state of the world it was recorded in to the album’s long afterlife, bringing new levels of understanding to one of punk rock’s greatest achievements. Leaving no detail unexplored, he provides a song-by-song breakdown covering when each was written and where, what inspired each song, and what in turn each song inspired, making this book a must-read for Clash fans.