But this remarkable album was also a social document that came closer to narrating the collective hopes and dreams of a people than any other record of the last quarter century.In a Britain that had just undergone the most damaging period of social upheaval in a century under the Thatcher government, Noel Gallagher ventriloquized slogans of burning communitarian optimism through the mouth of his brother Liam and the playing of the other Oasis 'everymen': Paul McGuigan, Paul Arthurs and Tony McCarroll. On Definitely Maybe, Oasis communicated a timeworn message of idealism and hope against the odds, but one that had special resonance in a society where the widening gap between high and low demanded a newly superhuman kind of leaping.Alex Niven charts the astonishing rise of Oasis in the mid 1990s and celebrates the life-affirming, communal force of songs such as "Live Forever," "Supersonic," and "Cigarettes & Alcohol." In doing so, he seeks to reposition Oasis in relation to their Britpop peers and explore one of the most controversial pop-cultural narratives of the last thirty years.

    Here, Andy Miller traces the perilous circumstances surrounding its creation, and celebrates the timeless, perfectly crafted songs pieced together by a band who were on the verge of disintegration and who refused to follow fashion.EXCERPT'Big Sky' contains some of the most beautiful, thunderous music The Kinks ever recorded, aligned to a vulnerability and warmth no other group - and I mean no other group - could ever hope to equal. It is a perfectly balanced production. On the one hand, the mesh of clattering drums and electric guitar never threatens to overwhelm the melody; on the other, the gossamer-light harmonies, Ray and Dave's vocal line traced by Rasa Davies' wordless falsetto, are bursting with emotion. When most of the instruments drop away at 1.20, the effect is effortlessly vivid - two lines where Davies' performance is both nonchalant and impassioned. The result is wonderfully, enchantingly sad, made more so perhaps by the knowledge that The Kinks will never again sound so refined or so right.

    Weingarten provides a thrilling account of how the Bomb Squad produced such a singular-sounding record: engineering, sampling, scratching, constructing, deconstructing, reconstructing - even occasionally stomping on vinyl that sounded too clean. Using production techniques that have never been duplicated, the Bomb Squad plundered and reconfigured their own compositions to make frenetic splatter collages; they played samples by hand together in a room like a rock band to create a "not quite right" tension; they hand-picked their samples from only the ugliest squawks and sirens.Weingarten treats the samples used on Nation Of Millions as molecules of a greater whole, slivers of music that retain their own secret histories and folk traditions. Can the essence of a hip-hop record be found in the motives, emotions and energies of the artists it samples? Is it likely that something an artist intended 20 years ago would re-emerge anew? This is a compelling and thoroughly researched investigation that tells the story of one of hip-hop's landmark albums.

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

    While Horses pays homage to the record's origins in the nascent New York punk scene, the book's core lies in a detailed analysis of Patti Smith's lyrics and includes discussions of lyrical preoccupations: love, sex, gender, death, dreams, god, metamorphosis, intoxication, apocalypse and transcendence. Philip shaw demonstrates how Horses transformed the possibilities of both poetry and rock music; and how it achieved nothing less than a complete and systematic derangement of the senses.

    They had a violin player. They came from Portugal, Spain, and England. Their anarchy was poetic. Working with the iconic Rough Trade Records at its radical beginnings, they were the first group of punk women to actively call themselves feminists.In this short book—the first on The Raincoats—author Jenn Pelly tells the story of the group's audacious debut album, which Kurt Cobain once called “wonderfully classic scripture.” Pelly builds on rare archival materials and extensive interviews with members of The Raincoats, Sleater-Kinney, Bikini Kill, Hole, Scritti Politti, Gang of Four, and more. She draws formal inspiration from the collage-like The Raincoats itself to explore this album's magic, vulnerability, and strength.

    It is, like each of their first four albums, a masterpiece. Edgy, paranoid, funky, addictive, rhythmic, repetitive, spooky, and fun - with Brian Eno's production, it's a record that bursts out of the downtown scene that birthed the band, and hints at the directions (positive and negative) they'd take in the near future. Here, Jonathan Lethem takes us back to the late 1970s in New York City and situates Talking Heads as one of the most remarkable and enigmatic American bands. Incorporating theory, fiction, and memoir, and placing Fear of Music alongside Fritz Lang, Edgar Allen Poe, Patti Smith, and David Foster Wallace. Lethem's book is a virtuoso performance by a writer at the peak of his powers, tackling one of his great obsessions.

    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.

    If its titular concern - life - doesn't exactly allow for rigid focus, it's still a fiercely inspired collection of songs and one of the definitive soul records of the 1970s. Stevie Wonder was unable to control the springs of his creativity during that decade. Upon turning 21 in 1971, he freed himself from the Motown contract he'd been saddled with as a child performer, renegotiated the terms, and unleashed hundreds of songs to tape. Over the next five years, Wonder would amass countless recordings and release his five greatest albums - as prolific a golden period as there has ever been in contemporary music. But Songs in the Key of Life is different from the four albums that preceded it; it's an overstuffed, overjoyed, maddeningly ambitious encapsulation of all the progress Stevie Wonder had made in that short space of time.Zeth Lundy's book, in keeping with the album's themes, is structured as a life cycle. It's divided into the following sections: Birth; Innocence/Adolescence; Experience/Adulthood; Death; Rebirth. Within this framework, Zeth Lundy covers Stevie Wonder's excessive work habits and recording methodology, his reliance on synthesizers, the album's place in the gospel-inspired progression of 1970s R'n'B, and many other subjects.

    Agreement that they were far and away the best pop group ever is all but universal. And nowhere is the spirit of the Sixties - both in its soaring optimism and its drug-spirited introspection - more perfectly expressed than in the Beatles' music. Taking all the elements which combined to create each song as it was captured on vinyl - the songwriting process, the stimuli of contemporary pop hits and events, the evolving input from each of the Four, the brilliant innovations pulled off in the studio and, ultimately, the twisting grip of psychedelic drugs - the Beatles are pinpointed, record by record, in precise and fascinating detail against the backdrop of that vibrant era.

    Including extensive interviews with Mike Watt and many others close to and inspired by the band, this is a great tribute to a classic piece of American underground music.Included are extensive interviews with Mike Watt, the band's bass player, as well as interviews with several artists, musicians, studio owners, and fanzine writers who have been devoted followers of the band for years.

    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.

    Savage brings to life the sensational story of the meteoric rise and rapid implosion of the Pistols through layers of rich detail, exclusive interviews, and rare photographs. This fully revised and updated edition of the book covers the legacy of punk twenty-five years later and provides an account of the Pistols' 1996 reunion as well as a freshly updated discography and a completely new introduction.

    Her column, Rock, Etc., ran for seven years and established Willis as a leader in cultural commentary and a pioneer in the nascent and otherwise male-dominated field of rock criticism. As a writer for a magazine with a circulation of nearly half a million, Willis was also the country’s most widely read rock critic. With a voice at once sharp, thoughtful, and ecstatic, she covered a wide range of artists—Bob Dylan, The Who, Van Morrison, Elvis Presley, David Bowie, the Rolling Stones, Creedence Clearwater Revival, Joni Mitchell, the Velvet Underground, Sam and Dave, Bruce Springsteen, and Stevie Wonder—assessing their albums and performances not only on their originality, musicianship, and cultural impact but also in terms of how they made her feel.Because Willis stopped writing about music in the early 1980s—when, she felt, rock ’n’ roll had lost its political edge—her significant contribution to the history and reception of rock music has been overshadowed by contemporary music critics like Robert Christgau, Lester Bangs, and Dave Marsh. Out of the Vinyl Deeps collects for the first time Willis’s Rock, Etc. columns and her other writings about popular music from this period (includingliner notes for works by Lou Reed and Janis Joplin) and reasserts her rightful place in rock music criticism.More than simply setting the record straight, Out of the Vinyl Deeps reintroduces Willis’s singular approach and style—her use of music to comment on broader social and political issues, critical acuity, vivid prose, against-the-grain opinions, and distinctly female (and feminist) perspective—to a new generation of readers. Featuring essays by the New Yorker’s current popular music critic, Sasha Frere-Jones, and cultural critics Daphne Carr and Evie Nagy, this volume also provides a lively and still relevant account of rock music during, arguably, its most innovative period.

    Here, Michaelangelo Matos tells the story of how it emerged from an extraordinary period of creativity to become one of the landmark recordings of the 1980s. He also illustrates beautifully how - if a record is great enough and lucky enough to hit you at the right time - it can change your way of looking at the world.EXCERPTThe most immediately striking thing about Sign 'O' the Times is the jazzy sensibility running through it. Prince's father was a jazz musician, his mother a vocalist; he'd been a fan of chops-heavy jazz-fusion as well as rock and R&B growing up. But when Prince began recording for Warner Bros., he abjured the brass sections that dominated groups like Earth, Wind & Fire and Parliament-Funkadelic, opting instead for stacked synthesizer patterns and a spare, cold feel that markedly contrasted with lush, overarranged disco and the wild, thick underbrush of the era's giant funk ensembles; Rickey Vincent, author of Funk: The Music, the People, and the Rhythm of the One, dubbed it "naked funk." Getting away from traditional R&B instrumentation is an underappreciated aspect of Prince's crossover success; Prince is also said to have actively disliked the sound of horns early in his career.