Cohen is also a man of complexities and seeming contradictions: a devout Jew, who is also a sophisticate and a ladies' man, as well as an ordained Buddhist monk whose name, Jikan—"ordinary silence"—is quite the appellation for a writer and singer whose life has been anything but ordinary.I'm Your Man is the definitive account of that extraordinary life. Starting in Montreal, Cohen's birthplace, acclaimed music journalist Sylvie Simmons follows his trail, via London and the Greek island of Hydra, to New York in the sixties, where Cohen launched his career in music. From there she traces the arc of his prodigious achievements to his remarkable retreat in the mid-nineties and his reemergence for a sold-out world tour almost fifteen years later. Whether navigating Cohen's journeys through the backstreets of Mumbai or his countless hotel rooms along the way, Simmons explores with equal focus every complex, contradictory strand of Cohen's life and presents a deeply insightful portrait of the vision, spirit, depth, and talent of an artist and a man who continues to move people like no one else.

    Her memoir tells the story of how, through sheer will, talent, and fearlessness, she forced herself into a male-dominated industry, became part of a movement that changed music, and inspired a generation of female rockers.After forming The Flowers of Romance with Sid Vicious in 1976, Albertine joined The Slits and made musical history in one of the first generations of punk bands. The Slits would go on to serve as an inspiration to future rockers, including Kurt Cobain, Carrie Brownstein, and the Riot Grrrl movement in the 1990s. This is the story of what it was like to be a girl at the height of punk: the sex, the drugs, the guys, the tours, and being part of a brilliant pioneering group of women making musical history. Albertine recounts helping define punk fashion, struggling to find her place among the boys, and her romance with Mick Jones, including her pregnancy and subsequent abortion. She also gives a candid account of what happened post-punk, beyond the break-up of The Slits in 1982, including a career in film, surviving cancer, and making music again, twenty-five years later.A truly remarkable memoir told in Viv’s frank, irreverent, and distinctive voice, Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys. is a raw, thrilling story of life on the frontier.

    His fans have been treated to the best-selling Flaming Pie and Standing Stone albums, a full hour of Paul on "Oprah," and this thoughtful and comprehensive biography that brings us closer to the man than ever before. Based on hundreds of hours of exclusive interviews over a period of five years, and with complete access to Paul's own archives, Barry Miles has succeeded in letting Paul tell the story of his life as a Beatle in his own words. It includes Paul's recollection of the genesis of every song that he wrote with John Lennon and the fascinating details about their remarkable collaboration.

    This sweeping chronicle of music, politics, drugs, fear, loathing, and faith has been recognized as an indie rock classic in its own right. Among the bands profiled: Mission of Burma, Butthole Surfers, The Minutemen, Sonic Youth, Black Flag, Big Black, Hüsker Dü, Fugazi, Minor Threat, Mudhoney, The Replacements, Beat Happening, and Dinosaur Jr.

    He went on to record and perform in various configurations, including as a member of Stephen Stills’s Manassas and as a co-founder of The Souther-Hillman-Furay Band. In the 1980s he formed The Desert Rose Band, scoring eight Top 10 Billboard country hits. He’s released a number of solo efforts, including 2017’s highly acclaimed Bidin’ My Time—the final album produced by the late Tom Petty. In Time Between, Hillman shares his quintessentially Southern Californian experience, from an idyllic, rural 1950s childhood; to achieving worldwide fame thanks to hits such as “Mr. Tambourine Man,” “Turn! Turn! Turn!” and “Eight Miles High”; to becoming the first musician to move to Laurel Canyon. Featuring behind-the-scenes insights on his time in The Byrds, his productive but sometimes complicated relationship with Gram Parsons, his role in launching the careers of Buffalo Springfield and Emmylou Harris, and the ups and downs of life in various bands, music is only part of his story. Within the pages of Time Between, Hillman reveals the details of his personal life with candor and vulnerability, writing honestly about the shocking tragedy that struck his family when he was a teenager, his subsequent struggles with anger, and how his spiritual journey led him to a place of deep faith that allowed him to extend forgiveness and experience wholeness. Chris Hillman is much more than a rock star. He is truly a founding father of American music and a man who has faced down the challenges of life to discover what really matters.

    That the Beatles were an unprecedented phenomenon is a given. In Can’t Buy Me Love, Jonathan Gould seeks to explain why, placing the Fab Four in the broad and tumultuous panorama of their time and place, rooting their story in the social context that girded both their rise and their demise.Beginning with their adolescence in Liverpool, Gould describes the seminal influences––from Elvis Presley and Chuck Berry to The Goon Show and Alice’s Adventures in Wonderland––that shaped the Beatles both as individuals and as a group. In addition to chronicling their growth as singers, songwriters, and instrumentalists, he highlights the advances in recording technology that made their sound both possible and unique, as well as the developments in television and radio that lent an explosive force to their popular success. With a musician’s ear, Gould sensitively evokes the timeless appeal of the Lennon-McCartney collaboration and their emergence as one of the most creative and significant songwriting teams in history. And he sheds new light on the significance of Sgt. Pepper’s Lonely Hearts Club Band as rock’s first concept album, down to its memorable cover art.Behind the scenes Gould explores the pivotal roles played by manager Brian Epstein and producer George Martin, credits the influence on the Beatles’ music of contemporaries like Bob Dylan, Brian Wilson, and Ravi Shankar, and traces the gradual escalation of the fractious internal rivalries that led to the group’s breakup after their final masterpiece, Abbey Road. Most significantly, by chronicling their revolutionary impact on popular culture during the 1960s, Can’t Buy Me Love illuminates the Beatles as a charismatic phenomenon of international proportions, whose anarchic energy and unexpected import was derived from the historic shifts in fortune that transformed the relationship between Britain and America in the decades after World War II.From the Beats in America and the Angry Young Men in England to the shadow of the Profumo Affair and JFK’s assassination, Gould captures the pulse of a time that made the Beatles possible—and even necessary. As seen through the prism of the Beatles and their music, an entire generation’s experience comes astonishingly to life. Beautifully written, consistently insightful, and utterly original, Can’t Buy Me Love is a landmark work about the Beatles, Britain, and America.

    Readers see how the band evolved and amplifed the uproar of the sixties, became politically and socially active, and achieved a lasting impact unparalleled in pop music. Chapters combine text and comics for complete information presented in a fun way.

    Though it sold miserably, the record made music history by documenting a burgeoning regional sound, the raw fusion of heavy metal and punk rock that we now know as grunge. But it wasn’t until five years later, with the seemingly overnight success of Nirvana’s “Smells Like Teen Spirit,” that grunge became a household word and Seattle ground zero for the nineties alternative-rock explosion.Everybody Loves Our Town captures the grunge era in the words of the musicians, producers, managers, record executives, video directors, photographers, journalists, publicists, club owners, roadies, scenesters and hangers-on who lived through it. The book tells the whole story: from the founding of the Deep Six bands to the worldwide success of grunge’s big four (Nirvana, Pearl Jam, Soundgarden and Alice in Chains); from the rise of Seattle’s cash-poor, hype-rich indie label Sub Pop to the major-label feeding frenzy that overtook the Pacific Northwest; from the simple joys of making noise at basement parties and tiny rock clubs to the tragic, lonely deaths of superstars Kurt Cobain and Layne Staley.Drawn from more than 250 new interviews—with members of Nirvana, Pearl Jam, Soundgarden, Alice in Chains, Screaming Trees, Hole, Melvins, Mudhoney, Green River, Mother Love Bone, Temple of the Dog, Mad Season, L7, Babes in Toyland, 7 Year Bitch, TAD, the U-Men, Candlebox and many more — and featuring previously untold stories and never-before-published photographs, Everybody Loves Our Town is at once a moving, funny, lurid, and hugely insightful portrait of an extraordinary musical era.

    RIP IT UP AND START AGAIN is a celebration of what happened next.Post-punk bands like PiL, Joy Division, Talking Heads, The Fall and The Human League dedicated themselves to fulfilling punk's unfinished musical revolution. The post-punk groups were fervent modernists; whether experimenting with electronics and machine rhythm or adapting ideas from dub reggae and disco, they were totally confident they could invent a whole new future for music.

    Pepper at the head of the class, but it was Revolver that truly signaled the Beatles' sea change from a functional band to a studio-based ensemble. These changes began before Rubber Soul but came to fruition on Revolver, which took an astonishing 300 hours to produce, far more than any rock record before it. The making of Revolver - hunkered down in Abbey Road with George Martin - is in itself a great Beatles story, but would be nothing if the results weren't so impactful. More than even Sgt. Pepper and Pet Sounds, Revolver fed directly into the rock 'n' roll zeitgeist, and its influence could be heard everywhere, from the psychedelic San Francisco sound (Jefferson Airplane, Grateful Dead) to the first wave of post-blues hard rock (Sabbath, Zeppelin) through movie soundtracks and pretty much everything that followed it, including every generation of guitar-based pop music and even heavy metal. More than any record before or after, Revolver was the game-changer, and this is, finally, the detailed telling of its storied recording and enormous impact.

    It is filled with new interviews with music legends such as Brian Wilson, Mike Love, Alan Jardine, Bruce Johnston, David Marks, Blondie Chaplin, Randy Bachman, Roger McGuinn, John Sebastian, Lyle Lovett, Alice Cooper, and Al Kooper, and commentary from a younger generation such as Matthew Sweet, Carnie Wilson, Daniel Lanois, Cameron Crowe, and Zooey Deschanel. Even hardcore fans will be delighted by the breadth of this musical-history volume. Plans for celebrating the golden anniversary of "America's band" include the long-awaited release of 1967's Smile--the most famous aborted album in rock history--and concerts reuniting the group's five main surviving members. The band's music is as influential as it was 50 years ago, and this retelling of how the iconic rock group found itself in the annals of pop culture couldn't come at a better time.

    With interviews from friends, family, and associates, and material drawn from an unfinished autobiography, Shipton probes beneath the enigma to discover the real Harry Nilsson. A major celebrity at a time when huge concerts and festivals were becoming the norm, Nilsson shunned live performance. His venue was the studio, his stage the dubbing booth, his greatest triumphs masterful examples of studio craft. He was a gifted composer of songs for a wide variety of performers, including the Ronettes, the Yardbirds, and the Monkees, yet Nilsson's own biggest hits were almost all written by other songwriters. He won two Grammy awards, in 1969 for "Everybody's Talkin'" (the theme song for Midnight Cowboy), and in 1972 for "Without You," had two top ten singles, numerous album successes, and wrote a number of songs--"Coconut" and "Jump into the Fire," to name just two--that still sound remarkably fresh and original today. He was once described by his producer Richard Perry as "the finest white male singer on the planet," but near the end of his life, Nilsson's career was marked by voice-damaging substance abuse and the infamous deaths of both Keith Moon and Mama Cass in his London flat.Drawing on exclusive access to Nilsson's papers, Alyn Shipton's biography offers readers an intimate portrait of a man who has seemed both famous and unknowable--until now.

    With its raw, anarchic sounds, aura of sex and violence, outrageous behavior, and concerts that frequently degenerated into near-riots, the band changed the rules of rock-and-roll forever. Add to that the early death of band member Sid Vicious, by heroin overdose, and you have all the ingredients for a legend.In January 1978, the Sex Pistols came to the United States for a twelve-day tour, mostly of cities in the Deep South. 12 Days on the Road is an extraordinary moment-by-moment re-creation of that wild adventure by Noel E. Monk, the Sex Pistols' American tour manager, and veteran journalist Jimmy Guterman. Here is a sensational, "explosive chapter in the history of rock" (Booklist) that is also "a touching and improbable tale of innocence and exploitation" (Kirkus Reviews).

    This is the story, by the people who saw with their own eyes, made with their own hands, and heard with their own ears.

    As lead singer and songwriter for the Velvet Underground and a renowned solo artist, Lou Reed invented alternative rock. His music, at once a source of transcendent beauty and coruscating noise, violated all definitions of genre while speaking to millions of fans and inspiring generations of musicians. But while his iconic status may be fixed, the man himself was anything but. Lou Reed's life was a transformer's odyssey. Eternally restless and endlessly hungry for new experiences, Reed reinvented his persona, his sound, even his sexuality time and again. A man of contradictions and extremes, he was fiercely independent yet afraid of being alone, artistically fearless yet deeply paranoid, eager for commercial success yet disdainful of his own triumphs. Channeling his jagged energy and literary sensibility into classic songs - like "Walk on the Wild Side" and "Sweet Jane" - and radically experimental albums alike, Reed remained desperately true to his artistic vision, wherever it led him. Now, just a few years after Reed's death, Rolling Stone writer Anthony DeCurtis, who knew Reed and interviewed him extensively, tells the provocative story of his complex and chameleonic life. With unparalleled access to dozens of Reed's friends, family, and collaborators, DeCurtis tracks Reed's five-decade career through the accounts of those who knew him and through Reed's most revealing testimony, his music. We travel deep into his defiantly subterranean world, enter the studio as the Velvet Underground record their groundbreaking work, and revel in Reed's relationships with such legendary figures as Andy Warhol, David Bowie, and Laurie Anderson. Gritty, intimate, and unflinching, Lou Reed is an illuminating tribute to one of the most incendiary artists of our time.