Dig Me Out was the band's third studio album, but the first one written and recoded with Weiss. It inaugurated Sleater-Kinney into a lineup that would span its two-decade career.This 33 1/3 follows the narrative of Dig Me Out from its inception in Olympia to its recording in Seattle and its reception across the United States. It's anchored in a short period of time – roughly from mid-1996 to mid-1998 – but it encompasses a series of battles over meaning that continued to preoccupy Sleater-Kinney in the coming decades. The band wrestled with the media about how they would be presented to the public, it contended with technicians about how their sound would be heard in clubs, and they struggled with pervasive social hierarchies about how their work would be understood in popular culture. The only instance where the band didn't have to put up much of a fight was when it came to their fans. The acclaim Sleater-Kinney received from their listeners in the late 1990s, and continue to receive today, speaks to a need for icons who challenged normative notions of culture and gender. This story of Dig Me Out chronicles how Sleater-Kinney won the fight to define themselves on their own terms – as women and as musicians – and, in the process, how they redefined the parameters of rock.

    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.

    It includes a dozen rare images, most never before seen.

    Led Zeppelin was the last great band of the 1960s and the first great band of the 1970's and When Giants Walked the Earth is the full, enthralling story of Zep from the inside, written by a former associate of both Jimmy Page and Robert Plant. Rich and revealing, it bores into not only the disaster, addiction and death that haunted the band but also into the real relationship between Page and Plant, including how it was influenced by Page's interest in the occult. Comprehensive and yet intimately detailed, When Giants Walked the Earth literally gets into the principals' heads to bring to life both an unforgettable band and an unrepeatable slice of rock history.

    With full participation from reclusive singer and chief songwriter Paul Westerberg, bassist Tommy Stinson, guitarist Slim Dunlap, and the family of late band co-founder Bob Stinson, author Bob Mehr is able to tell the real story of this highly influential group, capturing their chaotic, tragic journey from the basements of Minneapolis to rock legend. Drawing on years of research and access to the band's archives at Twin/Tone Records and Warner Bros. Mehr also discovers previously unrevealed details from those in the group's inner circle, including family, managers, musical friends and collaborators.

    Her intelligence, ambition and appetite for confrontation have made her a target in a music industry still dominated by men. As Kurt Cobain's wife she was derided as an opportunistic groupie; as his widow she is pitied, and scorned, as the madwoman in rock's attic. Yet Hole's second album, Live Through This, awoke a feminist consciousness in a generation of young listeners.Live Through This arrived in 1994, at a tumultuous point in the history of American music. Three years earlier Nirvana's Nevermind had broken open the punk underground, and the first issue of a zine called Riot Grrrl had been published. Hole were of this context and yet outside of it: too famous for the strict punk ethics of riotgrrrl, too explicitly feminist to be the world's biggest rock band.Live Through This is an album about girlhood and motherhood; desire and disgust; self-destruction and survival. There have been few rock albums before or since so intimately concerned with female experience. It is an album that changed lives – so why is Courtney Love's achievement as a songwriter and musician still not taken seriously, two decades on?

    His brilliant musicianship inspired his fans in London to scrawl graffiti in the underground train proclaiming, "Clapton is God." Nearly forty years later, this multi-million selling, Grammy award-winning virtuoso guitarist is still winning adulation from a whole new generation of fans.Crossroads, the definitive portrait of the man and his music, reveals with compassion and insight both the depths of Clapton's pain and the roots of his musical power. Michael Schumacher traces his career from the early years of the Yardbirds and John Mayall to the legendary supergroups Cream and Derek and the Dominoes to the solo career that has lasted a quarter of a century. Crossroads also explores the tumultuous life -- his heroin addiction, the excruciating relationship with Patti Boyd (George Harrison's wife and the woman who inspired the classic "Layla"), the year of 1990 when he lost four close friends, and the devastating death of his four-year-old son Connor the following year. Both revealing and sympathetic, this is the ultimate look at the enduring legend who transformed personal suffering into lasting artistic triumph.-- Revised and updated to include details on Clapton's new marriage and his recent recordings and tour-- Complete with a comprehensive discography and tour history

    It purposely makes the two biggest developments in end-user music in the last 30 years irrelevant. Zaireeka is not mobile. It is not personal. It is not solitary, cannot be easily controlled, and can't easily be consumed in small doses. So another way to think of Zaireeka is as a one-off piece of technology that comes in a highly inconvenient dead-end format, which is a rather extraordinary kind of thing for a rock band to make. The Flaming Lips' 1997 album Zaireeka is one of the most peculiar albums ever recorded, consisting of four CDs meant to be played simultaneously on four CD players. Approaching this powerful and complex art-rock masterpiece from multiple angles, Mark Richardson's prismatic study of Zaireeka mirrors the structure the work itself. Thoughts on communal listening and the "death of the album" are interspersed with the story of the Zaireeka's creation (with assistance from Wayne Coyne) and an in-depth analysis of the music, leading to a complete picture of a record that proved to be a watershed for both the band and adventurous music fans alike.

    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.

    A faint, swirling effect intensifies with each bass kick and, by the eighth one, the ears have prepped themselves for the metal mayhem they are about to receive. When it all drops, and the joyous onslaught of a hundred guitars is finally realized, you'll have to forgive your ears for being duped into a false sense of security, because it's that second intensified drop a few seconds later — the one where yet more guitars manifest and Andrew W.K. slam-plants his vocal flag by screaming the song's titular line — that really floods the brain with endorphins, serotonin, dopamine, and whatever else formulates invincibility.Polished to a bright overdubbed-to-oblivion sheen, the party-preaching I Get Wet didn't capture the zeitgeist of rock at the turn of the century; it captured the timelessness of youth, as energized, awesome, and unapologetically stupid as ever. With insights from friends and unprecedented help from the mythological maniac himself — whose sermon and pop sensibilities continue to polarize — this book chronicles the sound's evolution, uncovers the relevance of Steev Mike, and examines how Andrew W.K.'s inviting, inclusive lyrics create the ultimate shared experience between artist and audience.

    --from the foreword by Grace Slick"Jorma Kaukonen is a force in American music, equally adept at fingerpicked acoustic folk and blues as he is at wailing on an electric." - Acoustic Guitar"Jorma Kaukonen lit a fuse and transformed his electric guitar into a firework." - Live For Live MusicIncludes a CD of live music as a companion to the book!From the man who made a name for himself as a founding member and lead guitarist of Jefferson Airplane comes a memoir that offers a rare glimpse into the heart and soul of a musical genius--and a vivid journey through the psychedelic era in America."Music is the reward for being alive," writes Jorma Kaukonen in this candid and emotional account of his life and work. "It stirs memory in a singular way that is unmatched." In a career that has already spanned a half century--one that has earned him induction into the Rock & Roll Hall of Fame and a Grammy Lifetime Achievement Award, among other honors--Jorma is best known for his legendary bands Jefferson Airplane and the still-touring Hot Tuna. But before he won worldwide recognition he was just a young man with a passion and a dream.Been So Long is the story of how Jorma found his place in the world of music and beyond. The grandson of Finnish and Russian-Jewish immigrants whose formative years were spent abroad with his American-born diplomat father, Jorma channeled his life experiences--from his coming-of-age in Pakistan and the Philippines to his early gigs with Jack Casady in D.C. to his jam sessions in San Francisco with Jerry Garcia, Janis Joplin, Bob Dylan, and other contemporaries--into his art in unique and revelatory ways. Been So Long charts not only Jorma's association with the bands that made him famous but goes into never-before-told details about his addiction and recovery, his troubled first marriage and still-thriving second, and more. Interspersed with diary entries, personal correspondence, and song lyrics, this memoir is as unforgettable and inspiring as Jorma's music itself.

    Rollins's observations range from the wry to the raucous in this blistering account of a six-year career with the band - a time marked by crazed fans, vicious cops, near-starvation, substance abuse, and mind numbing all-night drives. Rollins decided to revise this edition by adding a wealth of new photographs, a new foreword, and an afterword to include some "where-are-they-now" information on the people featured in the book. This new edition includes 40 previously unpublished black-and-white photographs from Rollins's private collection and show flyers by artist Raymond Pettibon. Called "a soul-frying experience not to be undertaken by lightweights" by Wired magazine, Get in the Van perfectly embodies what one critic called the "secular gospel" of one of punk and post-punk's most respected and controversial figures.

    Granted, that’s a bold claim to make given that many think his best work lay behind him by the time this record was made. It offers Jackson on a threshold, at long last embracing adulthood—politically questioning, sexually charged—yet unable to convince a skeptical public who had, by this time, been wholly indoctrinated by a vicious media. Even though the record sold well, few understood or were willing to accept the depth and breadth of Jackson’s vision; and then before it could be fully grasped, it was eclipsed by a shifting pop music landscape and personal scandal—the latter perhaps linked to his assertive new politics. This book tries to cut through the din of dominant narratives about Jackson, taking up the mature, nuanced artistic statement he offered on Dangerous in all its complexity. It is read here as a concept album, one that offers a compelling narrative arc of postmodern angst, love, lust, seduction, betrayal, damnation, and above all else racial politics, in ways heretofore unseen in his music. This record offered a Michael Jackson that was mystifying for a world that had accepted him as a child and as childlike and, hence, as safe; this Michael Jackson was, indeed, dangerous.

    (1985) score redefined video game music. With under three minutes of music, Kondo put to rest an era of bleeps and bloops-the sterile products of a lab environment-replacing it with one in which game sounds constituted a legitimate form of artistic expression. Andrew Schartmann takes us through the various external factors (e.g., the video game crash of 1983, Nintendo's marketing tactics) that coalesced into a ripe environment in which Kondo's musical experiments could thrive. He then delves into the music itself, searching for reasons why our hearts still dance to the “primitive” 8-bit tunes of a bygone era.What musical features are responsible for Kondo's distinct “Mario sound”? How do the different themes underscore the vastness of Princess Peach's Mushroom Kingdom? And in what ways do the game's sound effects resonate with our physical experience of the world? These and other questions are explored within, through the lens of Kondo's compositional philosophy-one that would influence an entire generation of video game composers. As Kondo himself stated, “we [at Nintendo] were trying to do something that had never been done before.” In this book, Schartmann shows his readers how Kondo and his team not just succeeded, but heralded in a new era of video games.

    The western world was turned upside down by the rock ‘n' roll revolution and here's the real lowdown on the rock stars who made it happen — and what it did to their lives.