He continues to be a household name today and his velvety voice can be heard on Radio 2's The Bob Harris Show and Bob Harris Country. In this fully revised and updated autobiography, with a forward by Robert Plant, Bob tells his story of over 40 years of broadcasting with the BBC, from the young, passionate music fan who moved to London determined to make music his life, to being presented with an OBE for his services to music broadcasting. Much like his musical heroes, Bob's personal life has had somewhat of a rock 'n' roll vibe: he has been married three times, gone bankrupt, fought cancer, weathered a very public spat with a fellow DJ and has had to revamp his career four times. Throughout all these times, however, his love of music and talent for broadcasting has endured. The Whispering Years is a frank, vibrant and inspiring tale of one of the most influential names on the radio and reveals the story of the man behind the voice.

    Over the years, she remained in contact with them, watching AC/DC climb to international stardom. Since 1977, Susan has interviewed the band many times and their friendship has lasted nearly three decades. Now she tells the true story of AC/DC's illustrious career and how they became one of the true great rock 'n' roll bands in history. The book traces the band's history, from their beginnings in Sydney, Australia in the early 1970s to trail-blazing the U.S. mainstream to the devastating death of lead singer Bon Scott in 1980. The band pulled together and rebounded to the top of the charts with new front man, Brian Johnson and the watershed album, Back in Black. Through it all, AC/DC continues their quest to build a legion of new fans in the 21st century.

    The Drive-By Truckers, as they named themselves, grew into one of the best and most consequential rock bands of the twenty-first century, a great live act whose songs deliver the truth and nuance rarely bestowed on Southerners, so often reduced to stereotypes.Where the Devil Don’t Stay tells the band’s unlikely story not chronologically but geographically. Seeing the Truckers’ albums as roadmaps through a landscape that is half-real, half-imagined, their fellow Southerner Stephen Deusner travels to the places the band’s members have lived in and written about. Tracking the band from Muscle Shoals, Alabama, to Richmond, Virginia, to the author’s hometown in McNairy County, Tennessee, Deusner explores the Truckers’ complex relationship to the South and the issues of class, race, history, and religion that run through their music. Drawing on new interviews with past and present band members, including Jason Isbell, Where the Devil Don’t Stay is more than the story of a great American band; it’s a reflection on the power of music and how it can frame and shape a larger culture.

    Beginning as the unofficial photographer for punk legends The Misfits and later taking charge of the bass guitar as a founding member of underground pioneers Samhain and metal gods Danzig, the evil eye of Eerie Von's camera captured the dark heart of rock's most vital and bleeding-edge period, a time when rock and roll was not only dangerous, but downright menacing. Eerie Von's lens has documented everything from The Misfits' humble beginnings in Lodi, New Jersey, to the heights of Danzig's stadium-rock glory alongside metal superstars Metallica. As well as an essential visual document of music history, Eerie's road stories of triumph and damnation bring to life an era the likes of which will never again be seen.

    This book is Celtic Frost's official history written by the front-man, Thomas Gabriel Fischer, who describes his story as full of facts and anecdotes, some unflattering, many trashy, some embarassing, many senselessly funny but all putting right the band's reported notoriety.

    More recently, Rolling Stone named it the twenty-fifth greatest album of all time and the hit TV series Glee devoted an entire episode to songs from "Rumours," introducing it to a new generation. Now, for the first time, Ken Caillat, the album's co-producer, tells the full story of what really went into making "Rumours"--from the endless partying and relationship dramas to the creative struggles to write and record "You Make Loving Fun," "Don't Stop," "Go Your Own Way," "The Chain," and other timeless tracks.Tells the fascinating, behind-the-music story of the making of Fleetwood Mac's "Rumours," written by the producer who saw it all happen Filled with new and surprising details, such as Stevie Nicks and Lindsey Buckingham's screaming match while recording "You Make Loving Fun," how the band coped with the pressures of increasing success, how the master tape nearly disintegrated, and the incredible attention paid to even the tiniest elements of songs, from Lindsey playing a chair to Mick breaking glass Includes eighty black-and-white photographs

    The band had just released Terrapin Station and had not toured for twenty months. In 1977, the Grateful Dead reached a musical peak, and their East Coast spring tour featured an exceptional string of performances, including the one at Cornell.Many Deadheads claim that the quality of the live recording of the show made by Betty Cantor-Jackson (a member of the crew) elevated its importance. Once those recordings ― referred to as "Betty Boards" ― began to circulate among Deadheads, the reputation of the Cornell '77 show grew exponentially. That aura grew with time and, in the community of Deadheads and audiophiles, the show at Barton Hall acquired legendary status.Rooted in dozens of interviews ― including a conversation with Betty Cantor-Jackson about her recording ― and accompanied by a dazzling selection of never-before-seen concert photographs, Cornell ’77 is about far more than just a single Grateful Dead concert. It is a social and cultural history of one of America’s most enduring and iconic musical acts, their devoted fans, and a group of Cornell students whose passion for music drove them to bring the Dead to Barton Hall. Peter Conners has intimate knowledge of the fan culture surrounding the Dead, and his expertise brings the show to life. He leads readers through a song-by-song analysis of the performance, from “New Minglewood Blues” to “One More Saturday Night,” and conveys why, forty years later, Cornell ’77 is still considered a touchstone in the history of the band.

    He has now abandoned his past. Through interviews with Barrett's family and friends, this book provides an account of the man and his illness.

    Hundreds of thousands of pianos are bought and sold each year, yet most people buy a piano with only the vaguest idea of what to look for as they make this major purchase. The Piano Book evaluates and compares every brand and style of piano sold in the United States. There is information on piano moving and storage, inspecting individual new and used pianos, the special market for Steinways, and sales gimmicks to watch out for. An annual supplement, sold separately, lists current prices for more than 2,500 new piano models.

    The second essay appears in Springsteen's forthcoming releases, The Promise and The Promise: The Darkness On The Edge Of Town Story.

    The result was usually an interview free of phoney claims or self promotion, even if it might occasionally be tricky to follow - depending on what condition Keith was in when he gave it.Now, Sean Egan has done a sterling job of organising a huge number of Richards’ published utterances drawn from GQ, Melody Maker and Rolling Stone, plus many more never before seen in print.Taken together they form a riveting commentary on Keith Richards’ half-century progression from gauche young pretender to craggy elder statesman of rock music.They also reveal an unexpectedly warm, unpretentious, articulate and honest man who occupies a unique and rarefied role in the history of rock ’n’ roll.

    His revolutionary new book shows, for the first time, how the amazing process of neuroplastic healing really works. It describes natural, non-invasive avenues into the brain provided by the forms of energy around us—light, sound, vibration, movement—which pass through our senses and our bodies to awaken the brain’s own healing capacities without producing unpleasant side effects. Doidge explores cases where patients alleviated years of chronic pain or recovered from debilitating strokes or accidents; children on the autistic spectrum or with learning disorders normalizing; symptoms of multiple sclerosis, Parkinson’s disease, and cerebral palsy radically improved, and other near-miracle recoveries. And we learn how to vastly reduce the risk of dementia with simple approaches anyone can use. For centuries it was believed that the brain’s complexity prevented recovery from damage or disease. The Brain’s Way of Healing shows that this very sophistication is the source of a unique kind of healing. As he did so lucidly in The Brain That Changes Itself, Doidge uses stories to present cutting-edge science with practical real-world applications, and principles that everyone can apply to improve their brain’s performance and health.

    The internal briefings and conversations we hold determine our attitudes, our behavior and the course of our lives. If, as children, we were criticized and shamed, our internal dialogue will be self-deprecating. If we are used to large doses of self-imposed sarcasm and negative reviews of our daily performance, we gradually mutilate our self-esteem, our creativity and our spirit.

    It is not the kind of job that leaves time for hobbies.     But in the summer of 2010, Rusbridger determined to learn, in the course of a year, Chopin’s Ballade No.1 in G minor, one of the most beautiful and challenging pieces of music ever composed. With passages that demand feats of memory, dexterity, and power, even concert pianists are intimidated by its pyrotechnical requirements.     Rusbridger’s timing could have been better. The next twelve months witnessed the Arab Spring and the Japanese tsunami and were bookended by The Guardian breaking two major news stories: WikiLeaks and the News of the World phone-hacking scandal. It was a defining year for The Guardian and its editor.     In Play It Again, Rusbridger recounts trying to carve out twenty minutes a day to practice, find the right teacher, the right piano, the right fingering—even if it meant practicing in a Libyan hotel in the midst of a revolution. He sought advice from legendary pianists, from historians and neuroscientists, and even occasionally from secretaries of state. But was he able to conquer the piece?     A book about distraction, absorption, discipline, and desire, Play It Again resonates far beyond the realm of music, for anyone with an instinct to “wall off a small part of . . . life for creative expression.”

    Eliot, The Four QuartetsDo babies remember music from the womb? Can classical music increase your child’s IQ? Is music good for productivity? Can it aid recovery from illness and injury? And what is going on in your brain when Ultravox’s ‘Vienna’, Schoenberg’s Verklärte Nacht or Dizzee Rascal’s ‘Bonkers’ transports you back to teenage years?In a brilliant new work that will delight music lovers of every persuasion, music psychologist Victoria Williamson examines our relationship with music across the whole of a lifetime.Along the way she reveals the amazing ways in which music can physically reshape our brains, explores how ‘smart music listening’ can improve cognitive performance, and considers the perennial puzzle of what causes ‘earworms’.Requiring no specialist musical or scientific knowledge, this upbeat, eye-opening book reveals as never before the extent of the universal language of music that lives deep inside us all.