It’s about the greatest pirate in history, the most powerful executive in the music business, a revolutionary invention and an illegal website four times the size of the iTunes Music Store. Journalist Stephen Witt traces the secret history of digital music piracy, from the German audio engineers who invented the mp3, to a North Carolina compact-disc manufacturing plant where factory worker Dell Glover leaked nearly two thousand albums over the course of a decade, to the high-rises of midtown Manhattan where music executive Doug Morris cornered the global market on rap, and, finally, into the darkest recesses of the Internet.Through these interwoven narratives, Witt has written a thrilling book that depicts the moment in history when ordinary life became forever entwined with the world online — when, suddenly, all the music ever recorded was available for free. In the page-turning tradition of writers like Michael Lewis and Lawrence Wright, Witt’s deeply-reported first book introduces the unforgettable characters—inventors, executives, factory workers, and smugglers—who revolutionized an entire artform, and reveals for the first time the secret underworld of media pirates that transformed our digital lives.An irresistible never-before-told story of greed, cunning, genius, and deceit, How Music Got Free isn’t just a story of the music industry—it’s a must-read history of the Internet itself.

    1. One who drools in the presence of beloved rock stars. 2. Any of a genus of rock-and-roll wannabes/geeks who walk around with songs constantly ringing in their ears, own more than 3,000 albums, and fall in love with at least one record per week. With a life that’s spanned the phonographic era and the digital age, Steve Almond lives to Rawk. Like you, he’s secretly longed to live the life of a rock star, complete with insane talent, famous friends, and hotel rooms to be trashed. Also like you, he’s content (sort of) to live the life of a rabid fan, one who has converted his unrequited desires into a (sort of) noble obsession.    Rock and Roll Will Save Your Life traces Almond’s passion from his earliest (and most wretched) rock criticism to his eventual discovery of a music-crazed soul mate and their subsequent production of two little superfans. Along the way, Almond reflects on the delusional power of songs, the awkward mating habits of drooling fanatics, and why Depression Songs actually make us feel so much better. The book also includes: • sometimes drunken interviews with America’s finest songwriters• a recap of the author’s terrifying visit to Graceland while stoned• a vigorous and credibility-shattering endorsement of Styx’s Paradise Theater • recommendations you will often choose to ignore• a reluctant exegesis of the Toto song “Africa” • obnoxious lists sure to piss off rock critics But wait, there’s more. Readers will also be able to listen to a special free mix designed by the author, available online at www.stevenalmond.com, for the express purpose of eliciting your drool. For those about to rock—we salute you!

     The early 1980s were an exciting time for music. Hair metal bands were selling out stadiums, while clubs and house parties in New York City has spawned a new genre of music. At the time, though, hip hop's reach was limited, an artform largely ignored by mainstream radio deejays and the rock-obsessed MTV network.But in 1986, the music world was irrevocably changed when Run-DMC covered Aerosmith's hit "Walk This Way" in the first rock-hip hop collaboration. Other had tried melding styles. This was different, as a pair of iconic arena rockers and the young kings of hip hop shared a studio and started a revolution. The result: Something totally new and instantly popular. Most importantly, "Walk This Way" would be the first rap song to be played on mainstream rock radio.In Walk This Way, Geoff Edgers sets the scene for this unlikely union of rockers and MCs, a mashup that both revived Aerosmith and catapulted hip hop into the mainstream. He tracks the paths of the main artists--Steven Tyler, Joe Perry, Joseph "Run" Simmons, and Darryl "DMC" McDaniels--along with other major players on the scene across their lives and careers, illustrating the long road to the revolutionary marriage of rock and hip hop. Deeply researched and written in cinematic style, this music history is a must-read for fans of hip hop, rock, and everything in between.

    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.

    John Darnielle hears [Black Sabbath's Master of Reality] through the ears of Roger Painter, a young adult locked in a southern California adolescent psychiatric center in 1985; deprived of his Walkman and hungry for comfort, he explains Black Sabbath as one might describe air to a fish, or love to an android, hoping to convince his captors to give him back his tapes.

    In Defense of Ska is the much-needed response to years of ska-mockery. No longer do ska fans need to hide in the basement, skanking alone in their sharp suits, slim ties and porkpie hats. Now the time to take to the streets and fight music snobbery, or at least crank up the ska without being teased ruthlessly. In a mix of interviews, essays, personal stories, historical snapshots, obscure anecdotes, and think pieces, In Defense of Ska dissects, analyzes and celebrates ska in exactly the way fans have been craving for decades. This book will enlist ska-lovers as soldiers in the ska army, and challenge ska-haters’ prejudices to the core.

    Rock journalism on: Brian Wilson, Guns'N'Roses, Roky Erickson, The New York Dolls, Sid Vicious, Roy Orbison, Elvis Costello, The Smiths, Neil Young, Jerry Lee Lewis, Miles Davis, The Pogues, Lou Reed, Syd Barrett, The Rolling Stones, Iggy Pop, Kurt Cobain

    Centered on an eccentric, coffee-loving FBI agent’s investigation into the murder of a small town teen queen, Twin Peaks brought the aesthetic of arthouse cinema to a prime time television audience and became a cult sensation in the process.Part of Twin Peaks’ charm was its unforgettable soundtrack by Angelo Badalamenti, a frequent and reoccurring collaborator of film director and Twin Peaks co-creator David Lynch. Badalamenti’s evocative music, with its haunting themes and jazzy moodscapes, served as a constant in a narrative that was often unhinged and went on to become one of the most popular and influential television soundtracks of all time.How did a unique collaborative process between a director and composer result in a perfectly post-modern soundtrack that ran the gamut of musical styles from jazz to dreamy pop to synthesizer doom and beyond? And how did Badalamenti’s musical cues work with Twin Peaks’ visuals, constantly evolving and having the ability to break with television convention; playing off viewers’ expectations and associations? Under the guidance of Angelo Badalamenti’s diverse sonic palette Clare Nina Norelli delves deep into the world of Twin Peaks to answer all of these questions and more.

    In the United States, it was his first full length on Sire Records (home to Madonna and Depeche Mode), which helped usher in Richard D. James, for whom Aphex Twin is but one of numerous monikers, as a major force in music, electronic or otherwise.Faithful to Brian Eno’s definition of ambient music, Selected Ambient Works Volume II was intentionally functional: it furnished chill rooms, the sanctuaries amid intense raves. Choreographers and film directors began to employ it to their own ends, and in the intervening decades this background music came to the fore, adapted by classical composers who reverse-engineer its fragile textures for performance on acoustic instruments. Simultaneously, “ambient” has moved from esoteric sound art to central tenet of online culture. This book contends that despite a reputation for being beat-less, the album exudes percussive curiosity, providing a sonic metaphor for our technologically mediated era of countless synchronized nanosecond metronomes.

    As Greil Marcus shows in this remarkable book, Presley's journey after death takes him even further, pushing him beyond his own frontiers to merge with the American public consciousness--and the American subconscious.As he listens in on the public conversation that recreates Elvis after death, Marcus tracks the path of Presley's resurrection. He grafts together scattered fragments of the eclectic dialogue--snatches of movies and music, books and newspapers, photographs, posters, cartoons--and amazes us with not only what America has been saying as it raises its late king, but also what this strange obsession with a dead Elvis can tell us about America itself.

    He drove a rental car from New York to Rhode Island to Georgia to Mississippi to Iowa to Minneapolis to Fargo to Seattle, and he chased death and rock ‘n’ roll all the way. Within the span of twenty-one days, Chuck had three relationships end—one by choice, one by chance, and one by exhaustion. He snorted cocaine in a graveyard. He walked a half-mile through a bean field. A man in Dickinson, North Dakota, explained to him why we have fewer windmills than we used to. He listened to the KISS solo albums and the Rod Stewart box set. At one point, poisonous snakes became involved. The road is hard. From the Chelsea Hotel to the swampland where Lynyrd Skynyrd’s plane went down to the site where Kurt Cobain blew his head off, Chuck explored every brand of rock star demise. He wanted to know why the greatest career move any musician can make is to stop breathing...and what this means for the rest of us.

    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.

    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.

    The Song Machine goes behind the scenes to offer an insider’s look at the global hit factories manufacturing the songs that have everyone hooked. Full of vivid, unexpected characters—alongside industry heavy-hitters like Katy Perry, Rihanna, Max Martin, and Ester Dean—this fascinating journey into the strange world of pop music reveals how a new approach to crafting smash hits is transforming marketing, technology, and even listeners’ brains. You’ll never think about music the same way again.A Wall Street Journal Best Business Book

    If anything, today, the cult of Jawbreaker-in their own words, "the little band that could but would probably rather not"-is now many times greater than it was when they broke up in 1996. Like the best work of Fugazi, The Clash, and Operation Ivy, the album is now is a rite of passage and a beloved classic among partisans of intelligent, committed, literary punk music and poetry.Why, when a thousand other artists came and went in that confounding decade of the 90s, did Jawbreaker somehow come to seem like more than just another band? Why do they persist, today, in meaning so much to so many people? And how did it happen that, two years after releasing their masterpiece, the band that was somehow more than just a band to its fans-closer to equipment for living-was no longer?Ronen Givony's 24 Hour Revenge Therapy is an extended tribute in the spirit of Nicholson Baker's U & I a passionate, highly personal, and occasionally obsessive study of one of the great confessional rock albums of the 90s. At the same time, it offers a quizzical look back to the toxic authenticity battles of the decade, ponders what happened to the question of "selling out," and asks whether we today are enriched or impoverished by that debate becoming obsolete.