Presents a summary of the innovative musician's life during his nine years in New York City, together with a collection of 150 full-color photographs and reminiscences on the stories behind the photographs.

    The embarrassment is palatable, but perseverance is the most touching part of these stories. These awful things that happened don't interrupt the dream. The dream of performing and stardom. The dream of connecting with an audience. No Encore! is a glimpse into the analog past; a trip to a distant world when artists made albums and suites of songs you listened in order." —Bret Easton Ellis   “They hated us and started throwing cups, bottles, change, chairs, and anything that wasn’t nailed down.” —Dean Ween This hilarious, sometimes horrifying, collection spans four decades and chronicles the craziest, druggiest, and most embarrassing concert moments in music history—direct from the artists who survived them.  “In the midst of my insanity, I thought it would be a very romantic gesture to go into Fiona Apple’s dressing room and write a message on her wall in my own blood.” —Dave Navarro From wardrobe malfunctions to equipment failures, from bad decisions to even worse choices, this is a riveting look into what happens when things go wrong onstage and off. “Ozzy had a sixty-inch teleprompter with the song lyrics, and that got stolen, along with microphones, snare drums and cymbals. Our drummer at the time was stabbing people in the neck with his drumstick.” —Zakk Wylde No Encore! is an unflinchingly honest account of the shows that tested the dedication to a dream—from Alice Cooper’s python having a violent, gastric malfunction on stage to Lou Barlow’s disastrous attempt to sober up at Glastonbury, from Shirley Manson’s desperate search for a bathroom to the extraordinary effort made to awaken Al Jourgenson as Ministry was taking the stage. As Hunter S. Thompson famously wrote, “Buy the ticket, take the ride.”  “I go to exit the venue, and there’s 25 people marching towards us. It’s about 3:00 AM, and they weren’t there to be nice. They were carrying bats, boards, chains, hammers, and they were coming for us.” —Dee Snider

    Tired of the usual boring bake sales and dances, this group of high school seniors tried a novel approach to fundraising. They coaxed an initially reluctant administration to enter the rock concert business in the fall of 1967 by booking an on-the-rise, little-known British rock band named curiously enough The Who. In the inevitable clash between a Catholic high school's button-down culture and the destructive live act of The Who, something had to give. WSWIR deconstructs a rock n' roll perfect storm by reliving the events and revisiting with many of the colorful cast of characters (not just the students) involved in transforming the school's image from that of a staid, conservative high school in Scotch Plains, New Jersey to one that was soon at the cutting edge of the rock music scene in the years 1967 and 1968, rock n' roll's hey day. WSWIR is also a snapshot of The Who at a period in their career when for all intents and purposes they were little more than a cult band in the United States, known more for scintillating live performances than record sales. When surveying the various U.S. venues in which The Who performed on the way to reaching iconic status, one would be hard-pressed to find a more unusual setting than Union Catholic High School where The Who left an audience of mostly first-time concert-going teens with mouths agape. It was an event that is still talked about today by those who attended the show and scoffed at in disbelief by everyone else...that is, until now. This is a Black and White Edition, meaning with the exception of the front and back cover, all graphics are in black and white. The book includes rare photographs of The Who on the Union Catholic stage and backstage (in the teachers' lounge no less!) as well as other choice accoutrements.

    It’s one of the most ambitious and original story songs Springsteen has written.When Bruce Springsteen was a little boy, he learned the story of Brave Cowboy Bill, about a pure-hearted little cowboy. It was the first of Bruce’s Western loves, which now range from John Ford movies to Mexican music to Native American art. Each of these inspirations, plus what he’s learned as a man and a rock ’n’ roller about how to combine whimsy and wisdom, were stations on the way to Outlaw Pete, a modern legend of a criminal who starts out in diapers and confronts the roughest edges of adulthood. It’s one of the most ambitious and original story songs Springsteen has written—rhapsodic and harsh, a meditation on destiny, filled with absurdities but not for one second of its eight minutes exactly a joke. It’s an elaborate musical drama, weaving into a single tapestry several styles of rock and an orchestration reminiscent of a Morricone soundtrack. Outlaw Pete is an adult book, illustrated by Frank Caruso, who drew and painted its pages. Caruso does more than illustrate the song. His approach, immaculately detailed, simple when it needs to be, parallels Springsteen’s blend of absurdity and meditation. The questions about destiny remain unanswered, as they must be, but they’re also brought into a different kind of focus. Details that pass by almost unnoticed in the lyrics become central. Reading and listening have rarely so superbly complemented each other. The result becomes the most intense kind of artistic collaboration, a vision shared. But I’m not trying to start anything, so buy it, don’t steal it, OK? —Dave Marsh

    Make them listen to it two more times. Get them to explain why they never bothered with it before. Then ask them to review it.What began as a simple whim quickly grew in popularity, and now Ruth and Martin’s Album Club has featured some remarkable guests: Ian Rankin on Madonna’s Madonna. Chris Addison on Marvin Gaye’s What’s Going On. Brian Koppelman on The Smiths’ Meat is Murder. JK Rowling on the Violent Femmes’ Violent Femmes. Bonnie Greer on The Beach Boys’ Pet Sounds. Martin Carr on Paul McCartney’s Ram. Brian Bilston on Neil Young’s Harvest. Anita Rani on The Strokes’ Is This It. Richard Osman on Roxy Music’s For Your Pleasure. And many, many more.Each entry features an introduction to each album by blog creator Martin Fitzgerald. What follows are delightful, humorous and insightful contributions from each guest as they have an album forced upon them and – for better or worse – they discover some of the world’s favourite music.Ruth and Martin’s Album Club is a compilation of some of the blog’s greatest hits as well as some exclusive material that has never appeared anywhere before. Throughout, we get an insight into why some people opt out of some music, and what happens when you force them to opt in.

    Rarer than Stradivarius violins, these musical works of art are built from near-extinct Brazilian Rosewood, Appalachian spruce, black ebony, and fine mother-of-pearl. With Henderson's keen ear for the vibrations of each piece of wood he uses, each note that comes out of them has the power of a cannon and the sweetness of maple syrup.In "Clapton's Guitar," Allen St. John recounts how a perfect acoustic guitar comes into the world and how an artist gauges perfection. Wayne Henderson, master luthier and genius in blue jeans, will tell you that he simply puts penknife to wood and carves away "everything that isn't a guitar." This is the story of a master artist, set deep in the mountains of southwestern Virginia in a brick, one-story guitar shop, as busy and chaotic inside as it is simple outside. The space is well-lighted, cluttered with power tools, air hoses, and guitar bodies in various stages of completion. It is in this modest shop that Wayne Henderson crafts some of the most highly coveted acoustic guitars on earth, including one very special instrument he built for Eric Clapton.Normally, there is a ten-year wait for a Henderson guitar, and St. John finds there are no exceptions even for an iconic figure like Clapton. But seeing it as a shortcut to getting his own guitar done, St. John jump-starts the process, and then takes readers with him on a mesmerizing journey into the heart of high-end instrument making with the man "The Washington Post" calls the "Mad Scientist of Mountain Music." Henderson, a small-town wise man, is not only the star ofthis book as a master guitar maker but also is the star of any stage he sets foot on as a master guitar player, equally at home at Carnegie Hall or the local VFW hall. Around this drolly humorous man circulates a small coterie of colorful characters and inspired musicians, who welcome you for an all-too-brief visit. By book's end, you too will want to be Wayne Henderson's friend.In a rich tapestry of folklore and folksiness, St. John tells the story of building the Clapton guitar in loving detail, from the centuries-old forests where great tonewood grows, to the auction floor of Christie's where one of Clapton's guitars commands over $700,000. It's also a loving look at Wayne's corner of the world, the Blue Ridge mountain hamlets where American traditional music was born, and of Wayne's hometown of Rugby, Virginia, population 7, where the winding roads have kept progress at bay.Whether you love old-time music, unplugged rock, traditional American craftsmanship, or simply gifted storytelling, Clapton's Guitar is an engaging work that you will want to savor and share with friends.

    Learning guitar theory with no knowledge about the names of the fretboard is comparable to learning complex arithmetic equations without knowing numbers! This book will make sure you don't end up like one of those guitarists! Here is why you should learn the fretboard: Understand how notes are arranged on the fretboard Create a mind map to navigate through the fretboard Communicate the ideas you have in your head to written format or to other musicians Create various visual references to make the fretboard less daunting And lots more Why Should I buy this book? It's only fair to ask yourself this question before spending your hard-earned money on anything. Here is what you'll find inside: The whole process of learning the fretboard simplified into 5 easy steps A step by step approach which will give you results even if you are a complete beginner 35+ exercises and tips to make sure you get results as fast as humanly possible The theory behind every concept for those who need it Countless memory techniques to make the process as simple as possible Beginner friendly - no prior music experience required All this taught in less than a day! Why this book from among the 100 others? I know there are multiple books out there that teaches you the exact same things. They have a lot more reviews and have been out for longer than this book. But here is how this book is different: Unique memory techniques which cannot be found elsewhere High quality pictures and diagrams to give you the whole picture Free bonus material including fretboard diagrams, Flash cards, Reference material and lots more! Gives you results faster than any book out there! I hope that was enough reasons to make you jump onto the book! So, what are you waiting for? Scroll up and click the BUY NOW button to get access to such a goldmine!

    There was no need to be nervous—Cloud Nine would be considered his greatest achievement since the seminal, All Things Must Pass.In George Harrison: Reconsidered, the process of getting to that pressing is presented—as well as remembrance of those things past.Timothy White honed his journalistic skills the old-fashioned way, working first as a copyboy for the Associated Press, then moving on to cover sports and entertainment. White was managing editor, then senior editor, of the music magazine Crawdaddy. He joined Rolling Stone as an associate editor, and rose through the ranks to become senior editor. In the last eleven years of his life, he served as editor-in-chief of Billboard. A prolific, award-winning writer, Timothy White interviewed hundreds of musicians, and became known as a champion of unknown artists.