Her column, Rock, Etc., ran for seven years and established Willis as a leader in cultural commentary and a pioneer in the nascent and otherwise male-dominated field of rock criticism. As a writer for a magazine with a circulation of nearly half a million, Willis was also the country’s most widely read rock critic. With a voice at once sharp, thoughtful, and ecstatic, she covered a wide range of artists—Bob Dylan, The Who, Van Morrison, Elvis Presley, David Bowie, the Rolling Stones, Creedence Clearwater Revival, Joni Mitchell, the Velvet Underground, Sam and Dave, Bruce Springsteen, and Stevie Wonder—assessing their albums and performances not only on their originality, musicianship, and cultural impact but also in terms of how they made her feel.Because Willis stopped writing about music in the early 1980s—when, she felt, rock ’n’ roll had lost its political edge—her significant contribution to the history and reception of rock music has been overshadowed by contemporary music critics like Robert Christgau, Lester Bangs, and Dave Marsh. Out of the Vinyl Deeps collects for the first time Willis’s Rock, Etc. columns and her other writings about popular music from this period (includingliner notes for works by Lou Reed and Janis Joplin) and reasserts her rightful place in rock music criticism.More than simply setting the record straight, Out of the Vinyl Deeps reintroduces Willis’s singular approach and style—her use of music to comment on broader social and political issues, critical acuity, vivid prose, against-the-grain opinions, and distinctly female (and feminist) perspective—to a new generation of readers. Featuring essays by the New Yorker’s current popular music critic, Sasha Frere-Jones, and cultural critics Daphne Carr and Evie Nagy, this volume also provides a lively and still relevant account of rock music during, arguably, its most innovative period.

    Packed from cover to cover with stunning color photographs.

    McGill methodically explains the frequently misunderstood "Tabuteau number system" and its relationship to note grouping-the lifeblood of music. The controversial issue of baroque performance practice is also addressed. Instrumentalists and vocalists alike will find that many of the ideas presented in this book will help develop their musicianship as well as their understanding of what makes a performance "musical."

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    Released early and reconciled with Barat, The Libertines confounded the critics by rounding off 2003 with three triumphant sold-out shows at London's Forum and kicking off 2004 with the prestigious Best UK band gong at the NME awards. For the first time, the full, extraordinary story of the most gifted yet nihilistic London band since The Sex Pistols is told. With the complete co-operation of the major players in their gloriously destructive ascent. A documentation of the break-ins, break-ups, punch-ups and make-ups of the first two phenomenal years of The Libertines. Illustrated with many unseen photographs from the authors archive.

    Maguire Fiction Collection Four-Book Set (Wicked; Confessions of an Ugly Stepsister; Lost; Mirror, Mirror) For a limited time get four of Gregory Maguire's creative retellings of classic fairy tales in one easy-to-order package, including the hardcover version of Maguire's latest book, Mirror, Mirror.

    Get ready to break on through to the other side as critically-acclaimed playwright and journalist Jonathan Leaf reveals the politically incorrect truth about one of the most controversial decades in historythe 1960s.

    Completely redesigned and with many more full-color photos than the original, this new edition surveys recent models and profiles current masters, includes an expanded lesson section, and encompasses 10 years of technological change in recording and amplification.

    From the "a-ha" moment in junior high school that inspired his very first guitar, Taylor has been living the American dream, crafting quality products with his own hands and building a successful, sustainable business. In Guitar Lessons, he shares the values that he lives by and that have provided the foundation for the company's success. Be inspired by a story of guts and gumption, an unwavering commitment to quality, and the hard lessons that made Taylor Guitars the company it is today.

    But he was also one of its greatest gentlemen - a class act with heart, fire, wanderlust and a wild streak. Exploding out of Canvey Island in the early 1970s - an age of glam rock, post-hippy folk and pop androgyny - the Feelgoods, with Lee Brilleaux and Wilko Johnson at the helm, charged into London, grabbed the pub rock scene by the throat and sparked a revolutionary new era, proving that you didn't have to be middle class, wearing the 'right clothes' or living in the 'right place' to succeed. Lee Brilleaux: Rock'n'Roll Gentleman, while a totally different work, is a companion of sorts to the hugely popular Wilko Johnson book: Looking Back At Me (also co-authored by Howe). It is the first comprehensive appreciation of Lee Brilleaux and, with its numerous exclusive interviews and previously unseen images, is a book no Dr Feelgood fan would wish to be without.

    In fact, statistics show that if you wait and marry at thirty, your chances of having a healthy, long-lasting relationship more than double. So before rushing off to become someone else's better half, take the time to become the best, strongest whole person you can be! Last One Down the Aisle Wins will show you how to:develop and improve your emotional health, body image, and confidence take risks and tap into your adventurous side create a dependable network of friends and mentor relationships identify and avoid the top ten reasons women marry too youngLast One Down the Aisle Wins is like having your very own life coach, therapist, financial planner, spiritual adviser, career counselor, and cheerleader all rolled into one.

    Hewitt has even been the inspiration for some of Weller's songs - and he has extraordinary in-depth knowledge of the inspiration behind the rest.Once, when Hewitt interviewed Weller for a music magazine, he complained - 'I don't know why people ask me all these questions. All the answers are in my songs.' Largely unnoticed, Weller has used thirty-years of lyrics to explore his personal history and beliefs. Taking as his starting point these lyrics, alongside a lifetime's friendship, Paolo Hewitt shows us the real Paul Weller, the man inside the music.

    His autobiography is an often-hilarious personal account of a young man in his early 20’s trying to be a “good” roadie while also trying to understand life’s big picture. Through the advice of rock stars and career roadies Joel tries to find the pathway to roadie righteousness.

    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.

    I’ve gone back and repurchased a lot of the CDs I sold off—which, thanks to the bargain bin at Half-Price Books, has actually been a fairly inexpensive proposition—and reacquainted myself with groups that I once adored before they died off, broke up, or settled into respectable but uninspired careers. My goal is to rediscover what I saw in these bands when I was a teenager, and figure out why the music went from enlightening to deadening so rapidly, from the bucolic early years of Lollapalooza to the apocalyptic assault of Woodstock ’99. Because as easy as it is now to take potshots at the mumbly, histrionic sounds of the ’90s, this is music that meant a great deal to me and many others at the time. Out of respect for my teenaged self, I’m giving it an honest re-examination.Each installment of Whatever Happened To Alternative Nation? will be tied to a year, starting with 1990—which I’m packaging with this introduction, since it’s really a prologue year—and proceed chronologically up through 1999. However, this isn’t intended to be a definitive history of grunge; I won’t be writing about every single Seattle band, or even most Seattle bands. A lot of it won’t even be about grunge; I also plan on looking at the feel-good bro tunes of Sublime, and the ironic arena-rock posturing of Urge Overkill, among other groups, and how they fit in with the overall narrative of ’90s alt-rock’s rise and fall. I promise I’ll completely overlook at least one of your favorite bands; please don’t take it personally. As a general rule, I’m interested in discussing ’90s bands that were played regularly on MTV and on the radio, even in a small city like my hometown of Appleton, Wisconsin, because this was the last time (as of now, anyway) that rock music acted as the engine under the hood of American pop culture. Inevitably, this series will reflect what I liked and cared about back then, which fortunately matches up with what millions of other teenaged residents of Alternative Nation liked and cared about. More than an exercise in nostalgia—or, worse, an excuse to pick on bands that haven’t aged all that well—I hope to give those who deserve it their due, and maybe figure out how something that seemed so promising at the time went so wrong." - excerpt from Whatever Happened To Alternative Nation?