From the hoodoo-inspired sounds of Elvis Presley to the Eastern odysseys of George Harrison, from the dark dalliances of Led Zeppelin to the Masonic imagery of today’s hip-hop scene, the occult has long breathed life into rock and hip-hop—and, indeed, esoteric and supernatural traditions are a key ingredient behind the emergence and development of rock and roll.  With vivid storytelling and laser-sharp analysis, writer and critic Peter Bebergal illuminates this web of influences to produce the definitive work on how the occult shaped—and saved—popular music. As Bebergal explains, occult and mystical ideals gave rock and roll its heart and purpose, making rock into more than just backbeat music, but into a cultural revolution of political, spiritual, sexual, and social liberation.Editorial ReviewsReview“A fascinating thesis reflecting the time when everyone seemed to give rock and roll the status of, if not a religion, then certainly that of a spiritual belief system. Peter Bebergal’s Season of the Witch brought it all back. It's an absorbing read deserving an important place in rock literature.”—Michael Moorcock"Rather than turning in either a fanboyish rhapsody or a scholarly dissertation, he treads the line between those approaches. The result is passionate, informed, gripping and at times wonderfully lyrical."—NPR“This sharply written narrative illuminates the centrality of the occult imagination at the heart of rock and roll.”—Library Journal (starred review) “A thoroughly researched, absorbing, entertaining ride for anyone who’s ever played the Beatles’ ‘White Album’ backwards.”—Andrea Shea, WBUR/ NPR“Kudos to Bebergal for taming the wily spirits of rock long enough to capture their essence in this fascinating book. Perhaps more impressive is the book’s comprehensiveness—from Delta blues to beatnik bluster to acid evangelists to metal overlords, Season of the Witch puts the hellfire in highbrow.”—The Contrarian“Skillfully woven...will delight any music fan and music historian in equal measure.”—Spirituality Today (5/5 stars)“Peter Bebergal has written of his own searching, reconciling spiritual aspirations and personal background, in The Faith Between Us and Too Much To Dream. Both are on my bookshelves. Here, in Season Of The Witch, Peter presents an overview of one “alternative influence” at work on some of those intending to change the world. The world they hoped to change was a dangerous mess. Now, half a century later…”—Robert Fripp “This book is a glorious headlong rush into the dark, full of the electricity of the arcane. I loved it.”—Warren Ellis, author of Gun Machine and Transmetropolitan “From grimoires to topographic oceans, from heavy metal to hip-hop, Peter Bebergal tracks the Mysteries through half a century of popular music (and some underground noise as well). At once an overview of rock's mystic rebellions and a handy primer on modern esoterica, Season of the Witch suggests that we may need to round out the trinity of sex, drugs, and rock' n' roll with an additional deity: the occult, another primal portal to a re-enchanted world.”—Erik Davis, author of Led Zeppelin IV and Nomad Codes: Adventures in Modern Esoterica “Told with clear-eyed scholarship and delectable anecdotes, Peter Bebergal's mind-expanding occult history opened my third eye to Rock & Roll's awesome power over human behavior. Rock & Roll will never sound the same to me again, and I'm glad about it.”—Mark Frauenfelder, founder of Boing Boing"Bebergal displays an intelligent understanding of the interaction between religion and culture when he argues that the "occult imagination is the vital force of rock-and-roll culture." "—Publishers Weekly

    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.

    We Never Learn: The Gunk Punk Undergut, 1988-2001 tracks the inspiration and beautiful destruction of this largely undocumented movement. What they took, they fought for, every night. They reveled in '50s rock 'n' roll and '60s garage rock while creating their own wave of gut-busting riffs and rhythm. The majority of bands that populate this book - the Dwarves, the Gories, the Supersuckers, the Mummies, Rocket from the Crypt, Jon Spencer Blues Explosion, the Muffs, and the Donnas among them - gained little long-term reward from their nonstop touring and brain-slapping records. What they did have was free liquor, good drugs, guilt-free sex, and a crazy good time, all the while building a dedicated fan base that extends across America, Europe, and Japan. Truly, this is the last great wave of down-and-dirty rock 'n' roll.

    This is the story of the first 10 years of the Nation's Music Station. When MuchMusic launched in 1984, it was truly the Wild (Canadian) West of television--live, gloriously unpredictable, seat-of-the-pants TV, delivered fresh daily. Much was the dream child of TV visionary Moses Znaimer, and John Martin, the maverick creator of The New Music. An entire generation of Canadians lived and breathed TV's new kid in town and because it was live and largely improvised, viewers and VJs both shared the experience and grew up together, embracing the new music that became the video soundtrack of our lives. The careers of Canadian legends like Glass Tiger, Colin James, the Parachute Club, Honeymoon Suite, Blue Rodeo, Corey Hart, Jane Siberry and Platinum Blonde were launched when Much brought them closer to their fans. Much also brought us international acts, and events like the Bon Jovi BBQ and Iggfest, with Iggy Pop improvising songs in the midst of his fans on the sidewalk on Queen Street. This was also an era in which music found its conscience with events like Live Aid and the Amnesty International Human Rights Now! tour. And Much covered them all. With stories of the bands, the VJs, the music, the videos, the style and the improvisational approach to daily broadcast life at Much, and told by the people who were there--the colourful cast of on-air VJs, the artists who found their way into the living rooms of the nation as never before, and the people behind the camera--"Is This Live?" delivers a full-on dose of pop culture from the 1980s and '90s, when the music scene in Canada changed forever."

    Wasting no time, they bought an army tank and equipped it with a techno sound-system, caused national security alerts with 60-foot inflatable monsters, went into the Colombian jungle with armed Guerrilla fighters, and drew up plans to convert an aircraft carrier into a nightclub.Yet SFA's crazed adventures only tell half the story. By mixing up electronic beats, surf rock, Japanese culture and more, the band recorded some of the most acclaimed albums of the millennium, all the while documenting the mobile phone revolution in their uniquely surreal way.Written with the band’s own participation and housed in a jacket designed by Pete Fowler, the man behind some of SFA’s most iconic album covers, this is the remarkable story of their ascent to fame.

    It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics. Paul Hegarty argues that noise is a judgement about sound, that what was noise can become acceptable as music, and that in many ways the idea of noise is similar to the idea of the avant-garde.While it provides an excellent historical overview, the book's main concern is in the noise music that has emerged since the mid 1970s, whether through industrial music, punk, free jazz, or the purer noise of someone like Merzbow. The book progresses seamlessly from discussions of John Cage, Erik Satie, and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms. Sharp and erudite, and underpinned throughout by the ideas of thinkers like Adorno and Deleuze, Noise/Music is the perfect primer for anyone interested in the louder side of experimental music.

    Lucier explains in detail how each piece is made, unlocking secrets of the composers' style and technique. The book as a whole charts the progress of American experimental music from the 1950s to the present, covering such topics as indeterminacy, electronics, and minimalism, as well as radical innovations in music for the piano, string quartet, and opera. Clear, approachable and lively, Music 109 is Lucier's indispensable guide to late 20th-century composition. No previous musical knowledge is required, and all readers are welcome.

    Through interviews withMike D, the Dust Brothers, and legendarily reclusive producer Matt Dike,among others, Dan LeRoy uncovers the story of this outrageous era inBeastie history.

    Their sound was inventive and tetchy, and front man Jello Biafra’s lyrics were incisive and often scathing. This chronicle—the first in-depth book written about Dead Kennedys—uses dozens of firsthand interviews, photos, and original artwork to offer a new perspective on a group that was mired in controversy almost from its inception. It examines and applauds the band’s key role in transforming punk rhetoric, both polemical and musical, into something genuinely threatening and enormously funny. Author Alex Ogg puts the local and global trajectory of punk into context and, while not flinching from the wildly differing takes the individual band members have on the evolution of the band, attempts to be celebratory—if not uncritical.

    In The Essential Canon of Classical Music, David Dubal comes to the aid of the struggling listener and provides a cultural-literacy handbook for classical music. Dubal identifies the 240 composers whose works are most important to an understanding of classical music and offers a comprehensive, chronological guide to their lives and works. He has searched beyond the traditional canon to introduce readers to little-known works by some of the most revered names in classical music-Bach, Haydn, Mozart, Schubert-as well as to the major works of lesser-known composers. In a spirited and opinionated voice, Dubal seeks to rid us of the notion of "masterpieces" and instead to foster a new generation of master listeners. The result is an uncommon collection of the wonders classical music has to offer.

    This is the story of my life in rock and roll -- and how the band that has meant everything to me came to define me. I'm looking forward to sharing it with you." Mick Fleetwood has been a member of the ever-evolving Fleetwood Mac, one of the world's most successful and adored bands, for over four decades. Here he tells the full and candid story of his life as one of music's greatest drummers and bandleaders, the cofounder of the deeply loved supergroup that bears his name and that of his bandmate and lifelong friend John McVie.In this intimate portrait of a life lived in music, Fleetwood vividly recalls his upbringing tapping along to every song playing on the radio, his experiences as a musician in '60s London, and the earliest permutation of the band featuring Peter Green.Play On sheds new light on Fleetwood Mac's raucous history, describing the highs and lows of being in the band that Fleetwood was determined to keep together. Here he reflects on the creation of landmark albums such as Rumours and Tusk, the great loves of his life, and the many incredible and outrageous moments of recording, touring, and living with Fleetwood Mac. Fleetwood describes these moments with honesty and immediacy, taking us to the very heart of this multilayered journey that has always been anchored in music.Through it all, from intense love to plaintive heartaches, from collaborations to confrontations, it's been the drive to play on that has prevailed. Now, then, and always, it's Fleetwood Mac.

    Kevin’s mum, Anne, was not there to answer his call but she never let her son down. From that fateful day, April 15, 1989, she embarked on a remarkable 24-year battle to see justice done. Convinced of a cover-up by the powers that be, she left no stone unturned in her quest to uncover the truth. It was a campaign that she fought to her dying day, succumbing to cancer at the age of 62 in April, 2013. Anne’s efforts had not been in vain. Just months earlier, a historic breakthrough saw the original inquest verdicts quashed, following a public apology to the Hillsborough families by Prime Minister David Cameron. Her daughter Sara, Kevin’s sister, was with Anne every step of the way. Now, with the help of personal recollections penned by her mum in her final months, she tells the real story of Anne’s remarkable journey – her spirit in the face of the many setbacks and her defiant refusal to accept defeat. Anne’s final message before losing her fight for life was ‘I never walked alone’. This book is dedicated to everyone who has ever fought for justice in the name of the 96.Copyright: All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission in writing of the copyright holders, nor be otherwise circulated in any form of binding or cover other than in which it is published and without a similar condition being imposed on the subsequent publisher.

    Murphy highlights:· Otto Heinemann's pioneer label Okeh, which spread blues and jazz "race" records across America· how one man, Henry Speir, discovered nearly all the Delta blues legends (Robert Johnson, Charlie Patton, Son House, Tommy Johnson)· Sam Phillips's seminal work with Chess and Sun Records· John Hammond's discoveries (Billie Holiday, Aretha Franklin, Bob Dylan, Leonard Cohen, Bruce Springsteen)· the behind-the-scenes players of the British Invasion· Clive Davis, Ahmet Ertegun, David Geffen, and the corporate music machine· the Machiavellian moves of punk impresario Malcolm McLaren (Sex Pistols)· Chris Blackwell's triumphs for Island Records (Bob Marley, U2)· Sylvia Robinson and Tom Silverman, the hip-hop explorers behind the Sugarhill Gang, Grandmaster Flash, and Afrika Bambaataa...and much, much more. Murphy also offers a provocative look at the future through the ruminations of such vanguard figures as Martin Mills (4AD, XL Recordings, Matador, Rough Trade) and genre-busting producer Rick Rubin (Run-D.M.C., Red Hot Chili Peppers, Metallica, Johnny Cash).Drawing from memoirs, archives, and more than one hundred exclusive interviews with the legends of the record industry, including the founders and CEOs of Atlantic, Chrysalis, Virgin, A&M, Sub Pop, and Sire, this book reveals the secret history behind the hit-making craft. Remarkable in scope and impressive in depth, Cowboys and Indies chronicles the pioneers who set the stylus on the most important labels and musical discoveries in history.

    In brilliant discussions of Billie Holiday, Thelonious Monk, Coleman Hawkins, Lester Young, Charlie Parker, John Coltrane, Ornette Coleman, Sonny Rollins, Cecil Taylor, Archie Shepp, Don Cherry, and Sun-Ra, he examines each musician’s personality, background, musical ambitions, accomplishments, and disappointments, to illuminate both the context and spirit of jazz.

    But music could not be explainedwithout addressing language, and could not be accounted for withoutunderstanding the evolution of the human body and mind. Thus Mithenarrived at the wildly ambitious project that unfolds in this book: anexploration of music as a fundamental aspect of the human condition, encoded into the human genome during the evolutionary history of ourspecies. Music is the language of emotion, common wisdom tells