A fascinating look at the Stones in the late 70s - inspired by a year just spent in the disco/punk cauldron of New York City.

    If you’re a musician or a hobbyist with experience in building electronic projects from kits or schematics, this do-it-yourself guide will walk you through the parts and schematics you need, and how to tailor them for your needs. Author Ray Wilson shares his decades of experience in synth-DIY, including the popular Music From Outer Space (MFOS) website and analog synth community.At the end of the book, you’ll apply everything you’ve learned by building an analog synthesizer, using the MFOS Noise Toaster kit. You’ll also learn what it takes to create synth-DIY electronic music studio. Get started in the fun and engaging hobby of synth-DIY without delay.With this book, you’ll learn:The differences between analog and digital synthesizersAnalog synthesizer building blocks, including VCOs, VCFs, VCAs, and LFOsHow to tool up for synth-DIY, including electronic instruments and suggestions for home-made equipmentFoundational circuits for amplification, biasing, and signal mixingHow to work with the MFOS Noise Toaster kitSetting up a synth-DIY electronic music studio on a budget

    It covers the birth of rock, soul, R&B, punk, hip hop, indie, house, techno, and more, and it will remind you why you fell in love with pop music in the first place.Bob Stanley—musician, music critic, and unabashed fan—recounts the progression from the Beach Boys to the Pet Shop Boys to the Beastie Boys; explores what connects doo wop to the sock hop; and reveals how technological changes have affected pop production. Working with a broad definition of “pop”—one that includes country and metal, disco and Dylan, skiffle and glam—Stanley teases out the connections and tensions that animate the pop charts and argues that the charts are vital social history.Yeah! Yeah! Yeah! is like the world’s best and most eclectic jukebox in book form. All the hits are here: the Monkees, Metallica, Patsy Cline, Patti Smith, new wave, New Order, “It’s the Same Old Song,” The Song Remains the Same, Aretha, Bowie, Madonna, Prince, Sgt. Pepper, A Tribe Called Quest, the Big Bopper, Fleetwood Mac, “Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini,” Bikini Kill, the Kinks, Mick Jagger, Michael Jackson, Jay-Z, and on and on and on. This book will have you reaching for your records (or CDs or MP3s) and discovering countless others.For anyone who has ever thrilled to the opening chord of the Beatles’ “A Hard Day’s Night” or fallen crazy in love for Beyoncé, Yeah! Yeah! Yeah! is a vital guide to the rich soundtrack of the second half of the twentieth century.

    Thus was born the website Rock's Backpages (www.rocksbackpages.com), home to thousands of brilliant reviews and rants, interviews and overviews, that helped define music journalism over the last four decades. The Sound and the Fury is the best of this remarkable collection. With contemporary and retrospective articles on the Beatles, Otis Redding, David Bowie, Bruce Springsteen, Joni Mitchell, ABBA, Madonna, Ice Cube, Nirvana, Morrissey, and many, many more.

    Through interviews, road stories, geographical and sociological interpretations, and detailed music criticism, Petrusich traces the rise of Americana music from its gospel origins through its new and compelling incarnations (as evidenced in bands and artists from Elvis to Iron and Wine, the Carter Family to Animal Collective, Johnny Cash to Will Oldham) and explores how the genre is adapting to the twenty-first century. Ultimately the book is an examination of all things American: guitars, cars, kids, motion, passion, enterprise, and change, in a fervent attempt to reconcile the American past with the American present, using only dusty records and highway maps as guides.

    It includes a dozen rare images, most never before seen.

    While the punk originators remained underground favorites and were slow burns commercially, their heirs shattered commercial expectations for the genre. In 1994, Green Day and The Offspring each released their third albums, and the results were astounding. Green Day's Dookie went on to sell more than 15 million copies and The Offspring's Smash remains the all-time bestselling album released on an independent label. The times had changed, and so had the music.While many books, articles, and documentaries focus on the rise of punk in the '70s, few spend any substantial time on its resurgence in the '90s. Smash! will be the first to do so, detailing the circumstances surrounding the shift in '90s music culture away from grunge and legitimizing what many first-generation punks regard as post-punk, new wave, and generally anything but true punk music.With astounding access to all the key players of the time, including members of Green Day, The Offspring, NOFX, Rancid, Bad Religion, Social Distortion, and many others, renowned music writer Ian Winwood will at last give this significant, substantive, and compelling story its due. Punk rock bands were never truly successful or indeed truly famous, and that was that--until it wasn't. Smash! is the story of how the underdogs finally won and forever altered the landscape of mainstream music.

     Music critic Matthew Guerrieri reaches back before Beethoven’s time to examine what might have influenced him in writing his Fifth Symphony, and forward into our own time to describe the ways in which the Fifth has, in turn, asserted its influence. He uncovers possible sources for the famous opening notes in the rhythms of ancient Greek poetry and certain French Revolutionary songs and symphonies. Guerrieri confirms that, contrary to popular belief, Beethoven was not deaf when he wrote the Fifth. He traces the Fifth’s influence in China, Russia, and the United States (Emerson and Thoreau were passionate fans) and shows how the masterpiece was used by both the Allies and the Nazis in World War II. Altogether, a fascinating piece of musical detective work—a treat for music lovers of every stripe.

    But upon arriving at the reflective age of fifty, I found myself drawn, for the first time, to write long passages that were as stimulating and intriguing to me as any songwriting I had ever done.And so Broken Music began to take shape. It is a book about the early part of my life, from childhood through adolescence, right up to the eve of my success with the Police. It is a story very few people know.I had no interest in writing a traditional autobiographical recitation of everything that’s ever happened to me. Instead I found myself drawn to exploring specific moments, certain people and relationships, and particular events which still resonate powerfully for me as I try to understand the child I was, and the man I became.From the Hardcover edition.

    Burdon was ripped off by unscrupulous agents, accountants, and record labels, hounded by the police, and framed for a crime he didn't commit. Yet through it all, he never became bitter. He was the first rocker to play behind the Iron Curtain. He sang with Jimi Hendrix, chased Jim Morrison out of his house with a .44, and introduced John Lee Hooker to the toughest venue Hooker ever played. Eric Burdon explains how he became the "Egg Man" in the Beatles' "I am the Walrus." With the enthusiasm and good humor of his live shows, Burdon recalls the tense reunion between John Lennon and Lennon's long-estranged father; racing motorcycles across the California desert with Steve McQueen; picketing the offices of MGM Records for nonpayment of royalties; performing in wartime Sarajevo with a symphony orchestra; getting run out of Meridian, Mississippi for promoting black music, and singing his heart out year after year. A complete discography and fifty photographs, many never before published, are included in this unforgettable memoir. "Burdon has lived like a real rocker." -New York Times Book Review "Riveting and informative."-Los Angeles Times "These reminiscences will delight Burdon's fans . . . in general."-Library Journal

    He is here presenting new information resulting from his research into African music, especially among the Venda. Venda music, he discovered is in its way no less complex in structure than European music. Literacy and the invention of nation may generate extended musical structures, but they express differences of degree, and not the difference in kind that is implied by the distinction between 'art' and 'folk' music. Many, if not all, of music's essential processes may be found in the constitution of the human body and in patterns of interaction of human bodies in society. Thus all music is structurally, as well as functionally, 'folk' music in the sense that music cannot be transmitted of have meaning without associations between people.If John Blacking's guess about the biological and social origins of music is correct, or even only partly correct, it would generate new ideas about the nature of musicality, the role of music in education and its general role in societies which (like the Venda in the context of their traditional economy) will have more leisure time as automation increases.

    Its thesis is that any sound can be generated from first principles, guided by analysis and synthesis. The text takes a practitioner's perspective, exploring the basic principles of making ordinary, everyday sounds using an easily accessed free software. Readers use the Pure Data (Pd) language to construct sound objects, which are more flexible and useful than recordings. Sound is considered as a process, rather than as data--an approach sometimes known as "procedural audio." Procedural sound is a living sound effect that can run as computer code and be changed in real time according to unpredictable events. Applications include video games, film, animation, and media in which sound is part of an interactive process. The book takes a practical, systematic approach to the subject, teaching by example and providing background information that offers a firm theoretical context for its pragmatic stance. [Many of the examples follow a pattern, beginning with a discussion of the nature and physics of a sound, proceeding through the development of models and the implementation of examples, to the final step of producing a Pure Data program for the desired sound. Different synthesis methods are discussed, analyzed, and refined throughout.] After mastering the techniques presented in Designing Sound, students will be able to build their own sound objects for use in interactive applications and other projects

    As the group grew in fame and notoriety, incidents of bad behavior mounted alarmingly. Whether it's Geezer's lyrical journeys into the underworld or the gun-obsessed Ozzy Osbourne at home in Atrocity Cottage, this is Sabbath as you've never known them before. A real-life Spinal Tap, this is a warm, funny tribute to four mates from Birmingham who became the biggest heavy rock band in the world.

    Brett Milano dives deep into the piles of old vinyl to uncover the subculture of record collecting. A vinyl junkie is not the person who has a few old 45s shoved in the cuboard from their days in high school. Vinyl Junkies are the people who will travel over 3,000 miles to hear a rare b-side by a German band that has only recorded two songs since 1962, vinyl junkies are the people who own every copy of every record produced by the favorite artist from every pressing and printing in existance, vinyl junkies are the people who may just love that black plastic more than anything else in their lives. Brett Milano traveled the U.S. seeking out the most die-hard and fanatical collectors to capture all that it means to be a vinyl junkie. Includes interviews with Thurston Moore of Sonic Youth, Peter Buck from R.E.M and Robert Crumb, creator of Fritz the cat and many more underground comics.