He digs deep into the album cuts of his life and unearths some pivotal moments in black art, hip hop, and pop culture.Ahmir "Questlove" Thompson is many things: virtuoso drummer, producer, arranger, Late Night with Jimmy Fallon bandleader, DJ, composer, and tireless Tweeter. He is one of our most ubiquitous cultural tastemakers, and in this, his first book, he reveals his own formative experiences--from growing up in 1970s West Philly as the son of a 1950s doo-wop singer, to finding his own way through the music world and ultimately co-founding and rising up with the Roots, a.k.a., the last hip hop band on Earth. Mo' Meta Blues also has some (many) random (or not) musings about the state of hip hop, the state of music criticism, the state of statements, as well as a plethora of run-ins with celebrities, idols, and fellow artists, from Stevie Wonder to KISS to D'Angelo to Jay-Z to Dave Chappelle to...you ever seen Prince roller-skate?!?But Mo' Meta Blues isn't just a memoir. It's a dialogue about the nature of memory and the idea of a post-modern black man saddled with some post-modern blues. It's a book that questions what a book like Mo' Meta Blues really is. It's the side wind of a one-of-a-kind mind.It's a rare gift that gives as well as takes.It's a record that keeps going around and around.

    . . shortly before he was arrested for indecent exposure, and whose work continues to be held at the vanguard of contemporary art.And it is the story of her work as a pornographic model and striptease artiste which challenged assumptions about morality, erotica and art.Art Sex Music is the wise, shocking and elegant autobiography of Cosey Fanni Tutti.

    Although he wasn’t yet a big star, it was a groundbreaking moment. And over the years, Bowie has failed to give an uninteresting interview. It might be said that he has habitually used the media for his own ends, but he has paradoxically also been searingly honest, declining to ever be coy about his ambitions, his private life, and even his occasional ennui.  Bowie on Bowie presents some of the best interviews Bowie has granted in his near five-decade career. Each interview traces a new step in his unique journey, successively freezing him in time as young novelty hit-maker, hairy hippie, Ziggy Stardust, Aladdin Sane, the Thin White Duke, plastic soul man, fragile Germanic exile, godfather of the New Romantics, eighties sellout, Tin Machinist, and, finally, permanently, artistically reborn beloved elder statesman of challenging popular music. In all of these iterations he is remarkably articulate. He is also preternaturally polite—almost every interviewer remarks upon his charm.   The features in this book come from outlets both prestigious (Melody Maker, Mojo, New Musical Express, Q, Rolling Stone) and less well-known (The Drummer, Guitar, Ikon, Mr. Showbiz). In all cases, Bowie enables the reader to approach the nerve center of his ferociously creative and prolific output.

    It includes interviews with members of the band, manager Pete Jamison, web-master and GBV historian Rich Turiel and Robert Griffin of Scat Records. At least sixty-five songs were recorded and considered for the album and five distinct concepts were rejected before the band hit upon the records final form. One late version, very nearly released, contained only a few of "Bee Thousand"'s definitive songs. The rest were left out and nearly ended up in the boxes of cassette out-takes cluttering up Robert Pollard's basement. The story of "Guided By Voices" transformation from an occasional and revolving group of complete unknowns to indie-rock heroes is very much part of the story behind the making of "Bee Thousand."In addition to providing a central account of how the record was made, Woodworth devotes a substantial chapter to the album's lyrics. Robert Pollard's lyrics are described by critics, when they're described at all, as a brand of tossed-off surrealism, as if his verbal sensibility is somehow incidental to the songs themselves. Nothing could be further from the truth. Woodworth offers a sustained discussion of Pollard's work as a writer of often sublime, beautiful, and very human lyrics.The third key section of the book covers aesthetics. Woodworth considers the great appeal of the do-it-yourself nature of "Bee Thousand" and reflects on the larger importance of the strain of alternative rock for which this record is a touchstone.

    When twenty-five-year-old Bob Dylan wrecked his motorcycle near Woodstock in 1966 and dropped out of the public eye, he was already recognized as a genius, a youth idol with an acid wit and a barbwire throat; and Greenwich Village, where he first made his mark, was unquestionably the center of youth culture.In Positively 4th Street, David Hajdu recounts the emergence of folk music from cult practice to popular and enduring art form as the story of a colorful foursome: not only Dylan but also his part-time lover Joan Baez -- the first voice of the new generation; her sister Mimi -- beautiful, haunted, and an artist in her own right; and Mimi's husband, Richard Fariña, a comic novelist (Been Down So Long It Looks Like Up to Me) who invented the worldly-wise bohemian persona that Dylan adopted -- some say stole -- and made his own.A national bestseller in hardcover, acclaimed as "one of the best books about music in America" (Jonathan Yardley, The Washington Post), Positively 4th Street is that rare book with a new story to tell about the 1960s -- about how the decade and all that it is now associated with were created in a fit of collective inspiration, with an energy and creativity that David Hajdu has captured on the page as if for the first time.

    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.

    Critics and sales figures told a similar story: six albums between 1984 and 1988 made number one or number two in the UK charts. Twenty-five years after their break-up, the band remain as adored and discussed as ever. To this day, there is a collective understanding that The Smiths were one of the greatest of all British bands. The Smiths - Morrissey, Johnny Marr, Andy Rourke and Mike Joyce - were four working-class youths who came together, by fate or chance, in Manchester in the early 1980s. Their sound was both traditional and radically different, a music that spoke to a generation, and defied the dark social-economic mood of the Thatcher years. By early 1984, barely a year after their first headlining gig, they were the hottest - certainly the hippest - name in modern music. In the years that followed the group produced an extraordinary body of work: seventeen classic singles, seven albums, and [some] seventy songs composed by the team of Morrissey and Marr. Yet for all their brilliance and adoration - their famously energetic live shows routinely interrupted by stage invasions - The Smiths were continually plagued by their own reticence to play the game, and by the time of 1987's Strangeways Here We Come, they had split. The Smiths have never played together again - their enormous contribution to pop culture forever condensed into a prolific and prosperous halcyon period, their legacy intact and untarnished. Thirty years after their formation, twenty-five since they broke up, The Smiths' firmament remains as bright as ever. It's time their tale was told. Tony Fletcher's A Light That Never Goes Out is a meticulous and evocative group biography - part celebration, part paean - moving from Manchester in the nineteenth-century to the present day to tell the complete story of The Smiths. Penned by a contemporary and life-long fan, and the product of extensive research, dozens of interviews, and unprecedented access, it will serve to confirm The Smiths as one of the greatest, most important and influential rock groups of all time.

    By turns obsessive, passionate, creative, and informed, the Thirty Three and a Third series explores critically acclaimed and much- loved albums by famous recording artists.

    As well as the sixties heavy-hitters, this book also offers wonderfully vivid portraits of a whole host of other musicians: everyone from the great jazzman Coleman Hawkins to the folk diva Sandy Denny, Lonnie Johnson to Eric Clapton, Sister Rosetta Tharpe to Fairport Convention.Record and film producer Joe Boyd was born in Boston in 1942 and graduated from Harvard in 1964. He went on to produce Pink Floyd, Nick Drake, Fairport Convention, R.E.M., and many others. He produced the documentary Jimi Hendrix and the film Scandal. In 1980 he started Hannibal Records and ran it for twenty years. He lives in London.

    Eliot's. Now Charles Cross has cracked the code in the definitive biography Heavier Than Heaven, an all-access pass to Cobain's heart and mind. It reveals many secrets, thanks to 400-plus interviews, and even quotes Cobain's diaries and suicide notes and reveals an unreleased Nirvana masterpiece. At last we know how he created, how lies helped him die, how his family and love life entwined his art--plus, what the heck "Smells Like Teen Spirit" really means. (It was graffiti by Bikini Kill's Kathleen Hanna after a double date with Dave Grohl, Cobain, and the "over-bored and self-assured" Tobi Vail, who wore Teen Spirit perfume; Hanna wrote it to taunt the emotionally clingy Cobain for wearing Vail's scent after sex--a violation of the no-strings-attached dating ethos of the Olympia, Washington, "outcast teen" underground. Cobain's stomach-churning passion for Vail erupted in six or so hit tunes like "Aneurysm" and "Drain You.") Cross uncovers plenty of news, mostly grim and gripping. As a teen, Cobain said he had "suicide genes," and his clan was peculiarly defiant: one of his suicidal relatives stabbed his own belly in front of his family, then ripped apart the wound in the hospital. Cobain was contradictory: a sweet, popular teen athlete and sinister berserker, a kid who rescued injured pigeons and laughingly killed a cat, a talented yet astoundingly morbid visual artist. He grew up to be a millionaire who slept in cars (and stole one), a fiercely loyal man who ruthlessly screwed his oldest, best friends. In fact, his essence was contradictions barely contained. Cross, the coauthor of Nevermind: Nirvana, the definitive book about the making of the classic album, puts numerous Cobain-generated myths to rest. (Cobain never lived under a bridge--that Aberdeen bridge immortalized in the 12th song on Nevermind was a tidal slough, so nobody could sleep under it.) He gives the fullest account yet of what it was like to be, or love, Kurt Cobain. Heavier Than Heaven outshines the also indispensable Come As You Are. It's the deepest book about pop's darkest falling star. --Tim Appelo

    LD Beghtol's book is chatty, incestuous, funny, dark, digressive, sexy, maddening, and delightful in equal measures. It documents a vital and influential scene from the inside, involving ukuleles and tears, citations and footnotes, analogue drum machines, and floods of cognac. Oh, and a crossword puzzle too.The centre of the book is the secret history of these tuneful, acerbic, and sometimes heartbreaking songs of old love, new love, lost love, punk rock love, gay love, straight love, experimental music love, true love, blue love, and the utter lack of love that fill the album - as told by participants, fans, imitators, naysayers, and others. Also included are a lexicon of words culled from the album's lyrics, recording details, performance notes from the full album shows in New York, Boston and London, plus rare and unpublished images, personal memorabilia, and much much more.

    With 116 million albums sold worldwide and 25 years on the pop charts to their credit, Pink Floyd is one of the most successful rock groups in history, yet their storyuntil nowis one of the least known. The only continuous member of the band through its entire 40-year history, Nick Mason has witnessed every twist, turn, and sommersault from behind his drum kit. The journey begins with the band's origins as the darlings of London's late 1960s underground and the creation of the classic Pink Floyd sound, all the way through to The Wall and those legendary stadium shows. Here are the players who shaped the band's history and the story behind the storythe inside perspective on, for example, the deterioration and departure of Syd Barrett; the overwhelming success of The Dark Side of the Moon and the resulting pressures and conflicts within the band, including the rift with Roger Waters; and Nick and David Gilmour's decision to put their reputations on the line and continue as Pink Floyd. Packed with rare photographs and vintage Floyd graphics from Nick Mason's extensive private archive, Inside Out is an eye-opener for both veteran fans and those just discovering the group. And, in keeping with the classic Floyd style, the book's cover was designed by Storm Thorgerson, creator of such iconic images as the Dark Side pyramid. Always candid, by turns poignant and funny, Nick's own memories are augmented with extensive research and interviews, making Inside Out a comprehensive history of one of the most brilliant and imaginative bands the world has knownand a masterly memoir of rock and roll.

    Every album, single and soundtrack is analysed.

    He later worked with the Beatles as they recorded their singles “She Loves You” and “I Want to Hold Your Hand,” the songs that would propel them to international superstardom. In 1964 he would witness the transformation of this young and playful group from Liverpool into professional, polished musicians as they put to tape classic songs such as “Eight Days A Week” and “I Feel Fine.” Then, in 1966, at age nineteen, Geoff Emerick became the Beatles’ chief engineer, the man responsible for their distinctive sound as they recorded the classic album Revolver, in which they pioneered innovative recording techniques that changed the course of rock history. Emerick would also engineer the monumental Sgt. Pepper and Abbey Road albums, considered by many the greatest rock recordings of all time. In Here, There and Everywhere he reveals the creative process of the band in the studio, and describes how he achieved the sounds on their most famous songs. Emerick also brings to light the personal dynamics of the band, from the relentless (and increasingly mean-spirited) competition between Lennon and McCartney to the infighting and frustration that eventually brought a bitter end to the greatest rock band the world has ever known.

    In these pages, I’ve tried to do this.” —Bruce Springsteen, from the pages of Born to RunIn 2009, Bruce Springsteen and the E Street Band performed at the Super Bowl’s halftime show. The experience was so exhilarating that Bruce decided to write about it. That’s how this extraordinary autobiography began. Over the past seven years, Bruce Springsteen has privately devoted himself to writing the story of his life, bringing to these pages the same honesty, humor, and originality found in his songs. He describes growing up Catholic in Freehold, New Jersey, amid the poetry, danger, and darkness that fueled his imagination, leading up to the moment he refers to as “The Big Bang”: seeing Elvis Presley’s debut on The Ed Sullivan Show. He vividly recounts his relentless drive to become a musician, his early days as a bar band king in Asbury Park, and the rise of the E Street Band. With disarming candor, he also tells for the first time the story of the personal struggles that inspired his best work, and shows us why the song “Born to Run” reveals more than we previously realized. Born to Run will be revelatory for anyone who has ever enjoyed Bruce Springsteen, but this book is much more than a legendary rock star’s memoir. This is a book for workers and dreamers, parents and children, lovers and loners, artists, freaks, or anyone who has ever wanted to be baptized in the holy river of rock and roll. Rarely has a performer told his own story with such force and sweep. Like many of his songs (“Thunder Road,” “Badlands,” “Darkness on the Edge of Town,” “The River,” “Born in the U.S.A.,” “The Rising,” and “The Ghost of Tom Joad,” to name just a few), Bruce Springsteen’s autobiography is written with the lyricism of a singular songwriter and the wisdom of a man who has thought deeply about his experiences.