Here, Andy Miller traces the perilous circumstances surrounding its creation, and celebrates the timeless, perfectly crafted songs pieced together by a band who were on the verge of disintegration and who refused to follow fashion.EXCERPT'Big Sky' contains some of the most beautiful, thunderous music The Kinks ever recorded, aligned to a vulnerability and warmth no other group - and I mean no other group - could ever hope to equal. It is a perfectly balanced production. On the one hand, the mesh of clattering drums and electric guitar never threatens to overwhelm the melody; on the other, the gossamer-light harmonies, Ray and Dave's vocal line traced by Rasa Davies' wordless falsetto, are bursting with emotion. When most of the instruments drop away at 1.20, the effect is effortlessly vivid - two lines where Davies' performance is both nonchalant and impassioned. The result is wonderfully, enchantingly sad, made more so perhaps by the knowledge that The Kinks will never again sound so refined or so right.

    Through the introduction of MTV and the alternative rock revolution, it's been many things. Rude. Brilliant. Soulful. Snotty. Angry. Delirious. In the past two decades, genres have spawned like mad, from goth, indie rock, and gangsta rap to emo and the garage rock revival. This twentieth-anniversary tribute celebrates the passion and fury of the music, with original essays, quotes, and photographs by contributors who are as hopelessly obsessed with it as you are. SPIN: 20 Years of Alternative Music features: Alan Light on Beastie Boys, Ann Powers on U2, Charles Aaron on R.E.M., Dave Eggers on The Smiths + Morrissey, Marc Spitz on Goth, Simon Reynolds on Depeche Mode + Synth-pop, Dave Itzkoff on ’80s Teen Movies, Chuck Klosterman on Weezer, Will Hermes on Radiohead, Neil Strauss on Nine Inch Nails + Industrial, Sacha Jenkins on Public Enemy, Andy Greenwald on Emo, RJ Smith on Gangsta Rap, Jon Dolan on The White Stripes, Chris Norris on Nirvana, Doug Brod on Oasis + Britpop, Jim DeRogatis on Smashing Pumpkins, Laura Sinagra on Courtney Love, Ta-Nehisi Coates on Tupac

    "Discovered" by Andy Warhol in 1966, the VU - with their original line-up of Lou Reed, John Cale, Sterling Morrison, and Mo Tucker - would soon become the house band of the avantgarde, composing songs simultaneously furious in their abrasiveness and beautiful in their pathos, standing in striking contrast to the prevailing flower power of the era. All Yesterdays' Parties gathers for the first time almost all of the published writings contemporary with the band's existence-from sources as mainstream as the New York Times to vanished voices of the counterculture like Oz, Fusion, and Crawdaddy! The book is a revealing snapshot of an era by trailblazing rock writers such as Lester Bangs, Robert Greenfield, and Paul Williams. With photographs, posters, and other visual evocations of the period throughout, All Yesterdays' Parties is an invaluable resource, a trove of lore for anyone interested in the VU, their roots, and legacy.

    He has been in the studio with Wilson, as well as on the road for the celebrated European Smile concerts, and the result is the full version of one of pop's mythic stories. Features forewords by Brian Wilson and Van Dyke Parks.Previously published by Sanctuary.

    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.

    And yet, it doesn't neatly fit into any of these descriptors. Buried underneath the radio-friendly exterior lie coded confessions of the subversive, wounded intelligence that gives this album its staying power as a work of art. Here Lou Reed managed to make a fun, accessible rock'n'roll record that is also a troubled meditation on the ambiguities-sexual, musical and otherwise-that defined his public persona and helped make him one of the most fascinating and influential figures in rock history. Through close listening and personal reflections, songwriter Ezra Furman explores Reed's and Transformer's unstable identities, and the secrets the songs challenge us to uncover.33 1/3 is a series of short books about popular music, focusing on individual albums by artists ranging from James Brown to Celine Dion and from J Dilla to Neutral Milk Hotel. Each album covered in the series occupies such a specific place in music history, so each book-length treatment is different. Jonathan Lethem, Colin Meloy, Daphne Brooks, Gina Arnold and Alan Warner are just some of the authors who have contributed to the series so far. Widely acclaimed by fans, musicians and scholars alike. More

    John Darnielle hears [Black Sabbath's Master of Reality] through the ears of Roger Painter, a young adult locked in a southern California adolescent psychiatric center in 1985; deprived of his Walkman and hungry for comfort, he explains Black Sabbath as one might describe air to a fish, or love to an android, hoping to convince his captors to give him back his tapes.

    This is the autobiography of their lead singer, Ian Gillan. Here he tells his life story, and that of the band he helped to make great. Stories of friction and violence, groupies and non-stop partying, drugs and alcohol, and how, finally, it all spiralled out of control to destroy the band.

       A great cover only makes a song stronger. Jimi Hendrix’s version of Bob Dylan’s “All Along the Watchtower.” The Beatles rocking out with “Twist and Shout.” Aretha Franklin demanding “Respect.” Without covers, the world would have lost many unforgettable performances. This is the first book to explore the most iconic covers ever, from Elvis’s “Hound Dog” and the Rolling Stones’ “Not Fade Away” to Led Zeppelin’s “Dazed and Confused,” the Talking Heads’ “Take Me to the River,” and Adele’s “Make You Feel My Love.” Written by the founder of the website covermesongs.com, each of the 20 chapters investigates the origins of a classic cover—and uses it as a framework to tell the larger story of how cover songs have evolved over the decades. Cover Me is packed with insight, photography, and music history.

    The western world was turned upside down by the rock ‘n' roll revolution and here's the real lowdown on the rock stars who made it happen — and what it did to their lives.

    The book also covers the heady days of early punk in London, described by someone who was at its epicenter, right there with the Sex Pistols, the Clash, and the Damned. The life and times of one of the most notorious and gifted rock groups of the 1970s and 1980s, are described in detail, including the drug busts, fights, prison terms and—in one case—the tying up of journalists. Throughout this time Hugh encountered a host of other extraordinary people—Malcolm McClaren, Joe Strummer, Kate Bush, and Debbie Harry, to name a few, and he recounts the outrageous times he lived through with them, as well as providing an inside take on the other members of The Stranglers.

    There's nothing cool about Céline Dion, and nothing clever. That's part of her appeal as an object of love or hatred — with most critics and committed music fans taking pleasure (or at least geeky solace) in their lofty contempt. This book documents Carl Wilson's brave and unprecedented year-long quest to find his inner Céline Dion fan, and explores how we define ourselves in the light of what we call good and bad, what we love and what we hate.

    Wexler has worked with the entire range of American genius: Ray Charles, Aretha Franklin, Otis Redding, Bob Dylan, Willie Nelson, and others. 75 photographs.

    Their first album, the landmark In the Court of the Crimson King, co-produced by Greg, featured the iconic song '21st Century Schizoid Man'. King Crimson pioneered progressive rock and paved the way for many famous bands that followed, from Yes and Genesis to the Red Hot Chilli Peppers.In 1970 Greg met fellow legend Keith Emerson during a North American tour; the two shared common bonds: European musical influences and a desire to reinterpret classical works while creating a new musical genre. After being introduced to drummer Carl Palmer, they formed the first progressive rock supergroup Emerson, Lake and Palmer.To date ELP has sold over 50 million records. Lake produced Emerson, Lake & Palmer, Tarkus, Pictures at an Exhibition, Trilogy, Brain Salad Surgery, Works Vol. 1 and 2, and two different live albums. All went platinum and featured a series of hit singles, most written and all sung by Lake. The three created a unique live theatrical performance which featured Emerson attacking his keyboards with knives, Palmer playing a 2.5 ton stainless steel kit and Lake performing on a £6,000 Persian rug which had its own roadie. One of their very first performances was at the historic Isle of Wight Festival in 1970 and they went on to headline California Jam, one of the biggest concerts of the 1970s, attended by 350,000 people.Probably the voice of his generation, Greg fronted the greatest rock supergroup of the 1970s but never held with the 'progressive' tag that attached itself to both the music and the excess. Lucky Man not only charts the highs and lows of a career in rock music but also reflects on the death of Keith Emerson last year, living with terminal cancer and the end of life. Greg can best be summed up by his now-famous line: 'Material wealth is a very fleeting pleasure ... when you can buy anything you want and do anything you want, you soon discover that you actually don't want any of it.'

    From early pioneers like Suicide and Richard Hell, to forgotten treasures like Red Transistor and Bush Tetras, and descendants like ESG and Sonic Youth, No Wave charts all the cracks and crevices of a surprisingly diverse movement.Flashing through the New York underground in the late 1970s, No Wave was the ultimate anti-movement. Its bands consisted of artists and poets untrained in music, looking to explode rock and disappear before the smoke cleared. No Wave tells the fascinating story of this radical, anarchic and hugely influential musical movement.Best known for short songs and even shorter life-spans, No Wave bands fused disparate styles to fashion abrasive, rhythmic songs that were completely original and utterly compelling. The primary perpetrators – Lydia Lunch’s howling Teenage Jesus and the Jerks, James Chance’s skeletal Contortions, the dark-noise groups Mars and DNA – all drew on primitivism, performance art, and the avant-garde.The book also delves into No Wave cinema, where pioneers like Amos Poe, Eric Mitchell, and Beth and Scott B. translated the aggression and innovation of No Wave music to the screen. Musicians often starred in these films, and figures like Jim Jarmsuch and Steve Buscemi first cut their teeth in this vibrant scene.Illustrated with rare and previously unseen concert photos, record covers, and other ephemera of the times, and featuring exclusive interviews with key protagonists from the scene, No Wave is the definitive guide to a genre whose sounds and ideas still vibrate through alternative culture today.