In Major Labels, Sanneh distills a career's worth of knowledge about music and musicians into a brilliant and omnivorous reckoning with popular music--as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. He explains the history of slow jams, the genius of Shania Twain, and why rappers are always getting in trouble.Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn't transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. The opposite of a modest proposal, Major Labels pays in full.

    Whether he's recording 'Justified and Ancient' with Tammy Wynette; contemplating the dull lunacy of the Turner prize; resisting the urge to paint landscapes; or glorying in the crapness of rock comebacks; he is consistently amusing and thought-provoking, and draws us into his world with the seductive enthusiasm of a born storyteller. An artist with a singular approach to his work, Bill Drummond paused to take stock of his life and a career that spans over twenty-five eventful years. Famously enjoying international success with The KLF and inviting national controversy for burning a million quid with The K Foundation, these days Drummond spends much of his time writing profusely. He avoids and confronts issues, infuriates and inspires those around him, muses and confuses, creates and destroys. He has maintained a penchant for reckless schemes - all this while drinking endless pots of tea.

    It was the year rock and roll evolved into the premier art form of its time and accelerated the drive for personal freedom throughout the Western world. The feedback loop between the artists and their times ignited an unprecedented explosion of creativity. The Beatles made their first artistic statement with Rubber Soul and performed at Shea Stadium, the first rock concert to be held in a major American stadium. Bob Dylan released “Like a Rolling Stone”—the quintessential anthem of the year—and went electric at the Newport Folk Festival. The Rolling Stones' hit song "Satisfaction" catapulted the band to world-wide success. Fashion designer Mary Qaunt raised the hemlines of her skirts to above the knee, introducing the iconic miniskirt.This was not only the year of rock as new genres such as funk and psychedelia were born. Soul music became a prime force of desegregation as Motown crossed out of the R&B charts on to the top of the Billboard Top 100. Country music reached new heights with Nashville and the Bakersfield sound and competition between musicians coincided with seismic cultural shifts wrought by the Civil Rights Movement, psychedelics, and Vietnam.In 1965, Andrew Grant Jackson combines fascinating and often surprising personal stories with a panoramic historical narrative.

    In clear, understandable language, Jourdian expertly guides the reader through a continuum of musical experience: sound, tone, melody, harmony, rhythm, composition, performance, listening, understanding—and finally to ecstasy. Along the way, a fascinating cast of characters brings Jourdian's narrative to vivid life: "idiots savants" who absorb whole pieces on a single hearing, composers who hallucinate entire compositions, a psychic who claims to take dictation from long-dead composers, and victims of brain damage who can move only when they hear music. Here is a book that will entertain, inform, and stimulate everyone who loves music—and make them think about their favorite song in startling new ways.

    He continues to be cited as a major influence on contemporary artists and designers working across the creative arts.   This book, published to accompany the blockbuster international exhibition launched at London’s Victoria and Albert Museum, is the only volume that grants access to Bowie’s personal archive of performance costumes, ephemera, and original design artwork by the artist, bringing it together to present a completely new perspective on his creative work and collaborations. The book traces his career from its beginnings in London, through the breakthroughs of  Space Oddity and The Rise and Fall of Ziggy Stardust and the Spiders from Mars, and on to his enormous impact on 20th-century avant-garde music and art. Essays by V&A curators on Bowie’s London, image, and influence on the fashion world are complemented by Howard Goodall on musicology; Camille Paglia on gender and decadence, and Jon Savage on Bowie’s relationship with William Burroughs and his fans. The more than 300 color illustrations include personal and performance photographs, album covers, costumes, original lyric sheets, and much more.   Praise for David Bowie Is: “Perusing David Bowie Is (V&A Publishing, distributed by Abrams), the exhibition’s catalog, with its procession of poses and costumes and weighty essays tracking the cross-references to pop culture and high art, you get a sense of how much hard work it took to be Mr. Bowie.” —The New York Times “The fans of 50 years or those making discoveries in retrospect will be intrigued by the accompanying book David Bowie Is that is far more than a fanzine.”—The New York Times “Lends context and picks away at Bowie with such insight that it’s a rare hagiography with soul.” —Chicago Tribune “Combining top-notch articles on the singer/actor’s life and work with official images and reproductions of his fashion and associated ephemera, the hefty, mango-colored book is nothing short of a treasure trove of all things Bowie; a one-stop smorgasbord for the eyes whose pictorials chronicle the groundbreaking star from Ziggy Stardust to Thin White Duke to Heathen and every personality in between.” —Examiner.com

    Thirty years later, the music made in Laurel Canyon continues to pour from radios, iPods, and concert stages around the world. During the canyon's golden era, the musicians who lived and worked there scored dozens of landmark hits, from "California Dreamin'" to "Suite: Judy Blue Eyes" to "It's Too Late," selling tens of millions of records and resetting the thermostat of pop culture.In Laurel Canyon, veteran journalist Michael Walker tells the inside story of this unprecedented gathering of some of the baby boom's leading musical lights—including Joni Mitchell; Jim Morrison; Crosby, Stills, and Nash; John Mayall; the Mamas and the Papas; Carole King; the Eagles; and Frank Zappa, to name just a few—who turned Los Angeles into the music capital of the world and forever changed the way popular music is recorded, marketed, and consumed.

    Instead he leads us through the story of music as it happened, idea by idea, so that each musical innovation – harmony, notation, sung theatre, the orchestra, dance music, recording, broadcasting – strikes us with its original force. He focuses on what changed when and why, picking out the discoveries that revolutionised man-made sound and bringing to life musical visionaries from the little-known Pérotin to the colossus of Wagner. Along the way, he also gives refreshingly clear descriptions of what music is and how it works: what scales are all about, why some chords sound discordant and what all post-war pop songs have in common.The story of music is the story of our urge to invent, connect, rebel – and entertain. Howard Goodall’s beautifully clear and compelling account is both a hymn to human endeavour and a groundbreaking map of our musical journey.

    For millions of people, he was an icon celebrated for his music, his film and theatrical roles, and his trendsetting influence on fashion and gender norms. But no one from her inner circle has told the story of how David Jones—a young folksinger, dancer, and aspiring mime—became one of the most influential artists of our time.Drummer Woody Woodmansey is the last surviving member of Bowie’s band The Spiders from Mars which helped launch his Ziggy Stardust persona and made David Bowie a sensation.In this first memoir to follow Bowie’s passing, Spider from Mars reveals what it was like to be at the white-hot center of a star’s self-creation. With never-before-told stories and never-before-seen photographs, Woodmansey offers details of the album sessions for The Man Who Sold the World, Hunky Dory, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, and Aladdin Sane: the four albums that made Bowie a cult figure. And, as fame beckoned by eventually consumed Bowie, Woodmansey recalls the wild tours, eccentric characters, and rock ‘n’ roll excess that eventually drove the band apart.A vivid and unique evocation of a transformative musical era and the enigmatic, visionary musician at the center of it, with a foreword by legendary music producer Tony Visconti and an afterword from Def Leppard's Joe Elliot, Spider from Mars is for everyone who values David Bowie, by one of the people who knew him best.

    No subject is taboo, as one of the true giants of rock ’n’ roll opens up about his Georgia youth, his long struggle with substance abuse, his string of bad marriages (including his brief union with superstar Cher), the tragic death of  brother Duane Allman, and life on the road in one of rock’s most legendary bands.

    The company owns nothing. All our bands have the freedom to f**k off''Written in blood, The Factory non-contract set out the manifesto for one of the most influential and progressive record labels of our time...Manchester, 1976: Anthony Wilson, Granada TV presenter, is at an early Sex Pistols gig. Inspired by this pivotal moment in music history, he and his friends set up Factory Records. They go on to conquer the world with Joy Division (who become New Order) then again with the Happy Mondays.Riding high on their success and just about keeping the business afloat, the Factory directors decide to give something back to their city, to open a club - The Hacienda. Packed on opening night but losing money hand over fist for the first five years, The Hacienda and the Happy Mondays take their unique brand of hedonism to breaking point.From the dawn of punk to the death of acid house, Anthony Wilson was at the centre of it all. Love him or hate him, you can't possibly ignore him.

    Ohio art-rockers Devo had plainly prepared with their 1979 second LP Duty Now for the Future, and now it was go time. Propelled by the new decade's high-tech, free-market, pre-AIDS promise, 1980's Freedom of Choice would rocket what Devo co-founder Gerald Casale calls his "alternate universe, hermetically sealed, alien band" both into the arms of the Earthlings and back to their home planet in one scenic trip.Before an artistic and commercial decline that resulted in a 20-year gap between Devo's last two studio records, Freedom of Choice made them curious, insurgent superstars, vindicated but ultimately betrayed by the birth of MTV. Their only platinum album represented the best of their unreplicable code: dead-serious tricksters, embracing conformity in order to destroy it with bullet-proof pop sensibility. Through first-hand accounts from the band and musical analysis set against an examination of new wave's emergence, the first-ever authorized book about Devo (with a foreword by Portlandia's Fred Armisen) explores the group's peak of success, when their hermetic seal cracked open to let in mainstream attention, a legion of new Devotees, and plenty of misunderstandings. "Freedom of Choice was the end of Devo innocence–it turned out to be the high point before the s***storm of a total cultural move to the right, the advent of AIDS, and the press starting to figure Devo out and think they had our number," says Casale. "It's where everything changes."

    He was truly imbued with the angry-young-man spirit that would characterize his persona both on and off stage. Through it all, Johnny kept the band focused and moving forward, ultimately securing their place in music history by inventing punk rock. The Ramones were inducted into the Rock and Roll Hall of Fame in 2002—two years later, Johnny died of cancer, having outlived two other founding members. Revealing, inspiring, and told on his own terms, this highly designed memoir also features Johnny’s assessment of the Ramones’ albums; a number of eccentric Top Ten lists; rare historical artifacts; and scores of personal and professional photos, many of which have never before been published.Praise for Commando:“Amazing book . . . dense and throbbing with character—enough to bring this departed New York icon barking back to life.” —New York Daily News "Johnny's delightful, sadly posthumous autobiography, Commando, is just like its author—as punk as it gets." —Wall Street Journal “Ramone memoir reveals charming, grumpy punk icon.” —Reuters“There's no grand confessional to end Commando, just a nod of gratitude toward family, friends, and fans. Its characteristic succinctness rings genuine.” —Austin Chronicle

    Instead of sticking to the "grunge pop" formula that made Nevermind" so palatable to the mainstream, Nirvana chose instead to challenge their audience, producing an album that the band's creative force, Kurt Cobain, said truly matched his vision of what he had always wanted his band to sound like. Here, the full story behind the creation of In Utero" is told for the first time.

    Raised mostly by his mother with an occasional cameo from his gangster father, Warren had an affinity and talent for music at an early age. Taking to the piano and guitar almost instantly, he began imitating and soon creating songs at every opportunity. After an impromptu performance in the right place at the right time, a record deal landed on the lap of a teenager who was eager to set out on his own and make a name for himself. But of course, where fame is concerned, things are never quite so simple.Drawing on original interviews with those closest to Zevon, including Crystal Zevon, Jackson Browne, Mitch Albom, Danny Goldberg, Barney Hoskyns, and Merle Ginsberg, Nothing's Bad Luck tells the story of one of rock's greatest talents. Journalist C.M. Kushins not only examines Zevon's troubled personal life and sophisticated, ever-changing musical style, but emphasizes the moments in which the two are inseparable, and ultimately paints Zevon as a hot-headed, literary, compelling, musical genius worthy of the same tier as that of Bob Dylan and Neil Young.In Nothing's Bad Luck, Kushins at last gives Warren Zevon the serious, in-depth biographical treatment he deserves, making the life of this complex subject accessible to fans old and new for the very first time.

    Whether you listen to Mozart or Duke Ellington, Aaron Copland's provocative suggestions for listening to music from his point of view will bring you a deeper appreciation of the most rewarding of all art forms.