Released early and reconciled with Barat, The Libertines confounded the critics by rounding off 2003 with three triumphant sold-out shows at London's Forum and kicking off 2004 with the prestigious Best UK band gong at the NME awards. For the first time, the full, extraordinary story of the most gifted yet nihilistic London band since The Sex Pistols is told. With the complete co-operation of the major players in their gloriously destructive ascent. A documentation of the break-ins, break-ups, punch-ups and make-ups of the first two phenomenal years of The Libertines. Illustrated with many unseen photographs from the authors archive.

    This relationship - between young people and the empathetic music that sets them off down a road of self-discovery and self-definition - is emo, a much-maligned, mocked, and misunderstood term that has existed for nearly two decades, but has flourished only recently. In Nothing Feels Good, Andy Greenwald makes the case for emo as more than a genre - it's an essential rite of teenagehood. From the '80s to the '00s, from the basement to the stadium, from tour buses to chat rooms, and from the diary to the computer screen, Nothing Feels Good narrates the story of emo from the inside out and explores the way this movement is taking shape in real time and with real hearts on the line. Nothing Feels Good is the first book to explore this exciting moment in music history and Greenwald has been given unprecedented access to the bands and to their fans. He captures a place in time and a moment on the stage in a way only a true music fan can.

    Two days later he was playing his first show as bass player with AC/DC; within a week he was on Countdown, rocking out next to wildman Bon Scott, who was dressed as a pigtailed, cigarette-smoking schoolgirl - and waving a mallet - and Angus who was - of course - decked out as a schoolboy. And all for the princely wage of $60 a week!Then came nearly being burnt alive on the video shoot for 'Jailbreak', and working with legends Vanda and Young on the massive album TNT, on which Mark's take-no-prisoners basslines anchored such immortal hits as 'TNT' and 'It's a Long Way To the Top'. Within a year, the band had relocated to London and were on the road to rock 'n' roll stardom, living the life of rock gods and making the most of all that had to offer. Until the tragic death of his good friend Bon Scott changed everything.Dirty Deeds is the first book about AC/DC written from the inside, by an insider - which is gold for any AC/DC fan. It is an honest, gripping, sometimes laugh-out-loud account of a band that lived fast, played hard and broke every one of the rules - before they broke all the records. It is also a revealing and frank memoir of a man who's had to contend with everything life has thrown at him - a rough-as-guts upbringing, lucky breaks and soaring highs, as well as terrible personal tragedy and loss. The hard lessons Mark has learned along the way will inspire any reader.

    The book also features an exclusive foreword by rock legend Glenn Hughes (Black Sabbath, Deep Purple).

    The missing link between free jazz and punk rock, they were raw, primal, and, when things were clicking, absolutely unstoppable. Led by legendary guitarist Wayne Kramer, The MC5 was a reflection of the times: exciting, sexy, violent, chaotic, and out of control, all but assuring their time in the spotlight would be short-lived. They toured the country, played with music legends, and had a rabid following, their music acting as the soundtrack to the blue collar youth movement springing up across the nation. Kramer wanted to redefine what a rock 'n' roll group was capable of, and there was power in reaching for that, but it was also a recipe for disaster, both personally and professionally. The band recorded three major label albums but, by 1972, it was all over. Kramer's story is (literally) a revolutionary one, but it's also the deeply personal struggle of an addict and an artist, a rebel with a great tale to tell. The '60s were not all peace and love, but Kramer shows that peace and love can be born out of turbulence and unrest. From the glory days of Detroit to the junk-sick streets of the East Village, from Key West to Nashville and sunny L.A., in and out of prison and on and off of drugs, his is the classic journeyman narrative, but with a twist: he's here to remind us that revolution is always an option.

    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.

    Along the way, Ted details his late ’60s stint as an unlikely star with the sunshine pop outfit Harpers Bizarre and his grind-it-out days as a Warner Bros. tape listener, including the life-altering moment that launched his career as a producer: his discovery of the Doobie Brothers. Ted Templeman: A Platinum Producer’s Life in Music takes us into the studio sessions of No. 1 hits like “Black Water” by the Doobie Brothers and “Jump” by Van Halen, as Ted recounts memories and the behind-the-scene dramas that engulfed both massively successful acts. Throughout, Ted also reveals the inner workings of his professional and personal relationships with some of the most talented and successful recording artists in history, including Steven Tyler and Joe Perry of Aerosmith, Eric Clapton, Lowell George, Sammy Hagar, Linda Ronstadt, David Lee Roth, and Carly Simon.

    Collating classic music press and glossy magazine articles, Morrissey in Conversation describes the rocker's crazy-quilt career in his own words. It’s all here — how the Smiths created 1980s indie rock; the anti-rock credentials, feminist sympathies, and militant vegetarianism; Morrisey’s obsession with pop culture and girl groups, his (a)sexuality, and sardonic salvos against the mediocre. This is the story of how one man bewitched the ‘80s, peaked in the ‘90s, and triumphed in the new millennium.

    In a thorough chronicle of the American underground punk and New Wave rock scene, noted music critic Heylin explores the origins and evolution of this fiery music phase of the '60s and '70s--from the Velvet Underground to the Ramones to the Talking Heads.

    Fans and non-fans alike will be shocked by the stories of murder, suicide, addiction, counterfeiting, riots, bondage, terminal illness, the Yakuza, and drinking pee. Told from the perspective of each of the band's members, this book looks back at more than thirty years of comedy, tragedy, and completely inexplicable success.

    Singer-songwriter and co-founder of the Smiths (1982-1987), Morrissey has been a solo artist for twenty-six years, during which time he has had three number 1 albums in England in three different decades.Achieving eleven Top 10 albums (plus nine with the Smiths), his songs have been recorded by David Bowie, Nancy Sinatra, Marianne Faithfull, Chrissie Hynde, Thelma Houston, My Chemical Romance and Christy Moore, amongst others.An animal protectionist, in 2006 Morrissey was voted the second greatest living British icon by viewers of the BBC, losing out to Sir David Attenborough. In 2007 Morrissey was voted the greatest northern male, past or present, in a nationwide newspaper poll. In 2012, Morrissey was awarded the Keys to the City of Tel-Aviv.It has been said 'Most pop stars have to be dead before they reach the iconic status that Morrissey has reached in his lifetime.'Autobiography covers Morrissey's life from his birth until the present day.

    One of punk rock's foundational documents, the archetype for indie obsession and all but disowned by its author, The Modern Lovers was an album doomed by its own coolness from day one. Powered by the two-chord wonder “Roadrunner” and its proclamation that “I'm in love with rock 'n' roll,”The Modern Lovers is the essential document of American alienation, an escape route from the cultural wasteland of postwar suburbia. The Modern Lovers is the bridge connecting the Velvet Underground and the Sex Pistols; they were peers of the New York Dolls and friends with Gram Parsons and they would splinter into Talking Heads, The Cars, and The Real Kids.But The Modern Lovers was never meant to be an album. A collection of demos, recorded in fits and starts as Jonathan Richman and his band negotiate modernity and the music industry. It is a collection of songs about a city and a society in flux, grappling with ancient corruptions and bright-eyed idealism. Richman observes a city all but abandoned by adults, ravaged by white flight and urban renewal, veering towards anarchy as old world social moors collide with new attitudes. It is a city stands in stark contrast to the the ranchstyle bedroom community where he was raised. All of these conflicts are churned through Richman's intellectual acuity and emotional unrest to create one of the 20th century's most enduring documents of post-adolescent malaise.

    Tour journal documenting the final Black Flag tour and first Rollins Band tour.

    With Roger Miret as front man, legendary band Agnostic Front’s focused fury and aggression defined the times and continue to resonate today.Born in Cuba, Roger Miret fled with his family to the US to escape the Castro regime. Through vivid language and graphic details, Miret recounts growing up in a strange new land with a tyrannical, abusive stepfather and the roles that poverty and violence played in shaping the toughness that became critical to his survival. In his teen years, he finds himself squatting in abandoned buildings with other runaways and victims of similar childhood trauma. Soon he becomes a respected and feared kingpin of the scene, and a protector of its misfits and outcasts.Miret’s gripping memoir is a testament to the perils of growing up too young too fast and finding redemption through sheer strength, perseverance, and courage.Roger Miret is the godfather of the New York hardcore scene. He joined Agnostic Front in 1982. Jon Wiederhorn is the co-author of Louder Than Hell: The Definitive Oral History of Metal, Ministry (with Al Jourgensen), and I’m the Man (with Scott Ian). He has written for Revolver, Rolling Stone, and SPIN, among others.

    A story of hope and despair in equal measure, it's an account of an unhappy young man who'll try anything and everything to get some peace from the voice in his head that tells him he's useless—that he'd be better off dead. He drinks, takes risks and drugs both, and even cuts himself sometimes, because physical pain can be easier to bear than emotional. He can't play a musical instrument, but that doesn't stop him from joining a band—and as that band becomes more and more successful (record deals and interviews in the music press; national and international tours, and managers who seem to have bottomless pockets), it seems he might just be okay after all. But the demons that nag at him won't be easily assuaged, and ultimately, he has to decide whether or not he has a future. The story of a band looking to make it big and a young, troubled soul looking just to make it through the night, Richard marks the arrival of a dazzling new talent.