Profusely and superbly illustrated, Country stands as one of the most brilliant explorations of American musical culture ever written.

    You might say this was the last day of the pop era.The following day, which was a Friday, was 1971. You might say this was the first day of the rock era. And within the remaining 364 days of this monumental year, the world would hear Don McLean's "American Pie," The Rolling Stones' "Brown Sugar," The Who's "Baba O'Riley," Zeppelin's "Stairway to Heaven," Rod Stewart's "Maggie May," Marvin Gaye's "What's Going On," and more.David Hepworth, an ardent music fan and well regarded critic, was twenty-one in '71, the same age as many of the legendary artists who arrived on the scene. Taking us on a tour of the major moments, the events and songs of this remarkable year, he shows how musicians came together to form the perfect storm of rock and roll greatness, starting a musical era that would last longer than anyone predicted. Those who joined bands to escape things that lasted found themselves in a new age, its colossal start being part of the genre's staying power.Never a Dull Moment is more than a love song to the music of 1971. It's also an homage to the things that inspired art and artists alike. From Soul Train to The Godfather, hot pants to table tennis, Hepworth explores both the music and its landscapes, culminating in an epic story of rock and roll's best year.

    But the truth is surprisingly simple: over a period of several months, Joy Division transformed themselves from run-of-the-mill punk wannabes into the creators of one of the most atmospheric, disturbing, and influential debut albums ever recorded. Chris Ott carefully picks apart fact from fiction to show how Unknown Pleasures came into being, and how it still resonates so strongly today. EXCERPT The urgent, alien thwack of Stephen Morris' processed snare drum as it bounced from the left to right channel was so arresting in 1979, one could have listened to that opening bar for hours trying to figure how on earth someone made such sounds. Like John Bonham's ludicrous, mansion-backed stomp at the start of "When The Levee Breaks"-only far less expensive-the crisp, trebly snare sound with which Martin Hannett would make his career announced Unknown Pleasures as a finessed, foreboding masterpiece. Peter Hook's compressed bass rides up front as "Disorder" comes together, but it's not until the hugely reverbed, minor note guitar line crashes through that you can understand the need for such a muted, analog treatment to Hook's line. Layering a few tracks together to create a six-string shriek, Hannett's equalization cuts the brunt of Sumner's fuller live sound down to an echoing squeal, revealing a desperation born of longing rather than rage. This is the way, step inside.

    "Ladyfriend", a song written by Crosby, had just failed miserably as a chart single despite the fact that he lobbied hard to get it released. This - coupled with the fact that he made what the rest of the band considered an embarrassing political speech onstage during their set at the Monterey Pop Festival, and then sat in with rivals the Buffalo Springfield the following day - pushed McGuinn and Hillman in particular to the limits of their patience. Then, for the Notorious sessions, Crosby presented a song called "Triad", written about a threesome, and although McGuinn and Hillman reluctantly agreed to record it, they later decided to place a less controversial Goffin & King pop number called "Goin' Back" on the album instead. Crosby declared the song banal and refused to sing on it. A few too many studio flare-ups later, McGuinn and Hillman finally screeched up into the Hollywood Hills in their Jaguars and fired Crosby on the spot. Also brooding during this period was drummer Michael Clarke, who had always borne the brunt of the other band members' rage while recording. He was by far the least accomplished member of the band musically, and when they suggested bringing in a studio drummer to embellish some tracks (Jim Gordon, later of Derek & the Dominos fame), he finally declared he'd had enough and moved to Hawaii to get away from the music scene altogether. So, McGuinn and Hillman were left to cobble together an album with the help of producer Gary Usher (known for his work with Brian Wilson, the Millenium, Sagittarius and many others). The fact that it turned out to be one of the defining albums of the 60s psychedelic pop experience was either a sheer stroke of luck, or a testament to McGuinn and Hillman's determination to prove that they didn't need Crosby's help to construct their masterpiece.

    It began life scribbled on airline sick bags during Cave’s 22-city tour of North America in 2014. It soon grew into a restless full-length contemporary epic. Spurred by encounters with modern day North America, and racked by romantic longing and exhaustion, Cave teases out the significant moments, the people, the books and the music that have influenced and inspired him, and drops them into his Sick Bag.The Sick Bag Song blends poetry, lyrics, memories, musings, flights of fancy and journal entries. Both mythic and contemporary, it lies somewhere between The Wasteland and Fear and Loathing in Las Vegas and explores and develops the imaginative universe of Nick Cave.The sumptuous physical edition reproduces in full colour twenty-two sick bags, each hand-customised by Nick, that are integrated throughout the text.

    From her unnerving depiction of sexual assault in "Me and a Gun" to her post-9/11 album Scarlet's Walk to her latest album Native Invader, her work has never shied away from intermingling the personal with the political.Amos began playing piano as a teenager for the politically powerful at hotel bars in Washington, D.C., during the formative years of the post-Goldwater and then Koch-led Libertarian and Reaganite movements. The story continues to her time as a hungry artist in L.A. to the subsequent three decades of her formidable music career. Amos explains how she managed to create meaningful, politically resonant work against patriarchal power structures-and how her proud declarations of feminism and her fight for the marginalized always proved to be her guiding light. She teaches readers to engage with intention in this tumultuous global climate and speaks directly to supporters of #MeToo and #TimesUp, as well as young people fighting for their rights and visibility in the world.Filled with compassionate guidance and actionable advice-and using some of the most powerful, political songs in Amos's canon-this book is for readers determined to steer the world back in the right direction.

    It's about the embarrassments of growing up and experimenting with who you are and how pop music is both the comic and life-affirming soundtrack that runs through it all.Different for Girls is for anyone who ever sang into a hairbrush and slow-danced to Spandau Ballet's True. It's about growing up with Look-In and Jackie magazine and daubing your hair with poster paint to look more like Toyah Wilcox. It's about bad perms, bad boyfriends and the nagging feeling that no man will quite measure up to Nick Heyward from Haircut One Hundred. It's also about the journey from bad band to great band, from gigs in toilets to gigs in stadiums with all the mistakes, joys, disappointments and successes in between. It's a journey which starts with a 12-year-old perfecting her dance routine to Kate Bush's Wuthering Heights in front of TOTPs and ends, almost 20 years later, with the same girl having REM's Michael Stipe sing happy birthday to her on a warm summer's evening accompanied by 70,000 strangers.

    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.

    . . A rollicking you-are-there history of the 60s-80s rock era.---Entertainment WeeklyIn this extraordinary memoir, world-renowned guitarist Andy Summers provides the revealing and passionate account of a life dedicated to music. From his first guitar at age thirteen and his early days on the English music scene to the ascendancy of his band, the Police, Summers recounts his relationships and encounters with the Big Roll Band, Jimi Hendrix, Eric Clapton, the Animals, John Belushi, and others, all the while proving himself a master of telling detail and dramatic anecdote. Andy's account of his role as guitarist for the Police---a gig that was only confirmed by a chance encounter with drummer Stewart Copeland on a London train---has been long-awaited by music fans worldwide. The heights of fame that the Police achieved have rarely been duplicated, and the band's triumphs were rivaled only by the personal chaos that such success brought about, an insight never lost on Summers in the telling. Complete with never-before-published photos from Summers's personal collection, One Train Later is a constantly surprising and poignant memoir, and the work of a world-class musician and a first-class writer.

    He was a genuinely great Briton, beloved by millions. John's unique voice and sensibility were evident in everything he did, and nowhere is that more true than in these pages.Margrave of the Marshes is the astonishing book John Peel began to write before his untimely death in October 2004, completed by the woman who knew him best, his wife Sheila. It is a unique and intimate portrait of a life, a marriage and a family which is every bit as extraordinary as the man himself - a fitting tribute to a bona fide legend.

    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.

    In the summer of 1964, aged twenty, Ray Davies led The Kinks to fame with their number one hit ‘You Really Got Me’. Within months, they were challenging The Beatles and The Rolling Stones in the charts, swamped by fans and renowned for the rioting at their gigs. Over the next three decades, Davies wrote a string of enduring classics – ‘All Day and All of the Night’, ‘Sunny Afternoon’, ‘Waterloo Sunset’, ‘Lola’ – that secured his status as one of the handful of people to have redefined pop culture over the last fifty years.But Ray’s journey from working-class Muswell Hill to the Rock ’n’ Roll Hall of Fame was tumultuous in the extreme, featuring breakdowns, bitter lawsuits, spectacular punch-ups and a ban from entering the USA for almost four years. His relationship with his brother Dave, The Kinks’ lead guitarist, is surely the most ferocious and abusive in music history. Based on countless interviews conducted over several decades, this richly detailed and revelatory biography presents the most frank and intimate portrait yet of Ray Davies, and promises to be the definitive biography of this most fascinating and complicated life.

    With his groundbreaking book The Game, Strauss penetrated the secret society of pickup artists; now, in Everyone Loves You When You’re Dead, his candid, surprising, and often hysterical interviews reveal the hidden sides of 120 of the world’s biggest celebrities, from Hugh Heffner to Johnny Cash to Snoop Dogg and beyond.

    Suspended for a few seconds, they float in their own space and time with their own hidden prospects. For want of a better term, we call these moments “magical” and when we remember them they are cloaked in a halo of special meaning.’For 14-year-old Johnny Clegg, hearing Zulu street music as plucked on the strings of a guitar by Charlie Mzila one evening outside a corner café in Bellevue, Johannesburg, was one such ‘magical’ moment. The success story of Juluka and later Savuka, and the cross-cultural celebration of music, language, story, dance and song that stirred the hearts of millions across the world, is well documented. Their music was the soundtrack to many South Africans’ lives during the turbulent 70s and 80s as the country moved from legislated oppression to democratic freedom. It crossed borders, boundaries and generations, resonating around the world and back again. Less known is the story of how it all began and developed. Scatterling of Africa is that origin story, as Johnny Clegg wrote it and wanted it told. It is the story of how the son of an unconventional mother, grandson of Jewish immigrants, came to realise that identity can be a choice, and home is a place you leave and return to as surely as the seasons change.

    National ads/media.From the Trade Paperback edition.