It was under these conditions that four young musicians found one another in Boston, Massachusetts, and started a band called Pixies.During their initial seven-year career, Pixies would play some of Europe's most gigantic festivals, keep the press guessing, and cultivate a fervid international fan base hungry for more and more of their unique surf punk. The band worked fast, cranking out four albums at a breakneck pace, but ultimately pressures and personality clashes took their toll: Pixies broke up just as bands were singing their praises as the rock'n'roll innovators. For twelve years, a Pixies reunion seemed impossible, but a sudden announcement in 2004 proclaimed the unthinkable-Pixies were getting back together. Their extremely successful reunion tour finally gave the group something they'd always lacked in their homeland: proof that their bone-rattling music had left an indelible impact. Fool the World tells Pixies' story in the words of those who lived it, from the band members to studio owners, from A&R executives, producers, and visual artists who worked with them to admirers of their music, such as Bono, PJ Harvey, Beck, and Perry Farrell. With new cartoons by Trompe Le Monde illustrator Steven Appleby, Fool the World is a complete journey through the life, death, and rebirth of one of the most influential bands of all time.

    Traveling to Baghdad and then to Mosul with the 1st Cavalry Division, McDonell offers an unforgettable look at the way things stand now—at the translators stranded in a country that doesn’t look kindly on their cooperation, at the infantrymen struggling to make something out of the soft counterinsurgency missions they call chai-ops, at the commanders inured to American journalists and Iraqi officials both—and what the so-called “end of major combat operations” means for where they’re going.

    Johnny Cash's extraordinary career stretched from his days at Sun Records with Elvis Presley and Jerry Lee Lewis to the remarkable creative last hurrah, at age 69, that resulted in the brave, moving "Hurt" video.As music critic for the Los Angeles Times, Hilburn knew Cash throughout his life: he was the only music journalist at the legendary Folsom Prison concert in 1968, and he interviewed both Cash and his wife June Carter just months before their deaths. Drawing upon a trove of never-before-seen material from the singer's inner circle, Hilburn creates an utterly compelling, deeply human portrait of a towering figure in country music, a seminal influence in rock, and an icon of American popular culture. Hilburn's reporting shows the astonishing highs and deep lows that marked the journey of a man of great faith and humbling addiction who throughout his life strove to use his music to lift people's spirits.

    Savage brings to life the sensational story of the meteoric rise and rapid implosion of the Pistols through layers of rich detail, exclusive interviews, and rare photographs. This fully revised and updated edition of the book covers the legacy of punk twenty-five years later and provides an account of the Pistols' 1996 reunion as well as a freshly updated discography and a completely new introduction.

    In a post-civil rights era defined by deindustrialization and globalization, hip-hop crystallized a multiracial, polycultural generation's worldview, and transformed American politics and culture. But that epic story has never been told with this kind of breadth, insight, and style.Based on original interviews with DJs, b-boys, rappers, graffiti writers, activists, and gang members, with unforgettable portraits of many of hip-hop's forebears, founders, and mavericks, including DJ Kool Herc, Afrika Bambaataa, Chuck D, and Ice Cube, Can't Stop Won't Stop chronicles the events, the ideas, the music, and the art that marked the hip-hop generation's rise from the ashes of the 60's into the new millennium.

    Now reformed, they are launching their Best Of... album in 2002. The book features exclusive interviews and photos and is written by personal friend and journalist Paul Mather, from London.

    His lyrics and melodies paint indelible portraits of the people, places, and experiences that shaped him. He has served as model, mentor, supporter, and friend to at least two generations of the world’s most talented and influential singer-songwriters. In songs like “Desperados Waiting for a Train,” L.A. Freeway,” “She Ain’t Going Nowhere,” and “Texas 1947,” Clark’s poetic mastery has given voice to a vision of life, love, and trouble that has resonated not only with fans of Americana music, but also with the prominent artists—including Johnny Cash, Ricky Skaggs, Jerry Jeff Walker, and others—who have recorded and performed Clark’s music. Now, in Without Getting Killed or Caught: The Life and Music of Guy Clark, writer, producer, and music industry insider Tamara Saviano chronicles the story of this legendary artist from her unique vantage point as his former publicist and producer of the Grammy-nominated album This One’s for Him: A Tribute to Guy Clark. Part memoir, part biography, Saviano’s skillfully constructed narrative weaves together the extraordinary songs, larger-than-life characters, previously untold stories, and riveting  emotions that make up the life of this modern-day poet and troubadour.

    It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics. Paul Hegarty argues that noise is a judgement about sound, that what was noise can become acceptable as music, and that in many ways the idea of noise is similar to the idea of the avant-garde.While it provides an excellent historical overview, the book's main concern is in the noise music that has emerged since the mid 1970s, whether through industrial music, punk, free jazz, or the purer noise of someone like Merzbow. The book progresses seamlessly from discussions of John Cage, Erik Satie, and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms. Sharp and erudite, and underpinned throughout by the ideas of thinkers like Adorno and Deleuze, Noise/Music is the perfect primer for anyone interested in the louder side of experimental music.

    Matthew Bannister said he was going to reinvent the station, the most popular in Europe. But things didn't go exactly to plan. The station lost millions of listeners. Its most famous DJs left, and their replacements proved to be disasters. Radio 1's commercial rivals regarded the internal turmoil with glee. For a while a saviour arrived, in the shape of Chris Evans. But his behaviour caused further upheavals, and his eventual departure provoked another mass desertion by listeners. What was to be done? In the middle of this crisis, Radio 1 bravely (or foolishly) allowed the writer Simon Garfield to observe its workings from the inside. For a year he was allowed unprecedented access to management meetings and to DJs in their studios, to research briefings and playlist conferences. Everyone interviewed spoke in passionate detail about their struggle to make their station credible and successful once more. The result is a gripping and often hilarious portrait a much loved national institution as it battles back from the brink of calamity.

    Rather than offering a history of contemporary music, Audio Culture traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical language for this new audio culture. Via writings by philosophers, cultural theorists, and composers, Audio Culture explores the interconnections among such forms as minimalism, indeterminacy, musique concrète, free improvisation, experimental music, avant-rock, dub reggae, Ambient music, HipHop, and Techno. Instead of focusing on the putative "crossover" between "high art" and "popular culture," Audio Culture takes all of these musics as experimental practices on par with, and linked to, one another. While cultural studies has tended to look at music (primarily popular music) from a sociological perspective, the concern here is philosophical, musical, and historical. Audio Culture includes writing by some of the most important musical thinkers of the past half-century, among them John Cage, Brian Eno, Glenn Gould, Umberto Eco, Ornette Coleman, Jacques Attali, Simon Reynolds, Pauline Oliveros, Paul D. Miller, David Toop, John Zorn, Karlheinz Stockhausen, and many others. The book is divided into nine thematically-organized sections, each with its own introduction. Section headings include topics such as "Modes of Listening," "Minimalisms," and "DJ Culture." In addition, each essay has its own short introduction, helping the reader to place the essay within musical, historical, and conceptual contexts. The book concludes with a glossary, a timeline, and an extensive discography.

    Stephen Tow takes a second look at the music and community that vaulted the likes of Nirvana, Pearl Jam, Mudhoney, and Soundgarden to international fame. Chock-full of interviews with the starring characters, Tow extensively chronicles the rise of rock 'n' roll s last great statement and contextualizes what the music really meant to the key players. Delving deep into the archives, Tow paints a vivid picture of the underground rock circuit of tattered warehouses and community centers. Seattle s heady punk scene of the late '80s gave birth to a rowdy and raucous movement, influenced by metal, but wholly its own. Seattle made its own sound, a sound that came to be known internationally as grunge. Tow walks the reader through this sonic evolution, interviewing members of every band along the way. In 1991, Seattle s sound took the world by storm--but this same storm had been brewing in the Pacific Northwest for a decade before it hit MTV.The Strangest Tribeis a reframing of this last transformative era in music. Not just plaid shirts, bleached hair, and angst, grunge is a word used to describe a rich community of artists and jokers."

    This is the story of my life in rock and roll -- and how the band that has meant everything to me came to define me. I'm looking forward to sharing it with you." Mick Fleetwood has been a member of the ever-evolving Fleetwood Mac, one of the world's most successful and adored bands, for over four decades. Here he tells the full and candid story of his life as one of music's greatest drummers and bandleaders, the cofounder of the deeply loved supergroup that bears his name and that of his bandmate and lifelong friend John McVie.In this intimate portrait of a life lived in music, Fleetwood vividly recalls his upbringing tapping along to every song playing on the radio, his experiences as a musician in '60s London, and the earliest permutation of the band featuring Peter Green.Play On sheds new light on Fleetwood Mac's raucous history, describing the highs and lows of being in the band that Fleetwood was determined to keep together. Here he reflects on the creation of landmark albums such as Rumours and Tusk, the great loves of his life, and the many incredible and outrageous moments of recording, touring, and living with Fleetwood Mac. Fleetwood describes these moments with honesty and immediacy, taking us to the very heart of this multilayered journey that has always been anchored in music.Through it all, from intense love to plaintive heartaches, from collaborations to confrontations, it's been the drive to play on that has prevailed. Now, then, and always, it's Fleetwood Mac.

    This experience gave Carducci a unique perspective on music and "Rock And The Pop Narcotic" is perhaps the only book of popular music criticism that attempts to achieve a genuine aesthetic of rock music. The content runs the gamut of music, touching on everything from the Allman Brothers to Husker Du to Black Flag.

    Presents a summary of the innovative musician's life during his nine years in New York City, together with a collection of 150 full-color photographs and reminiscences on the stories behind the photographs.

    Kraftwerk is a pleasure to read' Jon Savage, New StatesmanThe story of the phenomenon that is Kraftwerk, and how they revolutionised our cultural landscape'We are not artists nor musicians. We are workers.' Ignoring nearly all rock traditions, experimenting in near-total secrecy in their Düsseldorf studio, Kraftwerk fused sound and technology, graphic design and performance, modernist Bauhaus aesthetics and Rhineland industrialisation - even human and machine - to change the course of modern music. This is the story of Kraftwerk the cultural phenomenon, who turned electronic music into avant-garde concept art and created the soundtrack to our digital age.