He tantalized audiences with his charismatic stage presence, and his biting, observant lyrics in such singles as "The Bottle" and "Johannesburg" provide a time capsule for a decade marked by turbulence, uncertainty, and racism. While he was exalted by his devoted fans as the “black Bob Dylan” (a term he hated) and widely sampled by the likes of Kanye West, Prince, Common, and Elvis Costello, he never really achieved mainstream success. Yet he maintained a cult following throughout his life, even as he grappled with the personal demons that fueled so many of his lyrics. Scott-Heron performed and occasionally recorded well into his later years, until eventually succumbing to his life-long struggle with addiction. He passed away in 2011, the end to what had become a hermit-like existence.In this biography, Marcus Baram--an acquaintance of Gil Scott-Heron's--will trace the volatile journey of a troubled musical genius. Baram will chart Scott-Heron's musical odyssey, from Chicago to Tennessee to New York: a drug addict's twisted path to redemption and enduring fame. In Gil Scott-Heron: Pieces of a Man, Marcus Baram puts the complicated icon into full focus.

    The crews of no other vessels experienced so high a degree of personal engagement with the enemy.” — Robert Bulkley Robert Bulkley’s definitive history of patrol torpedo boats in World War Two is exceptionally detailed, meticulously researched, and is a must-read for any naval enthusiast. Bulkley joined the PT division of the Navy in 1941, and immediately fell in love with the small and deadly weaponized boat. After V-J Day, 1945, the Navy continued Bulkley’s commission and asked him to write the official history of PT boats in WWII — At Close Quarters: PT Boats in the United States Navy is the groundbreaking result. In At Close Quarters, Bulkley uses the fastidious records kept by the US Navy to compile a book which serves as not just a record of the role of the PT boat's role in WWII but also as a lesson to future military and naval scholars. Best-known as the boat that future president John F. Kennedy commanded in the Pacific Theater in WWII, popular interest in PT boats has grown substantially since they first emerged as brilliant boats in naval engagements throughout the war. Bulkley provides a detailed account of the origins and history of PT boats, from the part they played in WWI to the improvements and developments made to their design prior to WWII. He analyses the role of PT boats in some of the major sea battles in the Pacific, opening with Pearl Harbor, through to their involvement in the Mediterranean, the D-Day operations in the English Channel as well as the Solomons campaign and the conquest of New Guinea. “The thorough and competent account herein of over-all PT boat operations in World War II, compiled by Captain Robert Bulkley, a distinguished PT boat commander, should therefore prove of wide interest. The widest use of the sea, integrated fully into our national strength, is as important to America in the age of nuclear power and space travel as in those stirring days of the birth of the Republic.” — President John F Kennedy “An invaluable history of WWII PT-Boat operations worldwide.” — Pacific Wrecks “This thorough and objective account of the operations of PT boats in the U.S. Navy in World War II was prepared in the year after V-J Day by an officer who served in them through most of the war in the far reaches of the Pacific. He knew and loved these small, fast craft with hornet sting. They played their part with zest in the far reaching, powerful Navy team. He gave to the research into the records, into the memories of other participants, and to the writing itself the same zest. As a result he produced a shipshape manuscript.” — Rear Admiral Ernest McNeill Eller Robert J. Bulkley, a retired USNR captain now deceased, commanded PT boats in the southwest Pacific, mostly in New Guinea and the Philippines, from June 1942 to the war's end. This work was first published in 1962, three years before Captain Bulkley passed away

    With penetrating insights and straightforward concepts, James gives you the tools necessary to tap into your own spiritual power center. A simple book that is by no means simplistic, combining fun stories and powerful anecdotes, The Science of Success gives you the power and the wisdom to create the life of your dreams.

    Drawn from the personal experiences of a therapist and practitioner of Vipassana meditation, this work explores meditation’s similarities and differences with psychotherapeutic and scientific endeavors. In the title essay, parallels are drawn between the atomic synthesis of free choice and lawful consequence in Chaos Theory and karma, offering contemporary insights into one of Buddhism’s core concepts. The empirical roots of meditation, its relevance to daily life, and the challenges and benefits of daily practice of Vipassana meditation are also addressed. Practical examples for continued observation outside of formal meditation retreats guide readers in incorporating Buddhist practice into daily life.

    Decibel magazine is regarded as the best extreme music magazine around.Precious Metal gathers pieces from Decibel's most popular feature, the monthly “Hall of Fame” which documents the making of landmark metal albums via candid, hilarious, and fascinating interviews with every participating band member.Decibel's editor-in-chief Albert Mudrian, has selected and expanded the best of these features, creating a definitive collection of stories behind the greatest extreme metal albums of all time.

    They were all under contract to CBS Records, making it the most successful label of the era. And, as the company’s president, Walter Yetnikoff was the ruling monarch. He was also the most flamboyant, volatile and controversial personality to emerge from an industry and era defined by sex, drugs and debauchery. Having risen from working-class Brooklyn and the legal department of CBS, Yetnikoff, who freely admitted to being tone deaf, was an unlikely label head. But he had an uncanny knack for fostering talent and intimidating rivals with his appalling behavior—usually fueled by an explosive combination of cocaine and alcohol. His tantrums, appetite for mind-altering substances and sexual exploits were legendary. In Japan to meet the Sony executives who acquired CBS during his tenure, Walter was assigned a minder who confined him to a hotel room. True to form, Walter raided the minibar, got blasted and, seeing no other means of escape, opened a hotel window and vented his rage by literally howling at the moon. In Howling at the Moon, Yetnikoff traces his journey as he climbed the corporate mountain, danced on its summit and crashed and burned. We see how Walter became the father-confessor to Michael Jackson as the King of Pop reconstructed his face and agonized over his image while constructing Thriller (and how, after it won seven Grammies, Jackson made the preposterous demand that Walter take producer Quincy Jones’s name off the album); we see Walter, in maniacal pursuit of a contract, chase the Rolling Stones around the world and nearly come to blows with Mick Jagger in the process; we get the tale of how Walter and Marvin Gaye—fresh from the success of “Sexual Healing”—share the same woman, and of how Walter bonds with Bob Dylan because of their mutual Jewishness. At the same time we witness Yetnikoff’s clashes with Barry Diller, David Geffen, Tommy Mottola, Allen Grubman and a host of others. Seemingly, the more Yetnikoff feeds his cravings for power, sex, liquor and cocaine, the more profitable CBS becomes—from $485 million to well over $2 billion—until he finally succumbs, ironically, not to substances, but to a corporate coup. Reflecting on the sinister cycle that left his career in tatters and CBS flush with cash, Yetnikoff emerges with a hunger for redemption and a new reverence for his working-class Brooklyn roots.Ruthlessly candid, uproariously hilarious and compulsively readable, Howling at the Moon is a blistering You’ll Never Eat Lunch in this Town Again of the music industry.

    It brings together leading avant-garde composers of the early postwar period such as Elliot Carter, Pierre Boulez and Karlheinz Stockhausen; pioneers of electroacoustic music such as Francois Bayle, Pauline Oliveros, Iannis Xenakis and Peter Zinovieff; minimalist and Fluxus-inspired artist-musicians such as Tony Conrad, Henry Flynt, Phil Niblock, Yoko Ono, Steve Reich and Terry Riley; and figures that have moved between classical/experimental realms and more pop terrain, such as Brian Eno, Kraftwerk, Howie B., Arto Lindsay and Caetano Veloso. Obrist's interviews map the evolution of the new music in Europe and America across all of its genres, from musique concrete to the recent hybridizations between pop and avant-garde, as techniques from both realms cross-pollinate. A Brief History of New Music is an ideal introduction to the experimental and new classical music of the past half-century.

    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.

    Now, because powerful people like Doug Morris and Tommy Mottola failed to recognize the incredible potential of file-sharing technology, the labels are in danger of becoming completely obsolete. Knopper, who has been writing about the industry for more than ten years, has unparalleled access to those intimately involved in the music world's highs and lows. Based on interviews with more than two hundred music industry sources—from Warner Music chairman Edgar Bronfman Jr. to renegade Napster creator Shawn Fanning—Knopper is the first to offer such a detailed and sweeping contemporary history of the industry's wild ride through the past three decades. From the birth of the compact disc, through the explosion of CD sales in the '80s and '90s, the emergence of Napster, and the secret talks that led to iTunes, to the current collapse of the industry as CD sales plummet, Knopper takes us inside the boardrooms, recording studios, private estates, garage computer labs, company jets, corporate infighting, and secret deals of the big names and behind-the-scenes players who made it all happen.With unforgettable portraits of the music world's mighty and formerly mighty; detailed accounts of both brilliant and stupid ideas brought to fruition or left on the cutting-room floor; the dish on backroom schemes, negotiations, and brawls; and several previously unreported stories, Appetite for Self-Destruction is a riveting, informative, and highly entertaining read. It offers a broad perspective on the current state of Big Music, how it got into these dire straits, and where it's going from here—and a cautionary tale for the digital age.

    He encouraged to inquire into the origin of consciousness and the illusory nature of arising phenomena. The primary reason for the book’s effectiveness is that the author enjoys a profound intuition of his teacher's realization."This sequel to I am That and Seeds of Consciousness continues the moving account of a genuine master of Advaita Vedanta."-David Diaman (The Laughing Man)

    David Nolan's 'I Swear I Was There' describes the early days of the Sex Pistols, their first gig at the Manchester Free Trade Hall in 1976 and the long-term effects of that first concert.

    But, in fact, record stores served as community centers, information exchanges, clubs, art galleries, and launching pads for numerous bands and record labels. Record Store Days takes a long, loving look back at the retail refuges that enthralled at least three generations of music lovers, providing a glimpse into the special alchemy that makes a great record store. Written and compiled by two record store veterans, this lively and nostalgic anthology includes photographs and reminiscences from musicians, music industry executives, former record store clerks, and, of course, avid fans.

    So much for the Summer of Love. "Ode to Billie Joe" knocked the Beatles' "All You Need is Love" off the top of the charts, and Bobbie Gentry became an international star. Almost 50 years later, Gentry is as enigmatic and captivating as her signature song. Of course, fans still want to know why Billie Joe McAllister jumped off the Tallahatchie Bridge. They also wonder: Why did Bobbie Gentry, who has not performed or made a public appearance since the early 1980s, leave it all behind?Through extensive interviews and unprecedented access to career memorabilia, Murtha explores the real-life mysteries ensnarled within the much-disputed origin of Ode to Billie Joe. The result is an investigative pop history that reveals, for the first time, the full breadth of Bobbie Gentry's groundbreaking career-and just may help explain her long silence.Foreword by musician Jill Sobule.

    The embarrassment is palatable, but perseverance is the most touching part of these stories. These awful things that happened don't interrupt the dream. The dream of performing and stardom. The dream of connecting with an audience. No Encore! is a glimpse into the analog past; a trip to a distant world when artists made albums and suites of songs you listened in order." —Bret Easton Ellis   “They hated us and started throwing cups, bottles, change, chairs, and anything that wasn’t nailed down.” —Dean Ween This hilarious, sometimes horrifying, collection spans four decades and chronicles the craziest, druggiest, and most embarrassing concert moments in music history—direct from the artists who survived them.  “In the midst of my insanity, I thought it would be a very romantic gesture to go into Fiona Apple’s dressing room and write a message on her wall in my own blood.” —Dave Navarro From wardrobe malfunctions to equipment failures, from bad decisions to even worse choices, this is a riveting look into what happens when things go wrong onstage and off. “Ozzy had a sixty-inch teleprompter with the song lyrics, and that got stolen, along with microphones, snare drums and cymbals. Our drummer at the time was stabbing people in the neck with his drumstick.” —Zakk Wylde No Encore! is an unflinchingly honest account of the shows that tested the dedication to a dream—from Alice Cooper’s python having a violent, gastric malfunction on stage to Lou Barlow’s disastrous attempt to sober up at Glastonbury, from Shirley Manson’s desperate search for a bathroom to the extraordinary effort made to awaken Al Jourgenson as Ministry was taking the stage. As Hunter S. Thompson famously wrote, “Buy the ticket, take the ride.”  “I go to exit the venue, and there’s 25 people marching towards us. It’s about 3:00 AM, and they weren’t there to be nice. They were carrying bats, boards, chains, hammers, and they were coming for us.” —Dee Snider

    With exclusive access to the RCA vaults, producer Ernst Jorgensen brings to intimate life every moment that Elvis spent in the studio--from the spontaneous joy of his early sessions to the intensely creative periods of his later career. At once the definitive recording session guide and a compellingly readable narrative, this is the ultimate companion to the singer and his songs.