Carpet Burns is Tom Hingley's account of his life as lead singer of Inspiral Carpets, one of the big three bands of the Manchester movement who, along with The Stone Roses and Happy Mondays, changed music for a generation. Tom's own words provide an account of what it felt like to be in the eye of a pop hurricane and what happens when the hits end and the arguments kick in.

Actor performer musician entrepreneur winemaker athlete writer curious adventurer a Maynard James Keenan is the embodiment of the archetypal artist. Best known as the vocalist in award-winning groups Tool A Perfect Circle and Puscifer he has trusted the path he's followed and heeded his inner voice ever open to synchronicities and unexpected turnings along the way.THUntil now fans of Maynard James Keenan a or MJK as he is often called a have had access to only an abridged version of his story. In EA Perfect Union of Contrary ThingsE Keenan partners with his friend of 30 years Sarah Jensen to present a full account of his life and career. From his Midwest childhood to his years in the army to his time in art school a and from his stint at a Boston pet shop to his place in the international spotlight and his influence on contemporary music and regional winemaking a the book chronicles the events that led MJK to take one step after the next to change direction to explore sometimes surprising opportunities.THIncluded are sidebars in his own words often humorous anecdotes that illuminate the narrative as well as commentary by his family members friends instructors and industry colleagues. It also features a foreword by Alex Grey an American visionary artist and longtime friend of Keenan along with a bounty photos of Keenan from childhood to the present.THA comprehensive portrayal of a versatile and dedicated artist EA Perfect Union of Contrary ThingsE pays homage to the people and places that shaped the man and his art. A ENew York TimesE Bestseller in hardcover it is presented here for the first time in paperback.

For the Beatles, 1967 marks a signal crossroads that would both transform the group's career and place them on a trajectory towards their eventual disbandment. It was a year in which they exploded prevailing rock music demographics through the global onslaught and international success of Sgt. Pepper's Lonely Hearts Club Band beginning in June 1967. Yet it was also a period that saw them in a precarious state of flux throughout the summer and fall months, as the band attempted to recapture their artistic direction in the wake of Sgt. Pepper and the untimely death of manager Brian Epstein. The Beatles, Sgt. Pepper, and the Summer of Love draws readers into that pivotal year in the life of the band. For the Fab Four, 1967 would see the band members part ways with psychedelia and the avant-garde through the trials and tribulations of the Magical Mystery Tour, a project that resulted in a series of classic recordings, while at the same time revealing the bandmates' aesthetic vulnerabilities and failings as would-be filmmakers and auteurs.

The Rolling Stones' Beggars Banquet is one of the seminal albums in rock history. Arguably it not only marks the advent of the 'mature' sound of the Rolling Stones but lays out a new blueprint for an approach to blues-based rock music that would endure for several decades. From its title to the dark themes that pervade some of its songs, Beggars Banquet reflected and helped define a moment marked by violence, decay, and upheaval. It marked a move away from the artistic sonic flourishes of psychedelic rock towards an embrace of foundational streams of American music - blues, country - that had always underpinned the music of the Stones but assumed new primacy in their music after 1968. This move coincided with, and anticipated, the 'roots' moves that many leading popular music artists made as the 1960s turned toward a new decade; but unlike many of their peers whose music grew more 'soft' and subdued as they embraced traditional styles, the music and attitude of the Stones only grew harder and more menacing, and their status as representatives of the dark underside of the 60s rock counterculture assumed new solidity. For the Rolling Stones, the 1960s ended and the 1970s began with the release of this album in 1968.

"Everybody has to start somewhere. Businessmen start on the ground floor and try to work their way up the corporate ladder. Baseball players bide their time in the minor leagues wishing for an opportunity to move up and play in the majors. Musical compositions aren't very different-some songs just don't climb the charts the first time they're recorded. However, with perseverance, the ideal singer, the right chemistry, impeccable timing, vigorous promotion, and a little luck, these songs can become very famous." So writes Bob Leszczak in the opening pages of Who Did It First? Great Pop Cover Songs and Their Original Artists. In this second volume in the Who Did It First? series, Leszczak explores the hidden history of the most famous, indeed legendary, pop songs and standards. As he points out, the version you purchased, swayed to, sang to, and grew up with is often not the first version recorded. Like wine and cheese, some tunes do get better with age, and behind each there is a story. Included are little-known facts and amusing anecdotes, often gathered through Leszczak's vast archive of personal interviews with the singers and songwriters, record producers and label owners, who wrote, sang, recorded, and distributed either the original first cut or one of its classic covers. The second in a series of titles devoted to the story of great songs and their revival as great covers, Who Did It First? Great Pop Cover Songs and Their Original Artists is the perfect playlist builder. So whether quizzing friends at a party, answering a radio station contest, or just satisfying an insatiable curiosity to know who really did do it first, this work is a must-have.

The Show That Never Ends is the behind-the-scenes story of the extraordinary rise and fall of progressive ("prog") rock, epitomised by such classic, chart-topping bands as Yes, Genesis, Pink Floyd, Jethro Tull and Emerson Lake & Palmer, and their successors Rush, Styx and Asia. With inside access to all the key figures, The Washington Post national reporter David Weigel tells the story with the gusto and insight Prog Rock's fans (and its haters) will relish. Along the way, he explains exactly what was "progressive" about Prog Rock, how it arose from psychedelia and heavy metal, why it dominated the pop charts but then became so despised that it was satirised in This Is Spinal Tap and what fuels its resurgent popularity today.

Since 1963 Eric Clapton has contributed to two hundred albums by other artists: from very famous to the obscure and the unexpected: Bob Dylan, Aretha Franklin, The Rolling Stones, Sting, Phil Collins, Rod Stewart, all four of the Beatles, Martha Velez, Jonathan Kelly, Corey Hart, Stephen Bishop, Hawkwind, Ray Charles, Kate Bush, The Tony Rich Project, Toots and the Maytals and Mary J. Blige. If you've never heard (for instance) 'Beat of the Night' by Bob Geldof, 'Sexual Revolution' by Roger Waters or 'I Wish It Would Rain Down' by Phil Collins, this book tells you about Eric's part in those recordings and many more, as well as his more notorious collaborations with the likes of The Beatles, Bob Dylan - and Ed Sheeran! Indeed, this book puts these into context across nearly sixty years of documented sessions. If you've never delved into Eric's contributions to other artist's recordings, then this is a handy guide to help the reader find his way into such a lengthy and successful second career. If his own albums are the main story, then these recordings run alongside: an alternative history of one of rock's most prolific musicians

Florence + the Machine is the recording name of English musician Florence Welch and a collaboration of other artists who provide music for her voice. Florence + the Machine's sound has been described as a combination of various genres, including rock and soul. The Sunday Times described Welch as "the most peculiar and most highly acclaimed female singer of the moment" Tells the story of her upbringing in South London to her thrilling rise to international fame as a singer and also a highly individual fashion icon. Her collaborations and working relationships with Chanel Creative Director Karl Lagerfeld, her manager Mairead Nash and her friend Isabella Summers who to this day forms part of 'the machine'. How her sense of style has captured the imaginations of fans and fashion editors the world over. The stories behind the glittering award ceremonies, TV appearances and international tours.

The Show That Never Ends is the behind-the-scenes story of the extraordinary rise and fall of progressive ("prog") rock, epitomised by such classic, chart-topping bands as Yes, Genesis, Pink Floyd, Jethro Tull and Emerson Lake & Palmer, and their successors Rush, Styx and Asia. With inside access to all the key figures, The Washington Post national reporter David Weigel tells the story with the gusto and insight Prog Rock's fans (and its haters) will relish. Along the way, he explains exactly what was "progressive" about Prog Rock, how it arose from psychedelia and heavy metal, why it dominated the pop charts but then became so despised that it was satirised in This Is Spinal Tap and what fuels its resurgent popularity today.

The true life story of Elvis's original guitarist, the masterful Scotty Moore When Elvis Presley first showed up at Sam Phillips's Memphis-based Sun Records studio, he was a shy teenager in search of a sound. Phillips invited a local guitarist named Scotty Moore to stand in. Scotty listened carefully to the young singer and immediately realized that Elvis had something special. Along with bass player Bill Black, the trio recorded an old blues number called "That's All Right, Mama." It turned out to be Elvis's first single and the defining record of his early style, with a trilling guitar hook that swirled country and blues together and minted a sound with unforgettable appeal. Its success launched a whirlwind of touring, radio appearances, and Elvis's first break into movies. Scotty was there every step of the way as both guitarist and manager, until Elvis's new manager, Colonel Tom Parker, pushed him out. Scotty and Elvis would not perform together again until the classic 1968 "comeback" television special. Scotty never saw Elvis after that. With both Bill Black and Elvis gone, Scotty Moore is the only one left to tell the story of how Elvis and Scotty transformed popular music and how Scotty created the sound that became a prototype for so many rock guitarists to follow. Thoroughly updated, this edition delivers guitarist Scotty Moore's story as never before. Scotty Moore, Nashville, Tennessee, is the sole survivor of the Sun Records sessions of July 1954 during which he, Elvis Presley, and Bill Black, with Sam Phillips at the engineering sound board, blended country and blues into a new art form that would shake up American culture for decades to come. James L. Dickerson, Jackson, Mississippi, is a freelance author and journalist who has published dozens of books.

For 40 years, Bruce Springsteen has held center stage as the quintessential American rock and roll artist, expressing the hopes and dreams of the American everyman and every woman through his vast array of insightful and inspirational songs. In Counting Down Bruce Springsteen: His 100 Finest Songs, rock writer Jim Beviglia dares to rank his finest songs in descending order from the 100th to his no. 1 greatest song. In this unique book, Beviglia reflects not only on why each song has earned its place on list but lays out the story behind each of the 100, supplying fresh insights on the musical and lyrical content of Springsteen's remarkable body of work. Counting Down Bruce Springsteen brings together critical historical and biographical information to explain the making and importance of each song to its listeners, painting a fascinating portrait of Springsteen as a major American songwriter and consummate recording artist. Counting Down Bruce Springsteen is the perfect playlist builder, whether it is for the diehard fan or the newbie just getting acquainted with the work of the Boss!

Opening up the dialogue between popular music studies and aging studies, this book offers a major exploration of age and popular music across Europe. Using a variety of methods to illustrate how age within popular music is contingent and compelling, the volume explores how it provokes curation and devotion across a variety of sites and artists who record in several European languages, and genres including waltz music, electronica, pop, folk, rap, and the French 'chanson.' Visiting the many ways in which age is problematized, revered, and performed within Europe in relation to popular music, case studies analyze: French touring shows of popular music stars from the 1960s; Andre Rieu's annual Vrijthof concerts in the Netherlands; Kraftwerk and Bjoerk's appearances at renowned art museums as curated objects; queer approaches to popular music space and time; British folk music inheritances; pan-European strategies of stardom and career longevity; and inheritance and post-colonial hauntings of race and identity. The book works with the notion of travelling, across borders, genres, sexualities, and media, highlighting the visibility of the aging body across a variety of European sites in order to establish popular music through the lens of age as a positive methodology with which to approach popular music cultures, and to offer a counter-narrative to age as decline. This book will appeal to scholars of popular music, popular culture, media studies, cultural studies, aging studies, and cultural gerontology.

Global Jazz: A Research and Information Guide is an annotated bibliography that explores the global impact of jazz, detailing the evolution of the African American musical tradition as it has been absorbed, transformed, and expanded across the world's historical, political, and social landscapes. With more than 1,300 annotated entries, this vast compilation covers a broad range of subjects, people, and geographic regions as they relate to interdisciplinary research in jazz studies. The result is a vivid demonstration of how cultures from every corner of the globe have situated jazz-often regarded as America's classical music-within and beyond their own musical traditions, creating new artistic forms in the process. Global Jazz: A Research and Information Guide presents jazz as a common musical language in a global landscape of diverse artistic expression.

- Global scope and focus on transnational encounters provide a new way of looking at the history of sound recording and the music industry - Inclusion of interdisciplinary perspectives makes this book relevant to music, sound studies, media studies, and the history of technology

This volume brings together the work of social scientists and music scholars examining the role of migrant and migrant descended communities in the production and consumption of popular music in Europe and North America. The contributions to the collection include studies of language and local identity in hip hop in Liege and Montreal; the politics of Mexican folk music in Los Angeles; the remaking of ethnic boundaries in Naples; the changing meanings of Tango in the Argentine diaspora and of Alevi music among Turks in Germany; the history of Soca in Brooklyn; and the recreation of 'American' culture by the children of immigrants on the Broadway stage. Taken together, these works demonstrate how music affords us a window onto local culture, social relations and community politics in the diverse cities of immigrant receiving societies. Music is often one of the first arenas in which populations encounter newcomers, a place where ideas about identity can be reformulated and reimagined, and a field in which innovation and hybridity are often highly valued. This book highlights why it is a subject worthy of more attention from students of racial and ethnic relations in diverse societies. It was originally published as a special issue of Ethnic and Racial Studies.

First conceived in 1966 but only completed in 2004, Brian Wilson Presents Smile has been called "the best-known unreleased album in pop music history" and "an American Sergeant Pepper." Reading Smile offers a close analysis of the recording in its social, cultural and historical contexts. It focuses in particular on the finished work's subject matter as embodied in Van Dyke Parks' contentious yet little understood lyrics, with their low-resolution, highly allusive portrayals of western expansion's archetypes, from Plymouth Rock, Massachusetts to Diamond Head, Hawaii. Documenting their multiple references and connotations, it argues that their invocations of national self-definition are part of a carefully crafted vision of American identity, society and culture both in tune and at odds with the times. Critical of the republic's past practices but convinced that its ideals, values and myths still provided resources to redeem it, the recording is interpreted as a creative musical milestone, an enduring product of its volatile, radical, countercultural times, and an American pop art classic. Of particular relevance to American Studies and popular culture scholars, Reading Smile will also appeal to those interested in 1960s popular music, not least to fans of Brian Wilson, Van Dyke Parks and the Beach Boys.

So this is permanence, edited by Jon Savage with a foreword by Deborah Curtis, presents the intensely personal writings of one of the most enigmatic and influential songwriters and performers of the late twentieth century, Joy Division's Ian Curtis. The songs of Joy Division, infused with the energy of punk but steeped in a resigned longing, were born of Manchester in the late seventies - a once flourishing industrial city in decline. They were the songs too of Ian Curtis's inner tragedies, as he battled depression, epilepsy and debilitating stage fright. Ian Curtis committed suicide in 1980, on the eve of the band's first American tour. Interspersed with the lyrics are previously unpublished facsimile pages of Ian's notebooks, which throw his highly emotive lyrics into fascinating relief and cast light on the creative process of this singularly poetic songwriter.

Half a century after three teenage brothers decided to give a career in music a go, the Bee Gees are among the most successful and enduring names in popular music history. Trailblazing their way across pop music since the 1960s, Barry, Robin, and Maurice Gibb have made their songs Stayin' Alive, How Deep is Your Love, To Love Somebody, and I Started a Joke, timeless. Filled with staggering highs - especially as they became the definitive band of the disco era - The Little Guide to the Bee Gees is packed with quotes perfect for the music-lover in your life and just might help you stay alive. 'Contrary to popular belief, we have no leader. We call it a democratic dictatorship.' - Maurice Gibb 'We are brothers first, a pop group second.' - Barry Gibb 'Show business is something you have to have in you when you're born.' - Robin Gibb

*** 'A fantastical journey through what might have been... Exciting and compelling' -CHRIS HAWKINS, BBC 6 MUSIC 'A detailed researcher and writer... Ingenious' -RECORD COLLECTOR This is the story of the great lost Beatles album. The end of the Beatles wasn't inevitable. It came through miscommunication, misunderstandings and missed opportunities to reconcile. But what if it didn't end? What if just one of those chances was taken, and the Beatles carried on? What if they made one last, great album? In Like Some Forgotten Dream, Daniel Rachel - winner of the prestigious Penderyn Music Book Prize - looks at what could have been. Drawing on impeccable research, Rachel examines the Fab Four's untimely demise - and from the ashes compiles a track list for an imagined final album, pulling together unfinished demos, forgotten B-sides, hit solo songs, and arguing that together they form the basis of a lost Beatles masterpiece. Compelling and convincing, Like Some Forgotten Dream is a daring re-write of Beatles history, and a tantalising glimpse of what might have been. Praise for Daniel Rachel: Walls Come Tumbling Down: 'Superlative...brilliant' - Q Magazine 'Triumphant' - The Guardian 'Brilliant' - Mojo Isle of Noises: 'In depth, scholarly' - Q Magazine 'Fascinating' - The Guardian / NME 'Fantastic, insightful interviews' - Noel Gallagher Don't Look Back in Anger: 'A-grade, A-list' - The Sunday Times 'A rollicking read' - Mail on Sunday 'Remarkable' - Art Review 'Book of the Week' - The Guardian

This volume brings together philosophical and interdisciplinary perspectives on improvisation. The contributions connect the theoretical dimensions of improvisation with different viewpoints on its practice in the arts and the classroom. The chapters address the phenomenon of improvisation in two related ways. On the one hand, they attend to the lived practices of improvisation both within and without the arts in order to explain the phenomenon. They also extend the scope of improvisational practices to include the role of improvisation in habit and in planned action, at both individual and collective levels. Drawing on recent work done in the philosophy of mind, they address questions such as whether improvisation is a single unified phenomenon or whether it entails different senses that can be discerned theoretically and practically. Finally, they ask after the special kind of improvisational expertise which characterizes musicians, dancers, and other practitioners, an expertise marked by the artist's ability to participate competently in complex situations while deliberately relinquishing control. Philosophy of Improvisation will appeal to anyone with a strong interest in improvisation, to researchers working in philosophy, aesthetics, and pedagogy as well as practitioners involved in different kinds of music, dance, and theater performances.

Jan Berry, leader of the music duo Jan & Dean from the late 1950s to mid-1960s, was an intense character who experienced more in his first 25 years than many do in a lifetime. As an architect of the West Coast sound, he was one of rock 'n' roll's original rebels-brilliant, charismatic, reckless, and flawed. As a songwriter, music arranger, and record producer for Nevin-Kirshner Associates and Screen Gems-Columbia Music, Berry was one of the pioneering self-produced artists of his era in Hollywood. He lived a dual life, reaching the top of the charts with Jan & Dean while transitioning from college student to medical student, until an automobile accident ended his seemingly charmed existence in 1966. Suffering from brain damage and partial paralysis, Jan spent the rest of his life trying to come back from dead man's curve. His story is told here in-depth for the first time, based on extensive primary source documentation and supplemented by the stories and memories of Jan's family members, friends, music industry colleagues, and contemporaries. From the birth of rock to the bitter end, Berry's life story is thrilling, humorous, unsettling, and disturbing, yet ultimately uplifting.

Bob Dylan transcends music. He has established himself as one of the most important figures in entertainment history. This biography examines the life and work of the iconic artist, including his groundbreaking achievements of the last two decades. In this thematically organized biography, cultural historian and prolific biographer Bob Batchelor examines one of the most important yet elusive figures in modern history. Rather than taking an exhaustive and cumbersome chronological approach to Bob Dylan's 50-plus year career, the author focuses on the most significant aspects of his life and accomplishments. This work examines the musician's life and career by placing him in the context of contemporary American history and culture. Dylan's music and lyrics are at the center of the analysis, while attention is also paid to how his image transformed as he moved from being the "voice of a generation" during the 1960s to becoming a bonafide rock and roll icon. Readers will appreciate the book for its in-depth, scholarly coverage that remains readable and engaging, and gain a full appreciation for Dylan's place in American history and cultural evolution. Provides extensive cultural and historical context that demonstrates Dylan's lasting impact on American history Supplies a comprehensive analysis of Dylan's iconic standing and influence on popular culture that readers will find fascinating, as well as underscores his status as more than just a singer, songwriter, or musician Brings together disparate elements of biographical information, song and album analysis, and historical and cultural context not found in other works

It is 1965, and Swinging London is coming into its prime years. The streets are alive with mods and rockers, playboys and good-time girls, all revelling in the blossoming artistic, creative and cultural energies of the decade. Amid the colour and chaos is a boy sporting drainpipe jeans, an immaculately tailored sports coat and a half-inch wide tie. A devoted fan of The Who, he looks the part in his pristine mod gear. As the lead singer of the Lower Third, his talent is shaping itself into something truly special. His name is Davie Jones. In ten years, he will be unrecognisable as fresh-faced boy of 1965, and in just over fifty years, his death will be mourned by millions, his legacy the story of the greatest rock star of all time. And through Bowie's transition from pop group member to solo performer, Phil Lancaster was by his side. As the drummer in Bowie's band, the Lower Third, Phil was there as the singer's musical stripes began to show, and was witness to his early recording techniques, his first experimental forays into drug-taking, and the band's discovery of his bisexuality in shocking circumstances. In this riveting - and often very funny - memoir, Phil tells the story of life alongside the insecure yet blazingly talented boy who became Bowie, at a critical crossroad of time and place in music history. What follows is an intimate, personal and important perspective on the genesis of one of the most iconic musicians of the twentieth century - one that gets under the skin of the man himself, before the personas and alter-egos masked the fascinating figure beneath them. At the Birth of Bowie is essential reading for anyone who knows what happened on Bowie's journey, but wants to understand how, and why, it ever began.

Allan Jones launched Uncut magazine in 1997 and for 15 years wrote a popular monthly column called Stop Me If You've Heard This One Before, based on his experiences as a music journalist in the 70s and 80s, a gilded time for the music press.

By turns hilarious, cautionary, poignant and powerful, the Stop Me...stories collected here include encounters with some of rock's most iconic stars, including David Bowie, Lou Reed, Leonard Cohen, Van Morrison, Neil Young, Elvis Costello, The Sex Pistols, The Clash, The Smiths, R.E.M. and Pearl Jam. From backstage brawls and drug blow-outs, to riots, superstar punch-ups, hotel room confessionals and tour bus lunacy, these are stories from the madness of a music scene now long gone.

Drawing on interviews with stars and musicians, producers and photographers, stylists, writers and celebrity fans, this book chronicles the glam era from its origins in 1970, through its 1972/73 heyday to its mid-seventies collapse and the death of Marc Bolan in September 1977. Fully illustrated throughout, the book includes a wealth of visual material, be it band shots, record sleeves and pin-up posters, or the era's best clobber, magazines and assorted memorabilia.