Along with The Beatles, The Rolling Stones were the key group of the sixties; headline makers, style icons, trend setters - but most of all the force behind a string of brilliant singles and albums that have come to define the era. If The Cavern in Liverpool was the birthplace of the Mersey beat, then the Crawdaddy Club in Richmond, where the Stones played their first gigs, was at the heart of British rhythm and blues. Formed in 1962 this tells their incredible story including profiles of the past and present members Mick Jagger, Keith Richards, Charlie Watts, and Ronnie Wood, together with Brian Jones, Bill Wyman, and Mick Taylor.

* explores the creative dialogue between John Lennon and Paul McCartney * employs the author's own 'Songscape' analysis, a multi-layered approach designed to engage a recorded work on its own terms, that does not require any specialist knowledge. * discusses the move towards more intimate sound spaces made possible by the recording process itself. *draws together evidence that Lennon and McCartney's uniquely eclectic approach, which came to encompass music, recording, film, literature, theatre, and painting, can be traced back to the Liverpool College of Art.

Play everybody's favorite songs The 300 pages of piano/vocal/guitar sheet music in this collection allow music makers to bring dozens of the most memorable songs of the 1960s, '70s, and early '80s to life. Classic rock fans who love to play will have a blast applying their talent to more than 40 enduring songs made famous by legendary artists like The Beatles, David Bowie, Journey, Led Zeppelin, Pink Floyd, The Rolling Stones, Rush, The Who, and many more. The arrangements feature piano parts that accurately reflect each song's familiar original recording. Basic chord fingering grids are provided for optional guitar accompaniment, along with vocal melodies and complete lyrics. Titles: 50 Ways to Leave Your Lover (Paul Simon) * Africa (Toto) * All Along the Watchtower (Jimi Hendrix) * All My Love (Led Zeppelin) * Behind Blue Eyes (The Who) * Big Yellow Taxi (Joni Mitchell) * Blinded by the Light (Manfred Mann's Earth Band) * Blowin' in the Wind (Bob Dylan) * Born to Run (Bruce Springsteen) * Bridge Over Troubled Water (Simon and Garfunkel) * Closer to the Heart (Rush) * Dancing in the Moonlight (King Harvest) * Do You Feel Like We Do (Peter Frampton) * Don't Stop Believin' (Journey) * Faithfully (Journey) * Fool in the Rain (Led Zeppelin) * From Me to You (The Beatles) * Give Up the Funk (Tear the Roof off the Sucker) (Parliament) * Going Up the Country (Canned Heat) * The Great Gig in the Sky (Pink Floyd) * I Love L.A. (Randy Newman) * I Saw Her Standing There (The Beatles) * Like a Rolling Stone (Bob Dylan) * Live and Let Die (Paul McCartney) * The Load Out (Jackson Browne) * Love Reign O'er Me (The Who) * Money (Pink Floyd) * Nights in White Satin (The Moody Blues) * Paranoid (Black Sabbath) * P-Funk (Wants to Get Funked Up) (Parliament) * Pinball Wizard (The Who) * River (Joni Mitchell) * Saturday in the Park (Chicago) * She Loves You (The Beatles) * She's a Rainbow (The Rolling Stones) * The Sound of Silence (Simon and Garfunkel) * Space Oddity (David Bowie) *

'An epic tale, told the way it should be' RECORD COLLECTOR 'The book he was born to write' CLASSIC ROCK MAGAZINE 'An entertaining read for long-standing fans and newcomers alike' GUITARIST The final word on the only name synonymous with heavy metal - Black Sabbath. Way back in the mists of time, in the days when rock giants walked the earth, the name Ozzy Osbourne was synonymous with the subversive and dark. Back then, Ozzy was the singer in Black Sabbath, and they meant business. A four-piece formed from the ashes of two locally well-known groups called The Rare Breed (Ozzy and bassist Geezer Butler) and Mythology (guitarist Tony Iommi and drummer Bill Ward), all four founding members of the original Black Sabbath grew up within half-a-mile of each other. This biography tells the story of how they made that dream come true - and how it then turned into a nightmare for all of them. How at the height of their fame, Sabbath discovered they had been so badly ripped off by their managers they did not even own their own songs. How they looked for salvation from Don Arden - an even more notorious gangster figure, who resurrected their career but still left them indebted to him, financially and personally. And how it finally came to a head when in 1979 they sacked Ozzy: 'For being too out of control - even for us,' as Bill Ward put it. The next 15 years would see a war break out between the two camps: the post-Ozzy Sabbath and Ozzy himself, whose solo career overshadowed Sabbath to the point where, when he offered them the chance to reform around him again, it was entirely on his terms. Or rather, that of his wife and manager, daughter of Don Arden - Sharon Osbourne.

Now in paperback, the New York Times bestseller by one of rock's most provocative figuresScar Tissue is Anthony Kiedis's searingly honest memoir of a life spent in the fast lane. In 1983, four self-described "knuckleheads" burst out of the mosh-pitted mosaic of the neo-punk rock scene in L.A. with their own unique brand of cosmic hardcore mayhem funk. Over twenty years later, the Red Hot Chili Peppers, against all odds, have become one of the most successful bands in the world. Though the band has gone through many incarnations, Anthony Kiedis, the group's lyricist and dynamic lead singer, has been there for the whole roller-coaster ride. Whether he's recollecting the influence of the beautiful, strong women who have been his muses, or retracing a journey that has included appearances as diverse as a performance before half a million people at Woodstock or an audience of one at the humble compound of the exiled Dalai Lama, Kiedis shares a compelling story about the price of success and excess. Scar Tissue is a story of dedication and debauchery, of intrigue and integrity, of recklessness and redemption--a story that could only have come out of the world of rock.

In Breaks in the Air John Klaess tells the story of rap's emergence on New York City's airwaves by examining how artists and broadcasters adapted hip hop's performance culture to radio. Initially, artists and DJs brought their live practice to radio by buying time on low-bandwidth community stations and building new communities around their shows. Later, stations owned by New York's African American elite, such as WBLS, reluctantly began airing rap even as they pursued a sound rooted in respectability, urban sophistication, and polish. At the same time, large commercial stations like WRKS programmed rap once it became clear that the music attracted a demographic that was valuable to advertisers. Moving between intimate portraits of single radio shows and broader examinations of the legal, financial, cultural, and political forces that indelibly shaped the sound of rap radio, Klaess shows how early rap radio provides a lens through which to better understand the development of rap music as well as the intertwined histories of sounds, institutions, communities, and legal formations that converged in the post-Civil Rights era.

A lively examination of the most legendary (and least understood) rivalry in the annals of rock 'n' roll: ""Beatles vs. Stones" is one of the best rock biographies I have seen this year...If you thought you knew everything there was to know about these two groups, think again" ("Seattle Post-Intelligencer").
In the 1960s an epic battle was waged between the two biggest bands in the world--the lovable Beatles and the bad-boy Rolling Stones. Both groups liked to maintain that they weren't really "rivals"--that was just a media myth, they politely said--and yet they plainly competed for commercial success and aesthetic credibility. On both sides of the Atlantic, fans often aligned themselves with one group or the other. In "Beatles vs. Stones," John McMillian gets to the truth behind the ultimate rock and roll debate.
Painting an eye-opening portrait of a generation dragged into an ideological battle between Flower Power and New Left militance, McMillian reveals how the Beatles-Stones rivalry was created by music managers intent on engineering a moneymaking empire. He explores how the Beatles were marketed as cute and amiable, when in fact they came from hardscrabble backgrounds in Liverpool. By contrast, the Stones were cast as an edgy, dangerous group, even though they mostly hailed from the chic London suburbs. For many years, writers and historians have associated the Beatles with the gauzy idealism of the "good" sixties, placing the Stones as representatives of the dangerous and nihilistic "bad" sixties. "Beatles vs. Stones" is "balanced, informed, yet still passionate...Even the most gnarled and intransigent veterans of the debate will emerge enlightened by this book....McMillian negotiates these thickets with insight, care, and a willingness to unsettle cliches" ("The New York Times Book Review").

Moby Grape are a genuine cult phenomenon. Their story, a mixture of myth and truth, is a cautionary tale, a triumph, and a tragedy all at once. Though they are seen as a symbol of 1960s San Francisco, Moby Grape were never actually a part of the city s counterculture movement. Yet they were immersed in it, sharing stages with the likes of Aretha Franklin, Jimi Hendrix, Sly Stone, and many more. Moby Grape s five members came together from very different backgrounds, bursting onto the San Francisco scene in the fall of 1966. With their diverse pedigree, they were nothing less than musical alchemists, yet they were also rebels. Their blending of genres within a tight songwriting framework contrasted sharply with that of many of their SF peers. Following the release of the band s debut album in 1967, you could see everyone from Ringo Starr to Jimi Hendrix sporting a `Moby Grape Now! button. But in the months that followed, they were dogged by mismanagement, bad marketing, a scandalous drug bust, and general rock n roll mayhem. It seemed like it was all over in 1969, but in 1971 Moby Grape staged rock s first full-on reunion. Since then, they have fought to retain ownership of their own name, while two members of the band struggled with homelessness and mental illness. Despite all of this, they produced one of the best albums of the era, and today they are heralded by countless luminaries of rock music and rock criticism, from Robert Plant to Robert Christgau, Tom Waits to Greil Marcus. Drawing on extensive interviews with the surviving members of the band, What s Big and Purple and Lives in the Ocean? finally tells the full story of one of the great cult bands of the 60s.

Woodstock University addresses the educational interface of 1969's iconic Woodstock Festival, as a number of its attendees and performers would later become academics 'with a touch of gray,' and it also considers the role of music in Woodstock's legacy as the embodiment of 1960s countercultural idealism, escapism, and activism. A self-mythologizing event, as indicated by congratulatory stage announcements, Woodstock made a real-time claim for its own historic importance. Elevated by its remarkable (and in some cases doctored) audio, celluloid, and oral history afterlives, Woodstock would enhance the aura of rock star celebrity, and in the process expose the counterculture as a cash cow and weaponize the machinery of corporate rock. The essays in this collection are the participant observations of performers and attendees of Woodstock and related festivals, and also the reflections of cultural historians on aspects of the festival, its representation, and its ambiguous legacy. The chapters in this book were originally published as a special issue of the journal Popular Music and Society.

This volume examines the use of Black popular culture to engage, reflect, and parse social justice, arguing that Black popular culture is more than merely entertainment. Moving beyond a focus on identifying and categorizing cultural forms, the authors examine Black popular culture to understand how it engages social justice, with attention to anti-Black racism. Black Popular Culture and Social Justice takes a systematic look at the role of music, comic books, literature, film, television, and public art in shaping attitudes and fighting oppression. Examining the ways in which artists, scholars, and activists have engaged, discussed, promoted, or supported social justice - on issues of criminal justice reform, racism, sexism, LGBTQIA rights, voting rights, and human rights - the book offers unique insights into the use of Black popular culture as an agent for change. This timely and insightful book will be of interest to students and scholars of race and media, popular culture, gender studies, sociology, political science, and social justice.

From Sia to Elton John, Dusty Springfield to Little Richard, LGBT voices have changed the course of modern music. But in a world before they gained understanding and a place in the mainstream, how did the queer musicians of yesteryear fight to build foundations for those who came after? Pulling back the curtain on the colourful world that shaped our musical and cultural landscape, Darryl W. Bullock reveals the inspiring and often heartbreaking stories of internationally renowned stars, as well as lesser-known names, who have led the revolution from all corners of the globe. David Bowie Made Me Gay is a treasure trove of moving and provocative stories that emphasise the right to be heard and the need to keep up the fight for equality in the spotlight.

John Bonham is one of the legends of rock 'n' roll, and his drumming style helped to elevate Led Zeppelin to greatness. This revised edition contains 23 of Bonham's most famous drum transcriptions from his work with the legendary Led Zeppelin. Also included are editor's notes from each record and note-for-note transcriptions. Titles include: Good Times, Bad Times * Babe I'm Gonna Leave You * Dazed and Confused * Communication Breakdown * Whole Lotta Love * Heartbreaker * Living Loving Maid (She's Just a Woman) * Immigrant Song * Black Dog * Stairway to Heaven * Misty Mountain Hop * The Song Remains the Same * Over the Hills and Far Away * The Crunge * D'yer Mak'er * No Quarter * Achilles Last Stand * Nobody's Fault but Mine * Fool in the Rain.
"Thanks to Joe Bergamini's usual perfectionism, we have an accurate historical record of one of the greatest rock drummers of all time for the enjoyment and education of today's drummers and all future generations to come. Highly recommended not just for Bonham fans or Rock 'n' Rollers but for all drummers, regardless of style."
-Tiger Bill's DrumBeat

In this, the first book to take a big-picture view of the entire post punk period, acclaimed author and music journalist Simon Reynolds recreates a time of tremendous urgency and idealism in pop music. Full of anecdote and insight, and featuring the likes of Joy Division, The Fall, Pere Ubu, PiL and Talking Heads, Rip It Up And Start Again stands as one of the most inspired and inspiring books on popular music ever written.

What does it mean, in a polarized political climate, that feminism was popular in mainstream popular music of the 2010s? Engaging with feminist theory and previous research about gender and music, this book investigates the meaning of current trends relating to gender, feminism and woman-identified artists in mediated popular music. The examples discussed throughout the book include Netflix documentaries by Beyonce, Lady Gaga and Taylor Swift, the Swedish music industry #MeToo petition #narmusikentystnar, music streaming services' gender equality work and the project Keychange striving to bring underrepresented genders to the stage. The volume discusses the media specificity of the different examples, introduces and explains feminist theories and concepts and analyzes the position of women, gender politics and feminisms in popular music.

This book considers the intersection of music, politics and identity, focusing on music (genres) across the world as a form of political expression and protest, positive identity formations, but also how the criminalisation, censuring, policing and prosecution of musicians and fans can occur. All-encompassing in this book is analyses of the unique contribution of music to various aspects of human activity through an international, multi-disciplinary approach. The book will serve as a starting point for scholars in those areas where there has been an uncertain approach to this subject, while those from disciplines with a more established canon of music analysis will be informed about what each perspective can offer. The approach is international and multi-disciplinary, with the contributing authors focusing on a range of countries and the differing social and cultural impact of music for both musicians and fans. Academic disciplines can provide some explanations, but the importance of the contribution of practitioners is vital for a fully rounded understanding of the impact of music. Therefore, this book takes the reader on a journey, beginning with theoretical and philosophical perspectives on music and society, proceeding to an analysis of laws and policies, and concluding with the use of music by educational practitioners and the people with whom they work. This book will appeal to students and scholars in subjects such as sociology, criminology, cultural studies, and across the wider social sciences. It will also be of interest to practitioners in youth justice or those with other involvement in the criminal justice system.

The New York Times bestseller and the definitive portrait of Kurt Cobain--as relevant as ever, as we remember the impact of Cobain on our culture twenty-five years after his death--now with a new preface and an additional final chapter from acclaimed author Charles R. Cross. It has been twenty-five years since Kurt Cobain died by his own hand in April 1994; it was an act of will that typified his short, angry, inspired life. Veteran music journalist Charles R. Cross fuses his intimate knowledge of the Seattle music scene with his deep compassion for his subject in this extraordinary story of artistic brilliance and the pain that extinguished it. Based on more than four hundred interviews; four years of research; exclusive access to Cobain's unpublished diaries, lyrics, and family photos; and a wealth of documentation, Heavier Than Heaven traces Cobain's life from his early days in a double-wide trailer outside of Aberdeen, Washington, to his rise to fame, success, and the adulation of a generation. Charles Cross has written a new preface for this edition, giving readers context for the time in which the book was written, six years after Kurt's death, and reminding everyone how fresh that cultural experience was when the interviews for the book were done. The new final chapter will update the story since, regarding investigations into Cobain's death, Nirvana's induction into the Rock N Roll Hall of Fame, and how their place in rock history has only risen over the decades.

From Punk to Riot Grrl, Soul to Indie, this is a ground-breaking new study of women in popular music-making. The author, a sociologist and musician, interviewed over 100 women in British bands from the late 1970s to the mid-1990s. Amongst others, interviewees include Skin from Skunk Anansie, Debbie Smith from Echobelly, Candida Doyle from Pulp, Gail Greenwood from Belly and L7, Natasha Atlas from Transglobal Underground, and Vie Subversa from Poison Girls.

Although female vocalists have always been common, women playing instruments in bands are still relatively rare. Frock Rock explores the social factors that keep women from playing and those routes that have enabled women's involvement. The book then examines the everyday worlds of women's music-making from bands just starting up to the professional stage: songwriting, rehearsing, the first gig, getting a manager, record companies, recording, and touring.

This book presents an analysis of 100 rock concert performances and answers the question "What makes a truly great rock performance?" Author Peter Smith, an experienced concert goer, delves into his own recollections of experiencing rock performances over the last 50+ years and, with the support of his daughter, Laura Smith, analyzes 100 selected performances covering the themes of icons, persona, energy, fandom, venues, communities, politics, art-rock, authenticity and maturity. The approach taken is based upon qualitative analysis, reflection, and autoethnography. The selected performances cover a range of diverse acts such as the Rolling Stones, ABBA, Sex Pistols, Barbara Streisand, David Bowie, etc.

Selected and arranged by the author, How To Be Invisible presents the lyrics of Kate Bush in a beautiful new paperback edition featuring a new cover by illustrator Jim Kay. 'The greatest singer-songwriter of the past 40 years, whose work is complex, ethereal and filled with so many secrets that one can listen to the albums for decades and still discover new delights every time [. . .] There's not a spare word anywhere in Bush's work. Everything means something.' Irish Times

This book illustrates how social meanings provided by music are experienced throughout the course of life. To this end, the author examines in depth the concepts of self, identity, socialization, and the life course itself. Social scientists have traditionally focused on music experiences among different generations, one at a time, with an emphasis on young audiences. This book explores appreciation for and use of music as a dynamic process that does not begin when we enter adolescence, nor end when we become adults. It demonstrates the relationship between the experience of music and the experience of self as a fundamental feature of the more general relationship of the individual to society. Music completes the circle of life. The author bases his analysis on observations made through a variety of qualitative studies and methodologies, as well as his own music autobiography. Clear and jargon free, this book is a timely application of key concepts from the everyday life sociologies for scholars and students in the sociology of music and culture and other related disciplines such as anthropology and ethnomusicology. It will be of interest for upper-division undergraduate and graduate courses in culture, music, symbolic interaction, social psychology, and qualitative research methods.

This book illustrates how social meanings provided by music are experienced throughout the course of life. To this end, the author examines in depth the concepts of self, identity, socialization, and the life course itself. Social scientists have traditionally focused on music experiences among different generations, one at a time, with an emphasis on young audiences. This book explores appreciation for and use of music as a dynamic process that does not begin when we enter adolescence, nor end when we become adults. It demonstrates the relationship between the experience of music and the experience of self as a fundamental feature of the more general relationship of the individual to society. Music completes the circle of life. The author bases his analysis on observations made through a variety of qualitative studies and methodologies, as well as his own music autobiography. Clear and jargon free, this book is a timely application of key concepts from the everyday life sociologies for scholars and students in the sociology of music and culture and other related disciplines such as anthropology and ethnomusicology. It will be of interest for upper-division undergraduate and graduate courses in culture, music, symbolic interaction, social psychology, and qualitative research methods.

This collection analyses the remaking of culture and music spaces during the ongoing COVID-19 pandemic. Its central focus is how cultural producers negotiated radically disrupted and uncertain conditions by creating, designing, and curating new objects and events, and through making alternative combinations of practices and spaces. By examining contexts and practices of remaking culture and music, it goes beyond being a chronicle of how the pandemic disrupted cultural life and livelihoods. The book also raises crucial questions about the forms and dynamics of post-pandemic spaces of culture and music. Main themes include the affective and embodied dimensions that shape the experience, organisation, and representation of cultural and musical activity; the restructuring of industries and practices of work and cultural production; the transformation of spaces of cultural expression and community; and the uncertainty and resilience of future culture and music. This collection will be instrumental for researchers, practitioners, and students studying the spatial, material, and affective dimensions of cultural production in the fields of cultural sociology, cultural and creative industries research, festival and event studies, and music studies. Its interdisciplinary nature makes it beneficial reading for anyone interested in what has happened to culture and music during the global pandemic and beyond.

Performing Punk is a rich exploration of subcultural contrasts and similarities among punks. By investigating how punk is made, for whom, and in opposition to what, this book takes the reader on a journey through the lesser-known aspects of the punk subculture.

'A stand-out triumph' - The Sunday Times The Number One bestselling novel by the author of CLOUD ATLAS, 'one of the most brilliantly inventive writers of this, or any country' (Independent). Utopia Avenue might be the most curious British band you've never heard of. Emerging from London's psychedelic scene in 1967, folksinger Elf Holloway, blues bassist Dean Moss, guitar virtuoso Jasper de Zoet and jazz drummer Griff Griffin together created a unique sound, with lyrics that captured their turbulent times. The band produced only two albums in two years, yet their musical legacy lives on. This is the story of Utopia Avenue's brief, blazing journey from Soho clubs and draughty ballrooms to the promised land of America, just when the Summer of Love was receding into something much darker - a multi-faceted tale of dreams, drugs, love, sexuality, madness and grief; of stardom's wobbly ladder and fame's Faustian pact; and of the collision between youthful idealism and jaded reality as the Sixties drew to a close. Above all, this bewitching novel celebrates the power of music to connect across divides, define an era and thrill the soul. 'The great rock and roll novel - an epic love letter to the greatest music ever made and the book the music has always deserved' Tony Parsons