Unfaithful Music & Disappearing Ink is the long-awaited memoir from Elvis Costello, one of rock and roll's most iconic stars.

Born Declan Patrick MacManus, Elvis Costello was raised in London and Liverpool, grandson of a trumpet player on the White Star Line and son of a jazz musician who became a successful radio dance band vocalist. Costello went into the family business and had taken the popular music world by storm before he was twenty-four. Costello continues to add to one of the most intriguing and extensive songbooks of the day. His performances have taken him from a cardboard guitar in his front room to fronting a rock and roll band on your television screen and performing in the world's greatest concert halls in a wild variety of company.

Unfaithful Music & Disappearing Ink describes how Costello's career has somehow endured for almost four decades through a combination of dumb luck and animal cunning, even managing the occasional absurd episode of pop stardom. This memoir, written with the same inimitable touch as his lyrics, and including dozens of images from his personal archive, offers his unique view of his unlikely and sometimes comical rise to international success, with diversions through the previously undocumented emotional foundations of some of his best known songs and the hits of tomorrow. The book contains many stories and observations about his renowned co-writers and co-conspirators, though Costello also pauses along the way for considerations on the less appealing side of infamy.

Unfaithful Music & Disappearing Ink is destined to be a classic, idiosyncratic memoir of a singular man.

Track list
Nina Diaz – ‘No Action’
Raquel Sofía y Fuego – ‘(Yo No Quiero Ir A) Chelsea ((I Don’t Want To Go To) Chelsea)’
Draco Rosa – ‘Yo Te Vi (The Beat)’
Juanes – ‘Pump It Up’
La Marisoul – ‘Detonantes (Little Triggers)’
Luis Fonsi – ‘Tu Eres Para Mi (You Belong To Me)’
Francisca Valenzuela y Luis Humberto Navejas – ‘Hand In Hand’
Cami – ‘La Chica de Hoy (This Year’s Girl)’
Pablo López – ‘Mentira (Lip Service)’
Jesse & Joy – ‘Viviendo en el Paraiso (Living In Paradise)’
Morat – ‘Lipstick Vogue’
Jorge Drexler – ‘La Turba (Night Rally)’
Sebastián Yatra – ‘Llorar (Big Tears)’
Fito Páez – ‘Radio Radio’
Gian Marco y Nicole Zignago – ‘Crawling To The U.S.A.’
Vega – ‘Se Esta Perdiendo La Inocencia (Running Out Of Angels)’

In 1987, Roy Orbison crowned his critical rehabilitation with this concert in Los Angeles, where he runs through his greatest hits with the help of some famous friends. Those joining the Big O for such classics as 'Only the Lonely', 'Crying', 'It's Over' and 'Oh, Pretty Woman' include Jackson Browne, T-Bone Burnett, Elvis Costello, k.d. lang, Bonnie Raitt, Steven Soles, J.D. Souther, Bruce Springsteen, Tom Waits and Jennifer Warnes.

'Dan is a national treasure and one of America s great songwriters. Elvis Costello. 'Dan s songs were funny, serious, and entertaining, and the combo of old-timey folk, country, and jazz knocked me out. Matt Groening, creator of The Simpsons. 'Dan Hicks is like lightning in a bottle. Bette Midler. Dan Hicks didn t have his heart set on a career in music. It all just sort of happened to him. It didn t hurt, of course, that he was in the right place at the right time San Francisco, 1966 and had a front-row seat for the birth and death of the counterculture. Among other things, this is a classic story of the 60s. More importantly, it s a story of musical genius. By the time the Summer of Love limped to a close in the fall of 67, Hicks had quit the Charlatans the pioneering psych-rock band with whom he played the drums and turned to jazz, the music he d secretly loved all along, as he began building his own band, the Hot Licks. 'I just started taking ingredients I liked and putting them together to see what came out, Hicks writes. What came out was an amazing blend of complex time signatures, unusual instrumentation, and intricate vocal harmonies that took him to the top of the 70s rock world but also into a downward spiral of drink and drug abuse. Emerging from a long wilderness, which he writes about here with wit and candour, the man described by Tom Waits as 'fly, sly, wily, and dry eventually returned to recording and performing, making a number of acclaimed albums, including Beatin The Heat, a set of duets with Waits, Costello, Rickie Lee Jones, and more. Along the way, his music continued to subtly permeate the culture, turning up everywhere from The Sopranos to commercials for Levi s and Bic. Hicks passed away in early 2016, but his music, and the stories he tells here, remain as fresh and irresistible as ever. I Scare Myself takes readers on a journey behind the music, and into the life and mind of the fantastic artist who created it.

A new album of urgent, immediate songs with bright melodies, guitar solos that sting and a quick step to the rhythm.

By the mid-1980s, singer-songwriter John Hiatt had been dropped from three record labels, burned through two marriages, and had fallen deep into alcoholism.   It took a stint in rehab and a new family to inspire him, then a producer and an A&R man to have a little faith. By February 1987, he was back in the studio on a shoestring budget with a hand-picked supergroup consisting of Ry Cooder on guitar, Nick Lowe on bass, and Jim Keltner on drums, recording what would become his masterpiece, Bring the Family.   Based on author Michael Elliott's multiple extensive and deeply personal interviews with Hiatt as well as his collaborators and contemporaries, including Rosanne Cash, Bonnie Raitt, Ry Cooder, and many others, Have a Little Faithis the journey through the musical landscape of the 1960s through today that places Hiatt’s long career in context with the glossy pop, college-alternative, mainstream country, and heartland rock of the last half-century. Hiatt’s life both pre- and post-Family will be revealed, as well as the music loved by critics, fellow musicians, and fans alike.

As an encapsulation of the most vital period in Elvis Costello's career, The First Ten Yearsportrays of a rule-breaker who nevertheless had a deep respect for his musical roots. Even as he was defining New Wave in the late 1970s with "Watching the Detectives," "Pump it Up," and "Radio, Radio," Elvis was paying homage to The Byrdson "(The Angels Wanna Wear My) Red Shoes" and copping Spinners riffs on "Alison." The collection follows Costello into the '80s as he expands his songwriting and production palette ("New Lace Sleeves," "Beyond Belief") while tackling old-school country ("Good Year for the Roses") and Stax soul ("I Can't Stand Up For Falling Down"). In the years that followed this collection's scope, Costello would launch himself whole-heartedly into everything from big-band jazz to classical orchestration, but the seeds of all that eclecticism (not to mention the aesthetic template for most of his subsequent work) lie in the tracks presented here. As one of the most original artistic personalities of his era, Costello proved enormously influential for multiple generations, and The First 10 Yearsshows the achievements on which his legend is built.