This book is an unashamed celebration of the landmark album Slippery When Wet; Bon Jovi's most successful album to date, with sales of over 28 million copies since its 1986 release, and one of the most toe-tappingly gleeful albums to ever ring out from a pair of speakers. Everyone knows the rock classics 'Livin' On A Prayer' or 'You Give Love A Bad Name', but there isn't a bum track on the record. This is more than a 'making of' type book, because to put Slippery When Wet into context you need to understand what came before and after. It is also a handy fans' guide to the band's career with a track by track review, current thoughts on the album from top rock writers, plus bits and pieces that relate directly (or indirectly) to the legacy of a record which spent eight straight weeks at the top of the Billboard charts. The band, of course, are still with us and released an album in the spring of 2013 along with tour dates, which will heighten interest in the book. Their fan base is seriously loyal. Includes a foreword by former Kerrang! journalist and rock expert Paul Suter and an afterword by A&R supremo Derek Shulman (Simon Dupree And The Big Sound and Gentle Giant), who had the foresight to sign the band.

Simon Frith has been one of the most important figures in the emergence and subsequent development of popular music studies. From his earliest academic publication, The Sociology of Rock (1978), through to his recent work on the live music industry in the UK, in his desire to ’take popular music seriously’ he has probably been cited more than any other author in the field. Uniquely, he has combined this work with a lengthy career as a music critic for leading publications on both sides of the Atlantic. The contributions to this volume of essays and memoirs seek to honour Frith’s achievements, but they are not merely ’about Frith’. Rather, they are important interventions by leading scholars in the field, including Robert Christgau, Antoine Hennion, Peter J. Martin and Philip Tagg. The focus on ’sociology and industry’ and ’aesthetics and values’ reflect major themes in Frith’s own work, which can also be found within popular music studies more generally. As such the volume will become an essential resource for those working in popular music studies, as well as in musicology, sociology and cultural and media studies.

Drawing upon a wealth of original research and entertaining anecdotal material, Guffey unearths the roots of the term “retro” and chronicles its evolving manifestations in culture and art throughout the last century.

'I couldn't put this book down. Malcolm inspired us to make art out of our boredom and anger. He set us free' Bobby Gillespie, Primal Scream Included in the Guardian 10 best music biographies 'Excellent . . . With this book, Gorman convincingly moves away from the ossified image of McLaren as a great rock'n'roll swindler, a morally bankrupt punk Mephistopheles, and closer towards his art-school roots, his love of ideas. Tiresome, unpleasant, even cruel - he was, this book underlines, never boring' Sunday Times 'Exhaustive . . . compelling' Observer 'Definitive . . . epic' The Times 'Gobsmacker of a biography' Telegraph 'This masterful and painstaking biography opens its doorway to an era of fluorescent disenchantment and outlandish possibility' Alan Moore Malcolm McLaren was one of the most culturally significant but misunderstood figures of the modern era. Ten years after his life was cruelly cut short by cancer, The Life & Times of Malcolm McLaren sheds fascinating new light on the public achievements and private life of this cultural iconoclast and architect of punk, whose championing of street culture movements including hip-hop and Voguing reverberates to this day. With exclusive contributions from friends and intimates and access to private papers and family documents, this biography uncovers the true story behind this complicated figure. McLaren first achieved public prominence as a rebellious art student by making the news in 1966 after being arrested for burning the US flag in front of the American Embassy in London. He maintained this incendiary reputation by fast-tracking vanguard and left-field ideas to the centre of the media glare, via his creation and stewardship of the Sex Pistols and work with Adam Ant, Boy George and Bow Wow Wow. Meanwhile McLaren's ground-breaking design partnership with Vivienne Westwood and his creation of their visionary series of boutiques in the 1970s and early '80s sent shockwaves through the fashion industry. The Life & Times of Malcolm McLaren also essays McLaren's exasperating Hollywood years when he broke bread with the likes of Steven Spielberg though his slate of projects, which included the controversial Heavy Metal Surf Nazis and Wilde West, in which Oscar Wilde introduced rock'n'roll to the American mid-west in the 1880s, proved too rich for the play-it-safe film business. With a preface by Alan Moore, who collaborated with McLaren on the unrealised film project Fashion Beast, and an essay by Lou Stoppard casting a twenty-first-century perspective over his achievements, The Life & Times Of Malcolm McLaren is the explosive and definitive account of the man dubbed by Melvyn Bragg 'the Diaghilev of punk'.

_________ ‘Hepworth’s knowledge and understanding of rock history is prodigious ... [a] hugely entertaining study of the LP’s golden age’ The Times _________ The era of the LP began in 1967, with ‘Sgt Pepper’; The Beatles didn’t just collect together a bunch of songs, they Made An Album. Henceforth, everybody else wanted to Make An Album. The end came only fifteen years later, coinciding with the release of Michael Jackson’s ‘Thriller’. By then the Walkman had taken music out of the home and into the streets and the record business had begun trying to reverse-engineer the creative process in order to make big money. Nobody would play music or listen to it in quite the same way ever again. It was a short but transformative time. Musicians became ‘artists’ and we, the people, patrons of the arts. The LP itself had been a mark of sophistication, a measure of wealth, an instrument of education, a poster saying things you dare not say yourself, a means of attracting the opposite sex, and, for many, the single most desirable object in their lives. This is the story of that time; it takes us from recording studios where musicians were doing things that had never been done before to the sparsely furnished apartments where their efforts would be received like visitations from a higher power. This is the story of how LPs saved our lives.

Totally Wired is the definitive story of the music press on both sides of the Atlantic, tracing the rise and fall of the creatively fertile media sector which grew from humble beginnings nearly 100 years ago to become a multi-billion business which tested the limits of journalistic endeavour. Covering the music presss evolution from the 1950s to the 2000s, through rock & roll, Mod, the Summer of Love, Glam, Punk, Pop, Reggae, R&B and Hip Hop, Paul Gorman chronicles the development of individual magazines from Tin Pan Alley beginnings and the countercultural foundation of Rolling Stone, the underground press and the 70s heyday of NME, Melody Maker and Sounds. Illuminated by the authors first hand interviews, Gorman paints a complete picture of the scene exploring the role played by such writers as Lester Bangs, Charles Shaar Murray and Nick Kent in the development of the careers of the likes of David Bowie, The Clash and Led Zeppelin, and tackling head on the entrenched sexism and racism faced by women and people from marginalized backgrounds by shining a spotlight on those publications and individuals whose contributions have often been unfairly overlooked. Evoking the music presss kaleidoscopic visual identities, Totally Wired is illustrated with rare and legendary magazine artwork throughout. What emerges is a compelling narrative containing conflicting stories of unbound talent, blind ambition and sometimes bitter rivalries which make Totally Wired a rollercoaster and riveting read.

“An interesting look at how 1977 marked the explosion of punk alongside this heartbreaking (though not altogether surprising) loss of a legend” (USA Today). In the late 1970s, punk music was setting out to destroy everything Elvis Presley had come to represent. But punk couldn’t destroy The King himself—he had already done that, succumbing to his excesses at Graceland on August 16, 1977. Ever since, Elvis has permeated the world in ways that are bizarre and inexplicable: a pop icon while alive, he has become almost a religious icon in death, a modern-day martyr crucified on the wheel of drugs, celebrity culture, junk food, and sex. In Elvis Has Left the Building, Dylan Jones takes us back to those heady days around the time of his death and the simultaneous rise of punk. Evoking the hysteria and devotion of The King’s numerous disciples and imitators, Jones offers a uniquely insightful commentary on Elvis’s life, times, and outrageous demise. Recounting how the artist single-handedly changed the course of popular music and culture, he also delves deep into the cult of The King and reveals what Elvis’s death meant—and still means to us today. “I’m not sure punk would have existed without [Elvis]. In fact I’m not sure a lot of things would have existed without him. Dylan Jones is the right man to ponder such questions.” —Bono “A gripping tale of impossible success and terrible waste and lost beauty that veers from Memphis to Las Vegas and all the way to the broken backstreets of London.” —Tony Parsons, author of The Hanging Club