'When I wrote and recorded these songs originally, I never would have expected the fantastic audience response all these years later; it's amazing.' - Jeff Lynne The music of Jeff Lynne is beloved by fans all over the world and has been for three generations. Now, after a hiatus of nearly thirty years, the multi-award winning songwriter, producer and founder of ELO has made a triumphant return to touring. Since 2014, he has played across Europe and North America, the high point for Lynne being his dramatic homecoming for a crowd of 60,000 fans at Wembley. On 24th June 2017, London's historic stadium was transformed into one of the greatest rock'n'roll spectacles of all time, as Lynne performed his group's most extensive set list to date against a dazzling backdrop of pyrotechnics, lasers and a giant ELO spaceship. Now, in his first official book, Lynne reveals the meticulous planning leading up to the epic concert, and shares the stories behind a career-spanning catalogue of songs. In an exclusive new text, Lynne reflects on his formative years growing up and his eventual success with ELO hits such as 'Mr. Blue Sky', 'Evil Woman' and 'Livin' Thing'. From his memories of producing The Beatles' last single, 'Free as a Bird', to his anecdotes from inside one of the greatest supergroups, the Traveling Wilburys, Lynne also discusses his fascinating career outside of ELO. His narration guides the reader through hundreds of exclusive photographs taken specially for the making of this book. From backstage to front of house, Wembley or Bust is Jeff Lynne's account of a once-in-a-lifetime concert, and its significance within the greater story of his career as one of the most popular recording artists, songwriters and producers of all time. JEFFLYNNEBOOK.COM GENESIS-PUBLICATIONS.COM

Ever wish you could sit down and have a talk with the folks who make the biggest hit records? Wish you could learn valuable insights to their techniques and experiences producing platinum releases with the hottest musicians of all time? Now you can with this newest collection of articles from one of the recording industry's leading magazines, Mix! You'll get in-depth interviews with people like Sir George Martin, Don Was, Daniel Lanois, Jeff Lynne, Phil Ramone, Glenn Ballard and a host of others. Over 40 interviews in all! Find out how these folks got started in the industry, how they mediate between labels and artists, what equipment they prefer and much more!

• A New York Times Summer Reading List selection • A Publishers Weekly Best Summer Book of 2015 • A Business Insider Best Summer Read • An Esquire Father’s Day Book selection • A New York Observer Best Music Book of 2015 • A memoir charting thirty years of the American independent rock underground by a musician who knows it intimately Jon Fine spent nearly thirty years performing and recording with bands that played various forms of aggressive and challenging underground rock music, and, as he writes in this memoir, at no point were any of those bands “ever threatened, even distantly, by actual fame.” Yet when members of his first band, Bitch Magnet, reunited after twenty-one years to tour Europe, Asia, and America, diehard longtime fans traveled from far and wide to attend those shows, despite creeping middle-age obligations of parenthood and 9-to-5 jobs, testament to the remarkable staying power of the indie culture that the bands predating the likes of Bitch Magnet--among them Black Flag, Mission of Burma, and Sonic Youth --willed into existence through sheer determination and a shared disdain for the mediocrity of contemporary popular music. In indie rock’s pre-Internet glory days of the 1980s, such defiant bands attracted fans only through samizdat networks that encompassed word of mouth, college radio, tiny record stores and ‘zines. Eschewing the superficiality of performers who gained fame through MTV, indie bands instead found glory in all-night recording sessions, shoestring van tours and endless appearances in grimy clubs. Some bands with a foot in this scene, like REM and Nirvana, eventually attained mainstream success. Many others, like Bitch Magnet, were beloved only by the most obsessed fans of this time. Like Anthony Bourdain’s Kitchen Confidential, Your Band Sucks is an insider’s look at a fascinating and ferociously loved subculture. In it, Fine tracks how the indie-rock underground emerged and evolved, how it grappled with the mainstream and vice versa, and how it led many bands to an odd rebirth in the 21 st Century in which they reunited, briefly and bittersweetly, after being broken up for decades. Like Patti Smith’s Just Kids, Your Band Sucks is a unique evocation of a particular aesthetic moment. With backstage access to many key characters in the scene—and plenty of wit and sharply-worded opinion—Fine delivers a memoir that affectionately yet critically portrays an important, heady moment in music history.

ELO (Electric Light Orchestra) were formed by Roy Wood and Jeff Lynne of The Move as a fusion of rock and contemporary classical-style music, combining orchestral instruments, guitars, keyboards, and drums in the same line-up. Their aim was to continue from where The Beatles’ ‘I am the Walrus’ left off. After the release of their eponymous debut album in 1971 and a few live dates at home and in Europe, it became increasingly apparent that both leaders’ objectives were incompatible. Wood left Lynne in charge of the group to refine their sound, and their ambitious progressive rock epics gradually gave way to a more accessible style. Keyboard player Richard Tandy and drummer Bev Bevan were the only other constant members in an ever-changing line-up. By the end of the decade, the group were rarely out of the British and American charts. After disbanding in 1986, ELO Part II (minus Lynne) returned for two albums, but Lynne reclaimed the name with an album in 2001 followed by a long-awaited reappearance in 2014 as Jeff Lynne’s ELO. Electric Light Orchestra: Song by Song provides a brief biographical overview of the bands’ contributors in addition to a comprehensive examination of all the groups’ studio albums.

Called ‘the greatest game of all’ by its supporters but often overlooked by the cultural mainstream, no sport is more identified with England’s northern working class than rugby league. This book traces the story of the sport from the Northern Union of the 1900s to the formation of the Super League in the 1990s, through war, depression, boom and deindustrialisation, into a new economic and social age. Using a range of previously unexplored archival sources, this extremely readable and deeply researched book considers the impact of two world wars, the significance of the game’s expansion to Australasia and the momentous decision to take rugby league to Wembley. It investigates the history of rugby union’s long-running war against league, and the sport’s troubled relationship with the national media. Most importantly, this book sheds new light on issues of social class and working-class masculinity, regional identity and the profound impact of the decline of Britain’s traditional industries. For all those interested in the history of sport and working-class culture, this is essential reading.