Radio City (the book) is the improbable but true story of an ardent fan who gets close enough to Alex Chilton, the prime architect of the best power pop album ever made outside of Abbey Road Studios, to see what’s on the other side of genius, fame, and expectations. Learn More
Part manifesto, part publicity stunt, part limited edition object (at least in its ridiculously miniscule initial pressing), 69 LOVE SONGS is also a survey of recent popular culture, high and low. Learn More
Even at four in the morning, the strip clubs and watering holes surrounding the Honolulu studio were still hopping. The recording engineer heard a car pull into the lot, and soon the biggest man he had ever seen walked in. When he stepped into the studio, the floated floor shifted beneath the engineer's feet. Israel Kamakawiwo'ole engulfed the engineer's hand in his and said, "Hi, bruddah." Learn More
Christopher Weingarten provides a thrilling account of how the Bomb Squad produced such a singular-sounding record: engineering, sampling, scratching, constructing, deconstructing and reconstructing - even occasionally stomping on vinyl that sounded too clean. Learn More
Released in 1979, AC/DC's "Highway To Hell" was the infamous last album recorded with singer Bon Scott, who died of alcohol poisoning in London in February of 1980. Officially chalked up to "Death by Misadventure,"
Of all the seminal albums to come out in 1991 - the year of Nevermind, Loveless, Ten and Out of Time, among others - none was quieter, both in volume and influence, than Spiderland, and no band more mysterious than Slint. Learn More
It was virtually impossible to ignore Radiohead's KID A when it was released in early October of 2000. But the album was more than just a ten-track collection of songs written by five musicians from Oxfordshire, more than the "weird" follow-up to the critics' fashionable go-to record of choice, OK COMPUTER, more than what the VILLAGE VOICE described as "the biggest, warmest recorded go-fuck-yourself in recent memory." KID A was an event. Learn More
This is the story of the depraved, no-future land called the American Midwest in the 1980s, and of a boy who rose from a dismal town (population 2300) to become one of the biggest selling musicians of the 1990s. Learn More
It’s October 1977, and the Rolling Stones are in a Paris recording studio. They’re under siege. Keith Richards’s legal troubles after his arrest for heroin possession threaten the band’s future, and the broad consensus among rock aficionados is that the band will never again reach the heights of Exile on Main Street. Learn More
1985. Dinosaur, still without the Jr. Not hardcore anymore, but not yet anything else either. First live shows: fearsomely loud. First record, a fearsome mess: a raw miscellany thrown together from small-town ennui, the apathy of the middle classes, and all the things teenage boys are obsessed with. Learn More
This is a thoroughly researched exploration of one of the most original, unexpected, and durable British albums of the 1990s. An album which distilled a genre from the musical, cultural, and social ether, Portishead's "Dummy" was such a complete artistic achievement that its ubiquitous successes threatened to exhaust its own potential. Learn More
Fear of Music, the third album by Talking Heads, was recorded and released in 1979. It is, like each of their first four albums, a masterpiece. Edgy, paranoid, funky, addictive, rhythmic, repetitive, spooky, and fun - with Brian Eno's production, it's a record that bursts out of the downtown scene that birthed the band, and hints at the directions (positive and negative) they'd take in the near future.
For a few decades now, They Might Be Giants’ album Flood has been a beacon (or at least a nightlight) for people who might rather read than rock out, who care more about science fiction than Slayer, who are more often called clever than cool. Neither the band’s hip origins in the Lower East Side scene nor Flood’s platinum certification can cover up the record's singular importance at the geek fringes of culture.
"It's Time To Party," the first track off of I Get Wet, opens with a rapid-fire guitar line — nothing fancy, just a couple crunchy power chords to acclimate the ears — repeated twice before a booming bass drum joins in to provide a quarter-note countdown. Learn More