"The Philosophy of Modern Song is Bob Dylan's first book of new writing since 2004's Chronicles: Volume One and since winning the Nobel Prize for Literature in 2016. Dylan, who began working on the book in 2010, offers a master class on the art and craft of songwriting. He writes over sixty essays focusing on songs by other artists, spanning from Stephen Foster to Elvis Costello, and in between ranging from Hank Williams to Nina Simone. He analyzes what he calls the trap of easy rhymes, breaks down how the addition of a single syllable can diminish a song, and even explains how bluegrass relates to heavy metal. These essays are written in Dylan's unique prose. They are mysterious and mercurial, poignant and profound, and often laugh-out-loud funny. And while they are ostensibly about music, they are really meditations and reflections on the human condition. Running throughout the book are nearly 150 carefully curated photos as well as a series of dream-like riffs that, taken together, resemble an epic poem and add to the work's transcendence. In 2020, with the release of his outstanding album Rough and Rowdy Ways, Dylan became the first artist to have an album hit the Billboard Top 40 in each decade since the 1960s. The Philosophy of Modern Song contains much of what he has learned about his craft in all those years, and like everything that Dylan does, it is a momentous artistic achievement"

The chief creative officer of Sony Music presents a candid assessment of his life and the past half-century of popular music from an insider's perspective, tracing his work with a wide array of stars and personalities.

A tribute to more than two dozen legendary music artists who significantly influenced the landscape of music for generations to come, from Ray Charles and Bob Dylan to Chuck Berry and Johnny Cash.

A comprehensive anthology bringing together more than one thousand of the best American and English song lyrics of the twentieth century; an extraordinary celebration of a unique art form and an indispensable reference work and history that celebrates one of the twentieth century’s most enduring and cherished legacies. Reading Lyrics begins with the first masters of the colloquial phrase, including George M. Cohan (“Give My Regards to Broadway”), P. G. Wodehouse (“Till the Clouds Roll By”), and Irving Berlin, whose versatility and career span the period from “Alexander’s Ragtime Band” to “Annie Get Your Gun” and beyond. The Broadway musical emerges as a distinct dramatic form in the 1920s and 1930s, its evolution propelled by a trio of lyricists—Cole Porter, Ira Gershwin, and Lorenz Hart—whose explorations of the psychological and emotional nuances of falling in and out of love have lost none of their wit and sophistication. Their songs, including “Night and Day,” “The Man I Love,” and “Bewitched, Bothered and Bewildered,” have become standards performed and recorded by generation after generation of singers. The lure of Broadway and Hollywood and the performing genius of such artists as Al Jolson, Fred Astaire, Ethel Waters, Judy Garland, Frank Sinatra, and Ethel Merman inspired a remarkable array of talented writers, including Dorothy Fields (“A Fine Romance,” “I Can’t Give You Anything but Love”), Frank Loesser (“Guys and Dolls”), Oscar Hammerstein II (from the groundbreaking “Show Boat” of 1927 through his extraordinary collaboration with Richard Rodgers), Johnny Mercer, Yip Harburg, Andy Razaf, Noël Coward, and Stephen Sondheim. Reading Lyrics also celebrates the work of dozens of superb craftsmen whose songs remain known, but who today are themselves less known—writers like Haven Gillespie (whose “Santa Claus Is Coming to Town” may be the most widely recorded song of its era); Herman Hupfeld (not only the composer/lyricist of “As Time Goes By” but also of “Are You Makin’ Any Money?” and “When Yuba Plays the Rumba on the Tuba”); the great light versifier Ogden Nash (“Speak Low,” “I’m a Stranger Here Myself,” and, yes, “The Sea-Gull and the Ea-Gull”); Don Raye (“Boogie Woogie Bugle Boy,” “Mister Five by Five,” and, of course, “Milkman, Keep Those Bottles Quiet”); Bobby Troup (“Route 66”); Billy Strayhorn (not only for the omnipresent “Lush Life” but for “Something to Live For” and “A Lonely Coed”); Peggy Lee (not only a superb singer but also an original and appealing lyricist); and the unique Dave Frishberg (“I’m Hip,” “Peel Me a Grape,” “Van Lingo Mungo”). The lyricists are presented chronologically, each introduced by a succinct biography and the incisive commentary of Robert Gottlieb and Robert Kimball.

Many musicians sing about heartache, despair, and confusion, but few have experienced those feelings more intensely than James Taylor, who rose from a childhood of privilege as the son of an affluent medical school dean to become a modern-day troubadour and pop superstar. When he was seventeen years old, his demons led him to a Massachusetts mental institution where he confronted them the only way he knew how, by writing his first songs. Thirty years later, Taylor's songs are among the most popular in the annals of music, but the demons are still with him. But unlike many of his contemporaries who faced a similar struggle, Taylor managed to emerge as an inspirational figure. Fire and Rain traces this remarkable path, including his troubled marriage to pop star Carly Simon and the premature alcoholism-related death of his brother: -- Taylor's ten-month stay in the exclusive private psychiatric institution where he finished high school. -- His self-imposed exile to England, where he submitted some of his music to the Beatles' Apple Records, which signed him to his first record contract in 1968. Paul McCartney mentored Taylor's early career. -- The story behind his second album, Sweet Baby James, which contained the song "Fire and Rain" about the hopelessness of mental illness and suicide. -- As Taylor's fame increased, so did his problems with heroin, alcohol, and mental illness. In the seventies, the singer nearly fell over the edge many times. Ian Halperin has interviewed more than 100 musicians, family members, music industry figures, and others to paint a detailed but ultimately sympathetic portrait of Taylor's incredible life and career -- the first-ever biographyof this pop-music icon.

In-depth interviews with family, friends, and associates underlie a biographical portrait of the superstar singer and actress

The music and mayhem behind the seminal sounds of Nick Cave and the Bad Seeds, Models, The Go-Betweens, Hunters & Collectors, Cold Chisel, The Saints, The Cruel Sea and so many more 'The most obsessive, single-minded character I've ever seen, outside of the mirror' -Nick Cave 'I first met Nick Cave ... at Richmond Recorders in January. I appeared shoeless, red-eyed and late. As usual. The grand piano was overflowing with bits of metal, microphone stands, anything that wasn't nailed down. "That should sound interesting," I said. It was the start of a great love affair.' Maverick music producer-engineer Tony Cohen defined Australia's punk and rock sounds in the late '70s, '80s and '90s. His long and celebrated career took him from the studios of Melbourne and Sydney to West Berlin and London's Abbey Road, working with innumerable bands up until his death in 2017. In candid reflections, Tony shares details of his decades-long relationship with Nick Cave (The Boys Next Door, The Birthday Party, Nick Cave and the Bad Seeds) and provides behind-the-scenes access to recordings by Billy Thorpe and the Aztecs, Cat Stevens, Jim Keays, Lobby Loyde, The Ferrets, Split Enz, Laughing Clowns, Models, Magazine, The Reels, The Go-Betweens, Hunters & Collectors, Cold Chisel, Beasts of Bourbon, The Saints, X, Michael Hutchence, The Cruel Sea, TISM, Paul Kelly and so many more. Half Deaf, Completely Mad is a hilarious, tragic and triumphant memoir that reveals a chaotic genius who lived hard and LOUD.

Renowned harmonica player tells the spellbinding story of his charmed life among legends like Al Capone, Ingrid Bergman, Frank Sinatra, and Elton John.