Before he was responsible for some of the most iconic drumming in popular music, Stephen Morris grew up in 1960s and '70s industrial Macclesfield, on a quiet road that led seemingly to nowhere. Far removed from the bright lights and manic energy of nearby Manchester, he felt stifled by suburbia and feared he might never escape. Then he joined Joy Division - while they were still known as Warsaw - a pioneer of the rousing post-punk sound that would revolutionise 20th-century rock.

Two acclaimed albums and an upcoming US tour - Joy Division had the world at their feet. Then, on the eve of that tour, the band’s troubled lead singer, Ian Curtis, killed himself. The next time they got together, they were a new band. That band was New Order - their label was Factory Records; their club, The Haçienda. Their distinctive sound paved the way for the dance music explosion that followed, earning them the reputation as one of the most influential bands of their generation and changing the course of popular music.

Over a prolific 40-year career, The Fall created a world that was influential, idiosyncratic and fiercely original - and defied simple categorisation. Their front man and lyricist, Mark E Smith, spun opaque tales that resisted conventional understanding; The Fall's worldview was an education in its own right. Who wouldn't want to be armed with a working knowledge of M R James, shipping-dock procedures, contemporary dance, Manchester City and Can? The group inspired and shaped the lives of those who listened to and tried to make sense of their work.

In 1983, backstage at the Lyceum in London, Tracey Thorn and Lindy Morrison first met. Tracey's music career with the Marine Girls had just begun, while Lindy, drummer for The Go-Betweens, was ten years her senior. They became confidantes, comrades and best friends, a relationship cemented by activism and agitprop theatre, lesbian punk bands and rock 'n' roll love affairs. Morrison came to be a kind of mentor to Thorn, a strong female role model in a male dominated industry. They both faced a chauvinist music media wanting them to behave to type.

Chris Frantz met David Byrne at the Rhode Island School of Art & Design in the early 1970s. Together - and soon with Frantz's future wife, Tina Weymouth - they formed Talking Heads and took up residence in the grimy environs of Manhattan's Lower East Side, where their neighbours were Patti Smith, William Burroughs and a host of proto-punk artists who now have legendary status. 

John Cooper Clarke is a phenomenon: Poet Laureate of Punk, rock star, fashion icon, TV and radio presenter, social and cultural commentator, reluctant national treasure. At 5 feet 11 inches (116lb, 32in chest, 27in waist), in trademark suit jacket, skin-tight drainpipes and dark glasses, with jet-black back-combed hair and mouth full of gold teeth, he is instantly recognisable. As a writer his voice is equally unmistakable and his inimitable dry Salford drawl shines through the prose.

Jon Savage's oral history of Joy Division is the last word on the band that ended with the suicide of Ian Curtis in Macclesfield on May 18, 1980. It weaves together interviews conducted by the author, but never used in the making of the film Joy Division, which told the story of the band in their own words, as well as those of their peers, collaborators, and contemporaries.  

Alan McGee's role in shaping British musical culture over the past 30 years is hard to overstate. As the founder of Creation Records, he brought us the bands that defined an era. A charismatic Glaswegian, who partied just as hard as any of the acts on his notoriously hedonistic label, he became an infamous character in the world of music.

"Hey Hi Hello" is a greeting we have all become familiar with, as Annie Nightingale cues up another show on Radio One. Always in tune with the nation's taste, yet effortlessly one step ahead for more than five decades, in this book Annie digs deep into her crate of memories, experiences and encounters to deliver an account of a life lived on the frontiers of pop cultural innovation.

The Beatles landing in New York in February 1964 was the opening shot in a cultural revolution nobody predicted. Suddenly the youth of the richest, most powerful nation on earth was trying to emulate the music, manners and the modes of a rainy island that had recently fallen on hard times.

Peter Hook, as co-founder of Joy Division and New Order, has been shaping the course of popular music for 30 years. He provided the propulsive bass guitar melodies of 'Love Will Tear Us Apart' and the bestselling 12-inch single ever, 'Blue Monday' among many other songs.

Johnny Marr was born in 1960s Manchester to Irish immigrant parents and knew from an early age that he would be a musician. Forming his first band at 13, Marr spent his teenage years on the council estates of Wythenshawe playing guitar, devouring pop culture and inventing his own musical style. It wasn't until the early '80s, when Marr turned up on the doorstep of a singer named Steven Patrick Morrissey, that both a unique songwriting partnership and the group recognised as one of the most iconic bands of all time were formed.

Standing at the crossroads - the Mississippi crossroads of Robert Johnson and the devil's infamous meeting - Mark Radcliffe found himself facing his own personal crunch point. Aged 60, he had just mourned the death of his father, only to be handed a diagnosis of mouth and throat cancer. This momentous time in his life, and being at the most famous junction in music history, led Radcliffe to think about the pivotal tracks in music and how the musicians who wrote and performed them.

Guy Pratt came of age just as bass playing became sexy. Having dallied with punk legend Sylvain Sylvain, Pratt suddenly found himself on Top of the Pops and supporting David Bowie with smooth Australian outfit Icehouse. He became bass player to the stars, crawling from studio to bar and hotel to stadium Portakabin with the likes of Pink Floyd, Robert Palmer, Womack &Womack and Bryan Ferry. Guy has recorded with everyone from Madonna and Michael Jackson to McFly.

Suede began by treading the familiar jobbing route of London's emerging new 1990s indie bands - gigs at ULU, the Camden Powerhaus and the Old Trout in Windsor - and the dispiriting experience of playing a set to an audience of one. But in these halcyon days, their potential was undeniable. Anderson's creative partnership with guitarist Bernard Butler exposed a unique and brilliant hybrid of lyric and sound; together they were a luminescent team - burning brightly and creating some of the era's most revered songs and albums.