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.

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 15 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.

The '60s ended a year late - on New Year's Eve 1970, when Paul McCartney initiated proceedings to wind up The Beatles. Music would never be the same again. The next day would see the dawning of a new era. Nineteen seventy-one saw the release of more monumental albums than any year before or since and the establishment of a pantheon of stars to dominate the next 40 years - Led Zeppelin, David Bowie, the Rolling Stones, Pink Floyd, Marvin Gaye, Carole King, Joni Mitchell, Rod Stewart, the solo Beatles and more.

Pop music’s a simple pleasure. Is it catchy? Can you dance to it? Do you fancy the singer? What’s fascinating about pop is our relationship with it. This relationship gets more complicated the longer it goes on. It’s been going on now for 50 years. David Hepworth is interested in the human side of pop. He’s interested in how people make the stuff and, more importantly, what it means to us. In this wide-ranging collection of essays, he shows how it is possible to take music seriously and, at the same time, not drain the life out of it. 

In a sodden tent at a '70s festival, the teenage Mark Ellen had a dream. He dreamt that music was a rich meadow of possibility, a liberating leap to a sparkling future, an industry of human happiness - and he wanted to be part of it. Thus began his 50-year love affair with rock and roll. From his time at the NME and Smash Hits to Radio One, Old Grey Whistle Test, Live Aid, Q, Select, Mojo, and The Word magazines, he's been at the molten core of its evolution, and watched its key figures from a unique perspective.

Nick Duerden has spent many years interviewing the most famous musicians on the planet. Without exception, they are at their most interesting when they've peaked, and when they are on their way down. In many ways, this is when these former idols are at their most heroic, too, because they reveal themselves not only to be humane and sensitive, but also still driven to create, to fulfil their lingering dreams, to refuse to live quietly. 

Money, freedom, adoring fans: professional musicians seem to have it all. But beneath the surface lies a frightening truth: for years, the music industry has tolerated death, addiction and exploitation in the name of entertainment. In Bodies, Ian Winwood explores the industry's reluctance to confront its many failures in a far-reaching story.

Allan Jones launched Uncut magazine in 1997 and for 15 years wrote a popular monthly column called Stop Me If You've Heard This One Before, based on his experiences as a music journalist in the 70s and 80s. By turns hilarious, cautionary, poignant and powerful, the Stop Me...stories collected here include encounters with some of rock's most iconic stars, including David Bowie, Lou Reed, Leonard Cohen, Van Morrison, Neil Young, Elvis Costello, The Sex Pistols, The Clash, The Smiths, R.E.M. and Pearl Jam.

Regarded as the greatest and most revealing account of how the Beatles recorded every one of their songs, Revolution in the Head is brimming with details of the personal highs and lows experienced by Lennon, McCartney, Harrison, and Starr as they made some of the most enduring popular music ever created.

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.

 England's Dreaming is the ultimate book on punk, its progenitors, the Sex Pistols, and the moment they defined for music fans in England and the United States. Savage brings to life the sensational story of the meteoric rise and rapid implosion of the Pistols through layers of rich detail and exclusive interviews. This fully revised and updated edition of the book covers the legacy of punk 25 years later and provides an account of the Pistols' 1996 reunion as well as a completely new introduction.  

With the Rolling Stones, Keith Richards created the riffs, the lyrics and the songs that roused the world, and over four decades he lived the original rock-and-roll life: taking the chances he wanted, speaking his mind, and making it all work in a way that no one before him had ever done. Now, at last, the man himself tells us the story of life in the crossfire hurricane. And what a life....

From the author of the definitive New York Times best-selling history of the Beatles comes the authoritative account of the group many call the greatest rock band of all time, arguably the most successful, and certainly one of the most notorious.

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.

Paul McCartney and John Lennon described him as the Beatles' "favorite group", he won Grammy awards, wrote and recorded hit songs, and yet no figure in popular music is as much of a paradox, or as underrated, as Harry Nilsson. In this first ever full-length biography, Alyn Shipton traces Nilsson's life from his Brooklyn childhood to his Los Angeles adolescence and his gradual emergence as a uniquely talented singer-songwriter.