During 12 unforgettable months in the middle of the turbulent '60s, America saw the rise of innovative new sounds that would change popular music as we knew it. In 1965: The Most Revolutionary Year in Music, music historian Andrew Grant Jackson (Still the Greatest: The Essential Songs of The Beatles' Solo Careers) chronicles a groundbreaking year of creativity fueled by rivalries between musicians and continents, sweeping social changes, and technological breakthroughs.

The classic account of the LA Canyons scene between 1967 and 1976, featuring Joni Mitchell; Crosby, Stills, Nash, and Young; The Eagles; James Taylor; and Jackson Browne. Ambition, betrayal, drugs and genius all combine with great music making.

January 1970: the Beatles assemble one more time to put the finishing touches on Let It Be; Crosby, Stills, Nash & Young are wrapping up Déjà Vu; Simon and Garfunkel are unveiling Bridge Over Troubled Water; James Taylor is an upstart singer-songwriter who's just completed Sweet Baby James. Over the course of the next twelve months, their lives---and the world around them---will change irrevocably.

The age of the rock star, like the age of the cowboy, has passed. Like the cowboy, the idea of the rock star lives on in our imaginations. What did we see in them? Swagger. Recklessness. Sexual charisma. Damn-the-torpedoes self-belief. A certain way of carrying themselves. Good hair. Interesting shoes. Talent we wished we had. What did we want of them? To be larger than life but also like us. To live out their songs. To stay young forever. No wonder many didn't stay the course.

1973 was the year rock hit its peak while splintering-just like the rest of the world. Ziggy Stardust traveled to America in David Bowie's "Aladdin Sane". The Dark Side of the Moon began its epic run on the Billboard charts, inspired by the madness of Pink Floyd's founder, while all four former Beatles scored top 10 albums, two hitting number one. FM battled AM; Motown battled Philly on the charts, as the era of protest soul gave way to disco. DJ Kool Herc gave birth to hip hop in the Bronx. The glam rock of the New York Dolls and Alice Cooper split into glam metal and punk.

The year that changed everything for the Beatles was 1966 - the year of their last concert and of Revolver, their first album created to be listened to rather than performed. This was the year the Beatles risked their popularity by retiring from live performances, recording songs that explored alternative states of consciousness, experimenting with avant-garde ideas, and speaking their minds on issues of politics, war, and religion. Music journalist and Beatles expert Steve Turner investigates the enormous changes that took place in the Beatles' lives and work during 1966.

It was a pretty radical idea - a channel for teenagers, showing nothing but music videos. It was such a radical idea that almost no one thought it would actually succeed, much less become a force in the worlds of music, television, film, fashion, sports, and even politics. But it did work. MTV became more than anyone had ever imagined. I Want My MTV tells the story of the first decade of MTV, the golden era when MTV's programming was all videos, all the time, and kids watched religiously to see their favorite bands, learn about new music, and have something to talk about at parties.

Ed Ward covers the first half of the history of rock & roll in this sweeping and definitive narrative - from the 1920s, when the music of rambling medicine shows mingled with the songs of vaudeville and minstrel acts to create the very early sounds of country and rhythm and blues, to the rise of the first independent record labels post-World War II, and concluding in December 1963, just as an immense change in the airwaves took hold and the Beatles prepared for their first American tour.

If you were a fan of popular music in the 1960s and early '70s, you were a fan of the Wrecking Crew - whether you knew it or not. On hit record after hit record by everyone from the Byrds, the Beach Boys, and the Monkees to the Grass Roots, the 5th Dimension, Sonny & Cher, and Simon & Garfunkel, this collection of West Coast studio musicians from diverse backgrounds established themselves as the driving sound of pop music - sometimes over the objection of actual band members....

Since the age of 21, Paul McCartney has lived one of the ultimate rock 'n' roll lives, played out on the most public of stages. Now Paul's story is told by rock music's foremost biographer, with McCartney's consent and access to family members and close friends who have never spoken on the record before.

The result of this Roger Daltrey's introspection is a remarkable memoir, instantly captivating, funny and frank, chock-full of well-earned wisdom and one-of-kind anecdotes from a raucous life that spans a tumultuous time of change in Britain and America. Born during the air bombing of London in 1944, Daltrey fought his way (literally) through school and poverty and began to assemble the band that would become The Who while working at a sheet metal factory in 1961.

Los Angeles in 1974 exerted more influence over popular culture than any other city in America. Rock Me on the Water traces the confluence of movies, music, television, and politics in Los Angeles month by month through that transformative, magical year. Ronald Brownstein reveals how 1974 represented a confrontation between a massive younger generation intent on change, and a political order rooted in the status quo. Brownstein shows how the voices resistant to change may win the political battle for a time, but they cannot hold back the future.

They were the last great band of the '60s and the first great band of the '70s. They rose, somewhat unpromisingly, from the ashes of the Yardbirds to become one of the biggest-selling rock bands of all time - and eventually paid the price for it, with disaster, drug addiction, and death.

Even before the Beatles hit the big time, a myth was created. This version of the Beatles legend smoothed the rough edges and filled in the fault lines, and for more than forty years this manicured version of the Beatles story has sustained as truth, until now.

Nearly 20 years in the making, Can't Buy Me Love is a masterful work of group biography, cultural history, and musical criticism. That the Beatles were an unprecedented phenomenon is a given. Here Jonathan Gould seeks to explain why, placing the Fab Four in the broad and tumultuous panorama of their time and place, rooting their story in the social context that girded both their rise and their demise.

1973 was the year rock hit its peak while splintering-just like the rest of the world. Ziggy Stardust traveled to America in David Bowie's "Aladdin Sane". The Dark Side of the Moon began its epic run on the Billboard charts, inspired by the madness of Pink Floyd's founder, while all four former Beatles scored top 10 albums, two hitting number one. FM battled AM; Motown battled Philly on the charts, as the era of protest soul gave way to disco. DJ Kool Herc gave birth to hip hop in the Bronx. The glam rock of the New York Dolls and Alice Cooper split into glam metal and punk.

January 1970: the Beatles assemble one more time to put the finishing touches on Let It Be; Crosby, Stills, Nash & Young are wrapping up Déjà Vu; Simon and Garfunkel are unveiling Bridge Over Troubled Water; James Taylor is an upstart singer-songwriter who's just completed Sweet Baby James. Over the course of the next twelve months, their lives---and the world around them---will change irrevocably.

Everybody Had an Ocean chronicles the migration of the rock 'n' roll business to Southern California and how the artists flourished there. The cast of characters is astonishing - Brian and Dennis Wilson of the Beach Boys, Jan and Dean, eccentric producer Phil Spector, Cass Elliot, Sam Cooke, Ike and Tina Turner, Joni Mitchell, and scores of others - and their stories form a modern epic of the battles between innocence and cynicism, joy and terror. You'll never hear that beautiful music in quite the same way.

Histories of music overwhelmingly suppress stories of the outsiders and rebels who created musical revolutions and instead celebrate the mainstream assimilators who borrowed innovations, diluted their impact, and disguised their sources. In Music: A Subversive History, Ted Gioia reclaims the story of music for the riffraff, insurgents, and provocateurs. Gioia tells a 4,000-year history of music as a global source of power, change, and upheaval.

The age of the rock star, like the age of the cowboy, has passed. Like the cowboy, the idea of the rock star lives on in our imaginations. What did we see in them? Swagger. Recklessness. Sexual charisma. Damn-the-torpedoes self-belief. A certain way of carrying themselves. Good hair. Interesting shoes. Talent we wished we had. What did we want of them? To be larger than life but also like us. To live out their songs. To stay young forever. No wonder many didn't stay the course.

Since its founding in 1959, Island Records has been home to legendary artists representing wildly divergent musical styles, yet who share the same maverick, outsider spirit of its founder, Chris Blackwell. Time and again, Blackwell and his Island cohorts identified and nurtured musicians overlooked by other labels, including Bob Marley, U2, Cat Stevens, Grace Jones, Roxy Music, Traffic, Nick Drake, Tom Waits, Robert Palmer, Free, the B-52’s, John Martyn, and Jimmy Cliff.

During 12 unforgettable months in the middle of the turbulent '60s, America saw the rise of innovative new sounds that would change popular music as we knew it. In 1965: The Most Revolutionary Year in Music, music historian Andrew Grant Jackson (Still the Greatest: The Essential Songs of The Beatles' Solo Careers) chronicles a groundbreaking year of creativity fueled by rivalries between musicians and continents, sweeping social changes, and technological breakthroughs.

When Paul McCartney closed Live Aid in July of 1985, we thought he was rock's Grand Old Man. He was forty-three years old. As the forty years since have shown, he—and many others of his generation—were just getting started. This was the time when live performance took over from records. The big names of the '60s and '70s exploited the Age of Spectacle that Live Aid had ushered in to enjoy the longest lap of honor in the history of humanity, continuing to go strong long after everyone else in the business had retired.

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.

If you were a fan of popular music in the 1960s and early '70s, you were a fan of the Wrecking Crew - whether you knew it or not. On hit record after hit record by everyone from the Byrds, the Beach Boys, and the Monkees to the Grass Roots, the 5th Dimension, Sonny & Cher, and Simon & Garfunkel, this collection of West Coast studio musicians from diverse backgrounds established themselves as the driving sound of pop music - sometimes over the objection of actual band members....