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Derided as seventies throwbacks upon their arrival and misremembered by the wider population as one-hit wonders, Marillion rode the 1980s as one of the most successful bands in Britain. Delivering the musical and conceptual density of early progressive rock with the caustic energy of punk, the Aylesbury heroes both spearheaded the neo-prog revival and produced its crown jewel in their number one album Misplaced Childhood and its Top 5 singles 'Kayleigh' and 'Lavender.' Musically, their influence reaches from prog legends Dream Theater and Steven Wilson to household names like Radiohead and Muse. The 1980s encapsulated Marillion’s birth, commercial apex, and near-implosion. This book combines meticulous history with careful musical analysis to chronicle their most turbulent decade from their first gig, through the dizzying success and destructive decadence of their time with frontman Fish, to his bitter departure and replacement by Steve Hogarth. It turns an experienced critical eye not only on their five albums of the decade - from the seminal Script For A Jester's Tear to Season's End - Hogarth's debut - and a line up that remains as active as ever. The book also discusses demos, singles, and Fish’s solo debut to dissect a band which critics still love to hate, even as today’s music industry stands upon their shoulders as pioneers of self-promotion and internet-based crowd funding. Nathaniel Webb is an American author, musician, and game designer. As a lead guitarist, he has toured and recorded for numerous acts including Grammy-nominated singers Beth Hart and Jana Mashonee, Colombian pop star Marre, and Talking to Walls. His writing includes the novels Expedition: Summerlands, The Days of Guns and Roses, and Arcadia Mon Amour. A graduate of Phillips Exeter Academy and Wesleyan University, Nathaniel lives in Portland, Maine with his wife and son under a big pile of cats. He can be found on Facebook and Twitter @nat20w.
Since Sonicbond Publishing launched at the end of 2018, iwe have published books that span most genres in popular music, from easy listening to psychedelia and from pop to metal. However, it is in the world of progressive rock that we have found our most comfortable home. This book features eleven chapters from books on some of the greats of the genre, including from our On Track series Yes, Genesis, Caravan, ELP, Gentle Giant, Jethro Tull, Pink Floyd, Porcupine Tree and Steve Hackett solo. Our Decades series offers up chapters on Marillion in the 1980s and Van Der Graaf Generator in the 1970s and our Year In series has a chapter on Aphrodite’s Child’s seminal 666. This is just the tip of the iceberg, though, and for the up-to-date list, check out the complete stocklist at the back of this book. The book contains two exclusive pieces that you won’t find in printed books anywhere else. Nick Holmes’ detailed chapter on Porcupine Tree’s Closure/Continuation can be found in the current E-book but not yet in the printed version. Stephen Lambe has rewritten his own chapter on Yes’ ‘lost album’ Talk, released 30 years ago. Contents: Closure/Continuation (2022) from Porcupine Tree On Track (Revised Edition) by Nick Holmes (to be published in 2025) Talk (1994) from Yes On Track by Stephen Lambe. Revised version for future Editions Aphrodite’s Child – 666 (1972) from 1972: The Year Progressive Rock Ruled The World by Kevan Furbank If I Could Do It All Over Again It Again I’d Do It All Over You (1970) from Caravan On Track by Andy Boot Tarkus (1971) from Emerson, Lake & Palmer On Track by Mike Goode Wind & Wuthering (1976) and the Spot The Pigeon EP from Genesis On Track by Stuart Macfarlane Acquiring The Taste (1971) from Gentle Giant On Track by Gary Steel Songs From The Wood (1977) from Jethro Tull On Track by Jordan Blum 1985: The Heart That We Have Live from Marillion in the 1980s by Nathaniel Webb Meddle (1971) from Pink Floyd On Track by Richard Butterworth Defector (1980) from Steve Hackett On Track by Geoffrey Feakes 1975: The Undercover Men From Van der Graaf Generator In The 1970s by Steve Pilkington
AC/DC are a global rock institution and big brand name. The secret to their success has always been that they are a rock ‘n’ roll band, pure and simple, undiluted by trends with a solid authenticity and no frills or pretentiousness. Chris Sutton examines the recorded output of the band in detail, helped by new interview material with former members, collaborators and friends in manager Michael Browning, drummers Peter Clack, Noel Taylor and Tony Currenti, engineer/producer Mike Fraser, logo designer Gerard Huerta, bassist Ian Hampton and engineer Dave Thoener. They have one of the world’s biggest-selling albums in Back In Black, but is it their best album, and which are their best songs? As well as commentary and analysis of every track on every studio album, space is also given to B-sides and out-takes, while the live albums and box sets are also discussed. The background to each album is also covered as the band navigate tragedy and setbacks with a determination to keep going – rock or bust! Whether you wish to revisit old favourites or learn about those gems you missed, AC/DC On Track is the essential guide to this legendary band’s music. Chris Sutton manages Smethwick Heritage Centre Museum and has written several publications for them. He has also written several plays. This book is his fourth for Sonicbond Publishing, with several more to follow. He lives in Great Malvern, UK.
In April 1967, the Bee Gees launched themselves onto the international music scene with the release of ‘New York Mining Disaster 1941’. Whilst that haunting classic would be the first of many hits, the Bee Gees consisting of brothers Barry, Robin and Maurice Gibb had been releasing records since 1963. As extraordinary as it sounds, with more than ten years of performing and four years of recording behind them, the Gibb twins, Robin and Maurice, were just seventeen while elder brother Barry was only twenty. In an incredible career the Bee Gees would go on to sell over 200 million records, making them among the best\-selling music artists of all time, they would be inducted into the Rock and Roll Hall of Fame, the Australian Recording Industry’s Hall of Fame, and the Songwriters Hall of Fame, and receive lifetime achievement awards from the British Phonographic Industry, the American Music Awards, World Music Awards and the Grammys. According to Billboard magazine the Bee Gees are one of top three most successful bands in their charts’ history. Few musical groups have provided the soundtrack to our lives like the Bee Gees, and it all started in the fascinating decade that was the 1960s
For four decades, Depeche Mode dominated electronic music, from the naïve melodies of 1981’s Speak & Spell through to 2023’s Memento Mori. Through changing line-ups featuring Vince Clarke, Alan Wilder, and Andy Fletcher, singer Dave Gahan and main songwriter Martin Gore have been the band’s core. Starting as teenagers and now in their 60s, they have survived worldwide fame, addictions to drink and drugs, and near-death experiences, while continuing to innovate as technology and the music business evolved. An acclaimed live band, it is through their fifteen studio albums that Depeche Mode have best expressed themselves, from the industrial darkness of Black Celebration (1986) to their popular breakthroughs with Music For the Masses (1987) and Violator (1990) and the emotional upheaval of 1993’s Songs of Faith and Devotion. The band survived the chaotic fallout from that album and tour in the mid-1990s, with Gahan experiencing a near-fatal drug overdose, to regroup with Ultra (1997). They continued their explorations of love, death, sex, and politics on acclaimed albums Playing the Angel (2005), Delta Machine (2013), and Spirit (2016). Inducted into the Rock and Roll Hall of Fame in 2020, proven survivors Depeche Mode have their story told here in song-by-song detail. Brian J. Robb is the New York Times and Sunday Times bestselling biographer of Leonardo DiCaprio, Johnny Depp, and Brad Pitt. He has also written books on silent cinema, the films of Philip K. Dick, Wes Craven, Laurel and Hardy, the Star Wars movies, Superheroes, Gangsters, and Walt Disney, as well as science fiction television series Doctor Who and Star Trek. His illustrated books include an Illustrated History of Steampunk and Middle-earth Envisioned, a guide to J.R.R. Tolkien’s The Lord of the Rings (Winner, Best Book, Tolkien Society Awards). He is a Founding Editor of the Sci-Fi Bulletin website and lives near Edinburgh, UK.
While David Bowie was alive, his songs and their strange commentaries on modern life had some kind of deep significance that made sense of it all for many people. His music evokes something futuristic and prophetic to his fans. This book shed light on Bowie’s songwriting in the early, most-lauded part of his career, his much-vaunted sense of alienation and his desperate search to make music that was art. Everything he did was infused with a kind of indescribable oddness, like his two mismatched eyes. He had a lifelong interest in ideas about life on other worlds, and yet one of his many songs associated with this theme, ‘Life On Mars’, is more concerned with the failings of this planet. When he sang ‘Starman’ on Top Of The Pops in 1972, his arm draped around the shoulders of his talented lead guitarist Mick Ronson, he lit up a million teenage hearts. This is a complete examination of all the songs from Bowie’s golden years, which extends from his days as a mod saxophonist through to his astonishing 1980 hit album, Scary Monsters (And Super Creeps). His songs run the gamut from extraordinary to esoteric but were always written from the heart. Carl Ewens, born in Burnley, Lancashire, in 1960, has previously published an absurdist science fiction novel, two books of poetry and a similar book about the songwriting of Marc Bolan. He also produces music under the pseudonym Psyfolk. His interests range from reading novels to football, art, photography, film and history, as well as UAPs and spirituality. He also has a degree in Social Anthropology and Comparative Religion. He is a lover of real ale but isn’t keen on the currently trendy obsession with hazy IPAs as he thinks they all taste of grapefruit. He lives in West Sussex, UK.
The original edition of Beyond and Before extends an understanding of “progressive rock” by providing a fuller definition of what progressive rock is, was and can be. Called by Record Collector “the most accomplished critical overview yet” of progressive rock and one of their 2011 books of the year, Beyond and Before moves away from the limited consensus that prog rock is exclusively English in origin and that it was destroyed by the advent of punk in 1976. Instead, by tracing its multiple origins and complex transitions, it argues for the integration of jazz and folk into progressive rock and the extension of prog in Kate Bush, Radiohead, Porcupine Tree and many more. This 10-year anniversary revised edition continues to further unpack definitions of progressive rock and includes a brand new chapter focusing on post-conceptual trends in the 2010s through to the contemporary moment. The new edition discusses the complex creativity of progressive metal and folk in greater depth, as well as new fusions of genre that move across global cultures and that rework the extended form and mission of progressive rock, including in recent pop concept albums. All chapters are revised to keep the process of rethinking progressive rock alive and vibrant as a hybrid, open form.
Few styles of popular music have generated as much controversy as progressive rock, a musical genre best remembered today for its gargantuan stage shows, its fascination with epic subject matter drawn from science fiction, mythology, and fantasy literature, and above all for its attempts to combine classical music's sense of space and monumental scope with rock's raw power and energy. Its dazzling virtuosity and spectacular live concerts made it hugely popular with fans during the 1970s, who saw bands such as King Crimson, Emerson, Lake and Palmer, Yes, Genesis, Pink Floyd, and Jethro Tull bring a new level of depth and sophistication to rock. On the other hand, critics branded the elaborate concerts of these bands as self- indulgent and materialistic. They viewed progressive rock's classical/rock fusion attempts as elitist, a betrayal of rock's populist origins. In Rocking the Classics, the first comprehensive study of progressive rock history, Edward Macan draws together cultural theory, musicology, and music criticism, illuminating how progressive rock served as a vital expression of the counterculture of the late 1960s and 1970s. Beginning with a description of the cultural conditions which gave birth to the progressive rock style, he examines how the hippies' fondness for hallucinogens, their contempt for Establishment-approved pop music, and their fascination with the music, art, and literature of high culture contributed to this exciting new genre. Covering a decade of music, Macan traces progressive rock's development from the mid- to late-sixties, when psychedelic bands such as the Moody Blues, Procol Harum, the Nice, and Pink Floyd laid the foundation of the progressive rock style, and proceeds to the emergence of the mature progressive rock style marked by the 1969 release of King Crimson's album In the Court of the Crimson King. This "golden age" reached its artistic and commercial zenith between 1970 and 1975 in the music of bands such as Jethro Tull, Yes, Genesis, ELP, Gentle Giant, Van der Graaf Generator, and Curved Air. In turn, Macan explores the conventions that govern progressive rock, including the visual dimensions of album cover art and concerts, lyrics and conceptual themes, and the importance of combining music, visual motif, and verbal expression to convey a coherent artistic vision. He examines the cultural history of progressive rock, considering its roots in a bohemian English subculture and its meteoric rise in popularity among a legion of fans in North America and continental Europe. Finally, he addresses issues of critical reception, arguing that the critics' largely negative reaction to progressive rock says far more about their own ambivalence to the legacy of the counterculture than it does about the music itself. An exciting tour through an era of extravagant, mind-bending, and culturally explosive music, Rocking the Classics sheds new light on the largely misunderstood genre of progressive rock.