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Through a series of interviews with a wide range of people connected to Pink Floyd in their earliest days (including Nick Mason, Peter Jenner, Jenny Fabian, Storm Thorgerson, Duggie Fields and Peter Whitehead), John Cavanagh paints a vivid picture of how this remarkable debut album was created. He brings to life the stories behind each track, as well as Pink Floyd's groundbreaking live performances of the time.

The Velvet Underground and Nico has influenced the sound of more bands than any other album. And remarkably, it still sounds as fresh and challenging today as it did upon its release in 1967. In this book, Joe Harvard covers everything from Lou Reed's lyrical genius to John Cale's groundbreaking instrumentation, and from the creative input of Andy Warhol to the fine details of the recording process. With input from co-producer Norman Dolph and Velvets fan Jonathan Richman, Harvard documents the creation of a record which - in the eyes of many - has never been matched.

Zeth Lundy's book, in keeping with the album's themes, is structured as a life cycle. It's divided into the following sections: Birth; Innocence/Adolescence; Experience/Adulthood; Death; Rebirth. Within this framework, Zeth Lundy covers Stevie Wonder's excessive work habits and recording methodology, his reliance on synthesizers, the album's place in the gospel-inspired progression of 1970s R'n'B, and many other subjects.

When Bruce Springsteen went back on the road in 1984, he opened every show by shouting out, "one, two, one, two, three, four," followed by the droning synth chords of "Born in the U.S.A." Max Weinberg hit his drums with a two-fisted physicality that cut through the swelling chords. With a rolled-up red kerchief around his head and heavy black boots under his faded jeans, Springsteen looked like the character of the song, and from the very first line ("Born down in a dead man's town") he sang with the throat-scraping desperation of a man with his back against the wall.

Though Nevermind was Nirvana's most commercially successful album, and the record that broke them—and the grunge phenomenon—internationally, In Utero has increasingly become regarded as the band's best album, both by the critics and the band members themselves. Instead of sticking to the "grunge pop" formula that made Nevermind so palatable to the mainstream, Nirvana chose instead to challenge their audience, producing an album that the band's creative force, Kurt Cobain, said truly matched his vision of what he had always wanted his band to sound like.

We all know the Boxer. The fighter who remembers every glove but still remains. That grisly, bruised American allegory who somehow gets up more times than he’s knocked down. This is the fight that nearly broke The National. The one that allowed them to become champions.

On Saturday, June 28, 1986, George Michael picked up his tasseled leather jacket, walked out of London’s Wembley Stadium and cheerfully tore up five years of glittering pop history. He’d just disposed of Wham!, the band he’d formed with school friend Andrew Ridgeley when they were teenagers, and now, at 23, he knew he was all grown up. He just needed to convince everyone else.

In 1991, Metallica released their fifth studio album that would become known and beloved around the world as “The Black Album.” Since its release, it has sold 30 million copies, and become a towering monument in the pantheon of rock’s greatest records. Listeners will get unprecedented insight into the story behind an iconic album from one of the world’s most iconic bands through interviews with James Hetfield, Lars Ulrich, Kirk Hammett, Jason Newsted, and “Black Album” producer Bob Rock.

Derided as one-hit wonders, estranged from their original producer and record label, and in self-imposed exile in Los Angeles, the Beastie Boys were written off by most observers before even beginning to record their second album—an embarrassing commercial flop that should have ruined the group's career. But not only did "Paul's Boutique" eventually transformed the Beasties from a fratboy novelty to hiphop giants, its sample-happy, retro aesthetic changed popular culture forever.

Eight years after its founding in Basildon, Essex, Depeche Mode, rooted in 1970s Krautrock, combined old-fashioned touring, well-crafted songs, and the steadfast support of KROQ to dominate Southern California, the United States, and then the world, kicking open the doors for the likes of Nirvana in the process. 101 is the hidden-in-plain-sight hinge of modern music history.

In the '80s, the Birmingham, England, band Duran Duran became closely associated with new wave, an idiosyncratic genre that dominated the decade's music and culture. No album represented this rip-it-up-and-start-again movement better than the act's breakthrough 1982 LP, Rio. A cohesive album with a retro-futuristic sound—influences include danceable disco, tangy funk, swaggering glam, and Roxy Music's art-rock—the full-length sold millions and spawned smashes such as "Hungry Like the Wolf" and the title track.

Despite its polarizing reception from critics at the time of its release, Sandinista! is often considered one of the greatest albums of all time. Nevertheless, critics and fans have spent over 40 years debating whether the album would be better as a 12-track LP. This book entertains that idea and considers what is lost or gained in the process.

Perhaps more than any other Greatest Hits compilation, Abba Gold has come to define a band’s career on one disk. More than that, its release in 1992 heralded the critical rehabilitation of a group which had, since its demise a decade earlier, become little more than a memory of trashy costumes and cheesy tunes to many people. Here, Elisabeth Vincentelli charts the circumstances surrounding the birth of Abba Gold, looks at the impact it had on the music world, and tells the stories behind some of the greatest pop songs ever recorded.

A decade and a half ago, Illmatic launched one of the most storied careers in hip hop, and cemented New York’s place as the genre’s epicenter. With this in-depth look at the record, Matthew Gasteier explores the competing themes that run through Nas’s masterpiece and finds a compelling journey into adulthood.

In this book, Mark Polizzotti examines just what makes the songs on Highway 61 Revisited so affecting, how they work together as a suite, and how lyrics, melody, and arrangements combine to create an unusually potent mix. He blends musical and literary analysis of the songs themselves, biography (where appropriate) and recording information (where helpful).

By 1976, Elton John was the best-selling recording artist and the highest-grossing touring act in the world. With seven #1 albums in a row and a reputation as a riveting piano-pounding performer, the former Reggie Dwight had gone with dazzling speed from the London suburbs to the pinnacles of rock stardom, his songs never leaving the charts, his sold-out shows packed with adoring fans. Then he released Blue Moves, and it all came crashing down.

Bowie has long been haunted by the angst-ridden, emotional work of the Die Brucke movement and the Expressionists. Berlin is their spiritual home, and after a chaotic world tour, Bowie adopts this city as his new sanctuary. Immediately he sets to work on Low, his own expressionist mood-piece.

Joe Bonomo strikes a three-chord essay on the power of adolescence, the durability of rock & roll fandom, and the transformative properties of memory. Why does Highway To Hell matter to anyone beyond non-ironic teenagers? Blending interviews, analysis, and memoir with a fan's perspective, Highway To Hell dramatizes and celebrates a timeless album that one critic said makes "disaster sound like the best fun in the world."

Everyone wanted Madonna’s 1992 album Erotica to be a scandal. In the midst of a culture war, conservatives wanted it to be proof of the decline of family values. The target of conservative loathing, gay men reeling from the AIDS epidemic wanted it to be a celebration of a sexual culture that had rapidly slipped away. And Madonna herself wanted to sell scandal, which is why she released Erotica in the same season as her erotic thriller Body of Evidence and her pornographic coffee-table book simply titled Sex.

By June 1993, when Washington, D.C.'s Fugazi released their third full-length album In on the Kill Taker, the quartet was reaching a thunderous peak in popularity and influence. With two EPs (combined into the classic CD 13 songs) and two albums (1990's genre-defining Repeater and 1991's impressionistic follow-up Steady Diet of Nothing) inside of five years, Fugazi was on creative roll, astounding increasingly large audiences as they toured, blasting fist-pumping anthems and jammy noise-workouts that roared into every open underground heart.