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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).

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.

Thunderclap Newman stunned the music world in the summer of 1969 with the success of their wonderfully odd debut single "Something In The Air", which ousted none other than the Beatles from the top of the charts. They followed up with an LP described by Nik Cohn as "one of the finest, most truly bizarre albums of the era" before disintegrating just a few months after its release. This is the story of one of the most unlikely combos in popular music history, and of the four disparate characters who formed its core.

White Limozeen (1989) was a commercial recovery after Dolly Parton's first major failure two years previously with the release of Rainbow. This book is a case study in how an album is sold and a persona constructed. The album had a complex relationship to the country music genre at a time when the genre was in the middle of major sonic and cultural shifts, and it represents how country music saw itself. This question of identity was especially relevant since White Limozeen was produced by Ricky Skaggs, the bluegrass prodigy who was in the middle of his own genre-widening experiments.

This book charts the emergence of Kate Bush in the early-to-mid-1980s as a courageous experimentalist, a singularly expressive recording artist and a visionary music producer. Track-by-track commentaries focus on the experience of the album from the listener’s point of view, drawing attention to the art and craft of Bush’s songwriting, production and sound design.

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.

“Psycho Killer.” “Take Me to the River.” “Road to Nowhere.” Few artists have had the lasting impact and relevance of Talking Heads. One of the foundational bands of downtown New York’s 1970s music scene, Talking Heads have endured as a musical and cultural force for decades, their unique brand of transcendent, experimental rock a lingering influence on popular music—despite having disbanded over thirty years ago. Now on the 50th anniversary of the band’s formation, acclaimed music biographer and contributor to The New Yorker Jonathan Gould offers the definitive story of Talking Heads.

In 1981, David Bowie and Queen both happened to be in Switzerland: They met and made "Under Pressure." Recorded on a lark, the song broke the path for subsequent pop anthems. In Under Pressure, Max Brzezinski tells the classic track's story, charting the relationship between pop music, collective politics, and dominant institutions of state, corporations, and civil society. Brzezinski shows that, like all great pop anthems, "Under Pressure" harnesses collective sentiments in order to model new ways of thinking and acting.

The human body is the primary instrument of war, yet those waging war often confront soldiers' bodies in a detached or merely intellectual way. In The Tenderness of Silent Minds, Martha C. Nussbaum, a leading thinker on emotion, morality, and justice, conducts a pioneering study of Benjamin Britten's musical representations of the tender male body amidst the brutality of war, and their ability to transform consciousness by evoking potent, non-personal emotions.

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.

The recording sessions for Let It Be actually began as rehearsals for a proposed return to live stage work for the Beatles, to be inaugurated in a concert at a Roman amphitheater in Tunisia. In this thoroughly researched book, Steve Matteo delves deep into the complex history of these sessions.

Electric Ladyland is one of the greatest guitar albums ever made. During the recording process, Jimi Hendrix at last had time and creative freedom to pursue the sounds he was looking for. In this remarkable and entertaining book, John Perry gets to the heart of Hendrix's unique talent—guiding the listener through each song on the album, writing vividly about Hendrix's live performances, and talking to several of Hendrix's peers and contemporaries.

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.

Britney Spears barely survived 2007. She divorced her husband, lost custody of her kids, went to rehab, shaved her head and assaulted a paparazzo. In the midst of her public breakdown, she managed to record an album, Blackout. Critics thought it spelled the end for Britney Spears’ career.

Stephen Catanzarite takes a close look at what many consider to be U2's most fully formed album through the prisms of religion, politics, spirituality, and culture, illuminating its previously unexplored depths, arguing that it's a concept album about love and the fall of man.

Bitches Brew is still one of the most astonishing albums ever made in either jazz or rock. Seeming to fuse the two, it actually does something entirely more revolutionary and open-ended: blending the most avant-garde aspects of Western music with deep grooves, the album rejects both jazz and rock for an entirely different idea of how music can be made.

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.

In this wickedly entertaining and thoroughly informed homage to one of rock music's towering pinnacles, Erik Davis investigates the magic—black or otherwise—that surrounds this album. Carefully peeling the layers from each song, Davis reveals their dark and often mystical roots—and leaves the listener to decide whether [FOUR SYMBOLS] is some form of occult induction or just an inspired, brilliantly played rock album.

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."

Non-fans regard Céline Dion as ersatz and plastic, yet to those who love her, no one could be more real, with her impoverished childhood, her (creepy) manager-husband's struggle with cancer, her knack for howling out raw emotion. There's nothing cool about Céline Dion, and nothing clever. That's part of her appeal as an object of love or hatred — with most critics and committed music fans taking pleasure (or at least geeky solace) in their lofty contempt.