Bøker utgitt av Sonicbond Publishing

An enigma, Leonard Norman Cohen was possibly the most improbable bohemian intellectual songwriter/singer in music history. He was certainly the working-class hero, the peoples' poet, the suicidal lamenter of doom and the purveyor of popular songs.

The Pretenders proved revelatory, lashing hard rock to the sexy, sassy swagger of streetwise punk and catchy, chart-busting pop. Richard Butterworth appraises The Pretenders' turbulent, vital early years: from Chrissie's arrival in Britain, through the band's 1978 birth to 1990 and their fifth album. Enjoy the ride.

It's been more than 50 years since extraordinary British rock band Van Der Graaf Generator released their legendary fourth studio album, Pawn Hearts: a mind-splitting masterpiece that fascinated an entire generation of music lovers, redefining what could be done within the realm of music.

In this book, Alan Draper looks at Anthony Phillips' solo output, from his 1977 debut album through to his most successful long-form work, Slow Dance, in 1990.

Authors Andrew Wild and Alberto Bravin have listened to, digested and discussed the entire Beatles back catalogue to remind them why they love their music. This first volume covers the period 1962 to 1966 - from 'Love Me Do' to 'Tomorrow Never Knows', and the early albums  to Rubber Soul and Revolver.

In 2024, Deep Purple celebrated the fortieth anniversary of their reunion by releasing their 23rd album, =1. Some band members thought the 1984 reunion would fizzle out after one album, but it flourished despite internecine strife, illness and the loss of two founders.

Fewartists can legitimately claim to have created truly groundbreaking popularmusic, but Talking Heads is one of them.. All eight of the band's studio albums had chart success in the UK. The band's concert film Stop Making Sense is considered one of the greatest of all time.

Covers the period when The Beach Boy's initial commercial success combined with genuine artistic credibility. Begins with an examination of the band's early career, before covering the period from 1965 to 1979 song-by-song.

The second in a two-volume set, which began with an examination of David Bowie's career up until 1982. Bowie released eleven solo albums in this period, including five number ones in the UK.

Sometimes acclaimed as Scotland's finest-ever singer-songwriter, Gerry Rafferty was born in 1947. After developing a passion for several genres of popular music during childhood, from traditional folk and classical to rock'n'roll and the early 1960s beat boom, he played in a couple of bands during his teens.

A fascinating look at the world of sound engineering during a time of huge technological change. Of interest to all music fans, but the author worked with bands as diverse as Yes, Thin Lizzy, Tina Turner, Elton John and Def Leppard. Producers that the author worked with include Trevor Horn, Tony Visconti and Frank Zappa.

In great detail, this book discusses the Californication album's writing and recording processes, the stories behind every song- including the B-sides and unreleased material, the ensuing world tour, and the legacy the record has left behind.

Thisbook analyses all of Porcupine Tree's studio albums and Eps, including thehugely successful reunion album Closer/Continuation, in forensic detail,providing illuminating insight into the band's music for existing and new fansalike.

Thestory of the Groundhogs spans the most exciting years British rock will everenjoy. Springing from the same early roots as the Animals, Pretty Things andRolling Stones, they soon garnered a reputation as a blues band backing thelikes of John Lee Hooker and many other giants of the genre.

You could consider Kate Bush's The Dreaming to be her finest moment, depending on whether you value the rejection of compromise and see that as a sign of authenticity. Ultimately, The Dreaming is just art. .

Everynow and then, a band comes along that defies convention, refuses to bepigeon-holed, thumbs its nose at comfy predictability and blows raspberries atcommercial wisdom. That band is Gong.

Philip Lynott: Renegade is the story of a pioneering Irish musician. From his early days on his beloved Dublin music scene through the adventurous days of Thin Lizzy, the band he led for thirteen years, Philip himself reveals in song the ebb and flow of his public and private life. Once mainstream success came his way with Thin Lizzy's powerhouse Jailbreak album in 1976, his musical thirst only heightened, and this book also offers intimate insight into his musical experimentation beyond the Thin Lizzy framework. The very subtle solo annexe to the main body of his recorded work with Thin Lizzy is often overlooked despite being inhabited with lyrical depth, honesty and amusing but purposeful misdirection. From the slow burn of his rise with Thin Lizzy to the unfortunate and unnecessary outcome of his short life, Renegade offers a vantage point from the people who were by his side through it all.

Rush. In their own words, 'The World's Biggest Cult Band', started from humble beginnings: three suburban teenagers. Alex Lifeson, Geddy Lee, and John Rutsey formed a Led Zeppelin-influenced trio, eventually scratching a living playing the bars and clubs of their native Toronto. A hard work ethic, no small amount of talent, and a slice of good fortune enabled their first, self-financed and distributed album to gain a foothold in the American market. And then, on the eve of their first American tour, drummer Rutsey quit. Fortune smiled on them again when auditions for a replacement shed builder produced Neil Peart, who could not only drum like a demon but was adept at lyric writing. Sharing a love of the then emerging progressive rock scene, the trio embarked on crafting a series of albums from the 'second' debut, Fly By Night, to the career-defining and best-selling masterpiece Moving Pictures; records which would secure them a permanent place in the rock hierarchy. This book reviews all these albums up to Signals, their 1982 release, which saw the band embracing keyboard technology and severing their connections with long-time producer Terry Brown, the unofficial fourth member of the trio.

'Just a city boy. Born and raised in South Detroit...' so begins the iconic 'Don't Stop Believin'' heard in countless karaoke bars and classic rock stations around the world. It is one of over 250 tracks discussed in Journey: On Track, which covers 50 years of recordings, from the extended jams of their early days to the heights of their popularity as an R&B-influenced powerhouse among America's arena rock gods, and beyond, to their controversial career in the 21st century without 'The Voice', Steve Perry. They were the brainchild of Walter 'Herbie' Herbert, the visionary who steered them through their most successful period. He built Journey from the remnants of Santana, keyboardist and singer Gregg Rolie, and guitar wunderkind Neal Schon. They surged into the limelight with singer Steve Perry. After adding keyboardist Jonathan Cain, they soared to superstardom. Their post-Perry history is filled with new music and the incredible story of Arnel Pineda. Critics dismissed them throughout their heyday as 'corporate rock', but they've somehow managed to thrive commercially and culturally on the heritage rock circuit, releasing new albums, and being inducted into the Rock Hall. They still fill arenas and stadiums with their legions of fans.

In ten short years, Roxy Music made two of the most experimental albums in popular music history and one of the most smoothly romantic.The members of Roxy Music have had long and distinguished careers outside the band, but nothing can surpass the eight albums they made together.

Arguably the greatest album by the best rock band ever, The Beatles - also known as The White Album - proved to be a watershed recording.The album's diversity and creation are analysed and its background and dynamics revealed. This extraordinary double album reflects a remarkable time and period. As the sixties came to an end, so too did the band.

Against the odds, 90125, released towards the end of 1983, was Yes' best-selling album. Yet it was never intended to be a recording by one of the 1970s rock dinosaurs, but a combination of commercial expediency and luck saw an album by a new band called Cinema - featuring Yes stalwarts Chris Squire, Alan White and Tony Kaye alongside talented multi-instrumentalist Trevor Rabin - become Yes following the last-minute recruitment of vocalist Jon Anderson. A US number one hit single, 'Owner Of A Lonely Heart, ' led to a triple platinum record and a massive world tour, giving this band a new lease of life in the 1980s. Featuring new interviews with several of the main protagonists, including Jon Anderson and Trevor Rabin, this book traces the story of the album from its rudimentary demos in 1981, right up to the end of the world tour in early 1985. 90125 is reviewed in full, and the book also includes a detailed look at the somewhat complex and contrived process that created it, followed by an examination of the album's legacy and remarkable afterlife. The 90125 story is possibly the most astonishing in this legendary group's nearly six-decade history. This is how it happened.

"The J. Geils Band - On Track is a comprehensive overview of every track on Geils' 11 studio albums, with a look at their official live releases and a rundown of the musicians' projects beyond the band" --

Wendy Carlos is one of the most influential electronic musicians of the 20th century, whose ground breaking LP, Switched-On Bach, was pivotal in elevating the Moog synthesizer to iconic status. At the same time, her highly evocative score for Stanley Kubrick's film, A Clockwork Orange, redefined the sound of electronic music for a generation of popular musicians in the US and Europe. Known in particular for her adventurous sonic re-imaginings of the music of classical composers from Bach to Beethoven, it is often forgotten that Carlos was also an accomplished composer in her own right, whose original work on albums such as Sonic Seasonings, Digital Moonscapes and Beauty In The Beast deserves equal recognition for its progressive compositional innovations and sound design techniques. With the aim of addressing this imbalance, this book offers a detailed track-by-track survey of all Carlos's unique album releases from Switched-On Bach to Tales of Heaven And Hell, placing each recording in context in relation to musical influences, technology and thematic concepts, as well as providing many analytical pointers to assist the listener in navigating her classically influenced musical aesthetic. To provide a fully rounded picture the last section of the book considers a number of Carlos's miscellaneous one-off projects and evaluates the remastered editions of her earlier LPs released on the East Side Digital label during the early 2000s.

Ultravox made an indelible mark on the popular music of the 1980s despite never reaching number one at any point: famously, 'Vienna' stalled at number two, while their only other top five single was the zeitgeist-capturing 'Dancing With Tears in My Eyes', reaching number three in May 1984. Between 1981's 'Vienna' and 1984's 'Love's Great Adventure', Ultravox scored 12 Top 30 hit singles (17 reached the Top 40), and seven top ten album releases. Fronted first by John Foxx, then Midge Ure, Ultravox went from being an acclaimed but hitless art rock outfit to a Blitz-era chart-storming quartet. They also proved to be a formidable live band, mixing in-vogue electronic synthesisers with drums and guitar and Billy Currie's trademark classical violin. The band became one of the most successful acts of the era, capped by their 1985 appearance at the Live Aid concert. They also made their mark with arty, distinctive, and influential music videos. Having split following 1986's controversial U-Vox album, the 1980s Ultravox line-up regrouped in 2009, celebrating the 30th anniversary of 'Vienna' with a series of UK, US, and European tours. That led to a new, belated album, 2012's Brilliant. Every album, every song - this is Ultravox.

On Saturday, 13 July 1985, a blazing, cloudless summer day, millions of people settled in front of the television. It was just before noon in London, 7 AM in Philadelphia, and around the world, it was time for Live Aid. For a generation of music fans, 13 July 1985 was a landmark day. It was The Greatest Show On Earth.

Some albums are simply undeniable watersheds in an artist‿s career. Artistic or commercial triumphs (or sometimes both), but most importantly seen by both the fanbase and, to a greater or lesser degree the wider world, as a defining statement in their catalogue. Such was undoubtedly the case when Supertramp released Crime Of The Century in 1974.

Phil Ochs was the ‿The Prince of Protest‿ in the sixties. The only real rival to Bob Dylan, he was the archetypal Greenwich Village topical songwriter. Whether protesting the Vietnam War or campaigning for civil rights, workers‿ rights and social justice, Phil was always there.

Considered by some as the seminal King Crimson album for the band's 'classic period', Red stands as book-ends with the debut In the Court of the Crimson King, an album which guitarist Robert Fripp declared 'defined the progressive rock oeuvre'. Rumours have it that Red was the final album heard by Kurt Cobain prior to his untimely death while inspiring his band Nirvana's In Utero, citing one example of the influence it has had over the past fifty years. Also demonstrating King Crimson's approach to re-invention, Red points the way forward for proto-punk, grunge and math rock while casting a backwards glance to the grand ballad style represented on earlier albums such as In the Court of the Crimson King, In the Wake of Poseidon and Islands. Furthermore, the 1972-1974 Crimson re-wrote the ground rules for progressive rock, daringly transiting from the classical music quotation approach of other bands by applying modernist compositional techniques to such pieces as the driving title track and the mysterious improvisation, 'Providence', while anticipating the direction the band may have taken in songs such as 'Fallen Angel' and 'One More Red Nightmare' had Fripp decided not to jump ship prior to Red's release. 'The Crimson ethos is formed by the composite different feels, not by anyone feeling the same'. (Robert Fripp - Private Journal, 1974)