By the time Roger McGuinn, David Crosby, Chris Hillman, and Michael Clarke entered the studio to begin work on this album, they were basically falling apart at the seams. "Ladyfriend", a song written by Crosby, had just failed miserably as a chart single despite the fact that he lobbied hard to get it released. This - coupled with the fact that he made what the rest of the band considered an embarrassing political speech onstage during their set at the Monterey Pop Festival, and then sat in with rivals the Buffalo Springfield the following day - pushed McGuinn and Hillman in particular to the limits of their patience. Then, for the Notorious sessions, Crosby presented a song called "Triad", written about a threesome, and although McGuinn and Hillman reluctantly agreed to record it, they later decided to place a less controversial Goffin & King pop number called "Goin' Back" on the album instead. Crosby declared the song banal and refused to sing on it. A few too many studio flare-ups later, McGuinn and Hillman finally screeched up into the Hollywood Hills in their Jaguars and fired Crosby on the spot. Also brooding during this period was drummer Michael Clarke, who had always borne the brunt of the other band members' rage while recording. He was by far the least accomplished member of the band musically, and when they suggested bringing in a studio drummer to embellish some tracks (Jim Gordon, later of Derek & the Dominos fame), he finally declared he'd had enough and moved to Hawaii to get away from the music scene altogether. So, McGuinn and Hillman were left to cobble together an album with the help of producer Gary Usher (known for his work with Brian Wilson, the Millenium, Sagittarius and many others). The fact that it turned out to be one of the defining albums of the 60s psychedelic pop experience was either a sheer stroke of luck, or a testament to McGuinn and Hillman's determination to prove that they didn't need Crosby's help to construct their masterpiece.

By the time Roger McGuinn, David Crosby, Chris Hillman, and Michael Clarke entered the studio to begin work on this album, they were basically falling apart at the seams. "Ladyfriend", a song written by Crosby, had just failed miserably as a chart single despite the fact that he lobbied hard to get it released. This - coupled with the fact that he made what the rest of the band considered an embarrassing political speech onstage during their set at the Monterey Pop Festival, and then sat in with rivals the Buffalo Springfield the following day - pushed McGuinn and Hillman in particular to the limits of their patience. Then, for the Notorious sessions, Crosby presented a song called "Triad", written about a threesome, and although McGuinn and Hillman reluctantly agreed to record it, they later decided to place a less controversial Goffin & King pop number called "Goin' Back" on the album instead. Crosby declared the song banal and refused to sing on it. A few too many studio flare-ups later, McGuinn and Hillman finally screeched up into the Hollywood Hills in their Jaguars and fired Crosby on the spot. Also brooding during this period was drummer Michael Clarke, who had always borne the brunt of the other band members' rage while recording. He was by far the least accomplished member of the band musically, and when they suggested bringing in a studio drummer to embellish some tracks (Jim Gordon, later of Derek & the Dominos fame), he finally declared he'd had enough and moved to Hawaii to get away from the music scene altogether. So, McGuinn and Hillman were left to cobble together an album with the help of producer Gary Usher (known for his work with Brian Wilson, the Millenium, Sagittarius and many others). The fact that it turned out to be one of the defining albums of the 60s psychedelic pop experience was either a sheer stroke of luck, or a testament to McGuinn and Hillman's determination to prove that they didn't need Crosby's help to construct their masterpiece.

Now in paperback, this first oral history of the most nihilistic of all pop movements brings the sound of the punk generation chillingly to life with 50 new pages of depraved testimony. "Please Kill Me" reads like a fast-paced novel, but the tragedies it contains are all too human and all too real. photos.

Based on more than one hundred first-person interviews, this thoughtful portrait of the Byrds creative genius Gene Clark reveals how he pioneered new sounds within rock music while serving as one of the main musical visionaries in the seminal 1960s group. Original.

"Chris Hillman is arguably the primary architect of what's come to be known as country rock. After playing the Southern California folk and bluegrass circuit, he joined David Crosby, Roger McGuinn, Gene Clark and Michael Clark as an original member of The Byrds. He went on to partner with Gram Parsons to launch The Flying Burrito Brothers, recording a handful of albums that have become touchstones of rock-influenced country. Hillman then embarked on a prolific recording career in various configurations: as a member of Stephen Stills' Manassas; as a member of Souther-Hillman-Furay with J.D. Souther and Richie Furay of Buffalo Springfield; as a solo artist; and in a trio with his fellow former Byrds Roger McGuinn and Gene Clark. In the 1980s, Hillman launched a successful mainstream country career when he formed The Desert Rose Band with Herb Pedersen and John Jorgenson, scoring eight Top 10 country hits. In the midst of his country success he was inducted into the Rock & Roll Hall of Fame. He has since released a number of solo albums with the most recent, Bidin' My Time, produced by Tom Petty. In Time Between, Hillman takes readers behind the curtain of his quintessentially Southern Californian musical journey."--Provided by publisher.

"The most compelling and complete account of The Byrds ever published, this book draws on hundreds of lost and previously undiscovered sources to create a gripping chronicle of the band's life and times." "So You Want To Be A Rock 'n' Roll Star collates eye-witness accounts, press reports and concert Reviews, set lists, tour dates and gig locations, record releases and reviews, recording studio data and contemporary interviews, and is illustrated with a rare collection of period photographs and print memorabilia. All this is woven into an absorbing day-by-day narrative that tells the story of The Byrds in a way that will surprise and delight even their most dedicated fans."--BOOK JACKET.

On October 15, 1967, bass player Steve Boone took the Ed Sullivan Show stage for the final time, with his band The Lovin' Spoonful. Since forming in a Greenwich Village hotel in early 1965, Boone and his bandmates had released an astounding nine Top 20 singles, the first seven of which hit the Billboard Top 10, including the iconic Boone co-writes "Summer in the City" and "You Didn't Have to Be So Nice." Little did Steve Boone know that the path of his life and career would soon take a turn for the bizarre, one that would eventually find him looking at the world through the bars of a jail cell. From captaining a seaworthy enterprise to smuggle marijuana into the U.S. from Colombia, to a period of addiction, to the successful reformation of the band he'd helped made famous, Hotter Than a Match Head tells the story of Boone's personal journey along with that of one of the most important and enduring groups of the 1960s.

Listen to Psychedelic Rock! contains more than 50 entries covering the people, records, places, and events that shaped one of the most exciting and influential periods in popular music. This addition to the Exploring a Music Genre series concentrates solely on psychedelic rock music. Listen to Psychedelic Rock! Exploring a Musical Genre covers over fifty topics, arranged alphabetically, that are central to learning about psychedelic music and will enable readers to understand the breadth and ongoing influence of psychedelia through to the present day. The title contains biographical sketches on selected artists, "song-by-song" descriptions of many albums, and short, informative essays on participants who were influential in the original psychedelic movement. A background section introduces the genre and a legacy section shows how psychedelic music has cemented its place in the world, while another section shows the tremendous impact the music has had on popular culture. Information on record labels and year-of-release dates for all musical entries make it easy for any reader to navigate this title - a must-have for high school and college readers as well as for music scholars and fans of the genre.

Whether you're a lifelong collector or have only just gotten hip to the vinyl revival, navigating the vast landscape of rock albums can be a daunting prospect. Enter Mike Segretto and his mammoth 33 1/3 Revolutions Per Minute, a history of the rock LP era told through a very personal selection of nearly 700 albums. Beginning with the birth of rock and roll in the 1950s, Segretto moves through the explosive innovations of the 1960s, the classic rock and punk albums of the 1970s, the new wave classics of the 1980s, and the alternative revolution of the 1990s, always with an eye to both the iconic and the ephemeral, the failed experiments and the brilliant trailblazers. It's all here: everything from the classics (Sgt. Pepper's Lonely Hearts Club Band, Purple Rain, Nevermind, and countless other usual suspects) to such oddities as albums by Johnny "Guitar" Watson, P. P. Arnold, The Dentists, and Holly Golightly. Throughout, Segretto reveals the perpetual evolution of a modern art form, tracing the rock album's journey from a vehicle for singles and filler sold to kids, through its maturation into a legitimate, self-contained medium of expression by 1967, and onward to its dominance in the '70s, '80s, and '90s. Whether you read it from cover to cover, seek out specific albums, or just dip in at random and let the needle fall where it may, 33 1/3 Revolutions Per Minute is a fun, informative, and unapologetically opinionated read.