Risultati Editore "Spotify Audiobooks" in Arte e intrattenimento

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.

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.

It’s October 1977, and the Rolling Stones are in a Paris recording studio. They’re under siege. Keith Richards’s legal troubles after his arrest for heroin possession threaten the band’s future, and the broad consensus among rock aficionados is that the band will never again reach the heights of Exile on Main Street.

Voodoo, D'Angelo's much-anticipated 2000 release, set the standard for the musical cycle ordained as "neo-soul," a label the singer and songwriter would reject more than a decade later. The album is a product of heightened emotions and fused sensibilities; an amalgam of soul, rock, jazz, gospel, hip-hop, and Afrobeats. D'Angelo put to music his own pleasures and insecurities as a man-child in the promised land. It was both a tribute to his musical heroes: Prince, Sly Stone, Marvin Gaye, J Dilla...and a deconstruction of rhythm and blues itself.

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.

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.

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.

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.

This book celebrates Madvillainy as a representation of two genius musical minds melding to form one revered supervillain. A product of circumstance, the album came together soon after MF DOOM's resurgence and Madlib's reluctant return from avant-garde jazz to hip-hop.

Jonathan Lethem treats Fear of Music (the third album by the Talking Heads, and the first produced by Brian Eno) as a masterpiece—edgy, paranoid, funky, addictive, rhythmic, repetitive, spooky, and fun. He scratches obsessively at the album's songs, guitars, rhythms, lyrics, packaging, downtown origins, and legacy, showing how Fear of Music hints at the directions (positive and negative) the band would take in the future.

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.

Alex Niven charts the astonishing rise of Oasis in the mid 1990s and celebrates the life-affirming, communal force of songs such as “Live Forever,” “Supersonic,” and “Cigarettes & Alcohol.” In doing so, he seeks to reposition Oasis in relation to their Britpop peers and explore one of the most controversial pop-cultural narratives of the last thirty years.

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.

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.

A smart, engaging investigation of the show that brought real teens to TV My So-Called Life lasted only 19 episodes from 1994 to 1995, but in that time it earned many devoted viewers, including the showrunners who would usher in the teen TV boom of the late ’90s and the new millennium. With its focus on 15-year-old Angela Chase’s search for her identity, MSCL’s realistic representation of adolescence on TV was groundbreaking; without her there would be no Buffy or Felicity, Rory Gilmore or Veronica Mars.

When it comes to Mariah Carey, star power is never in doubt. She has sold hundreds of millions of albums and cut more chart-topping hits than any other solo artist—ever. And she has that extraordinary five-octave vocal range. But there is more to her legacy than eye-popping numbers. Why Mariah Carey Matters examines the creative evolution and complicated biography of a true diva, making the case that, despite her celebrity, Carey’s musicianship and influence are insufficiently appreciated.