By Jason Walker<\/strong><\/span><\/h3>\nTHE EDITED PRESS RELEASE:<\/strong> \u201cGram Parsons<\/strong> sang like an angel and dressed like a country star. Sadly he was neither, at least not in his lifetime. But before his tragically early death he played a key role in bringing together the worlds of rock and country. And he made groundbreaking records whose impact has only grown in the 50-some years since he died at age 26. Born into a wealthy but ill-fated Southern family, Parsons started out playing folk music with The Shilos<\/strong>, whose story is told here in depth for the first time. After founding The International Submarine Band<\/strong> during his brief time at Harvard<\/strong>, Gram headed to L.A, where he turned The Byrds<\/strong> on to country before quitting to form The Flying Burrito Brothers<\/strong>. Later he recorded two magnificent solo albums that helped launch bandmate Emmylou Harris<\/strong> towards fame. Yet none of Gram\u2019s music captured the imagination of the record-buying public, and his dreams of stardom were repeatedly frustrated. He nevertheless lived out the rock \u2018n\u2019 roll lifestyle to the full, and by the time his masterpiece, Grievous Angel<\/em>, was released in September 1973, he had been dead for four months. The rich musical legacy of what Parsons called his \u201ccosmic American music\u201d paved the way for \u201970s country-rock acts such as Eagles<\/strong> and the later alt-country movement exemplified by Wilco<\/strong>. But Parsons\u2019 music and his pioneering role are often not what he is most known for. He has become an almost mythological figure, remembered less for his prodigious musical talents than for his prodigious drug intake, his friendship with The Rolling Stones<\/strong>, his premature death, and, perhaps most titillating of all, for the manner in which his corpse was cremated in the California desert by two drunken friends bent on honoring a promise. An accomplished musician, Jason Walker<\/strong> places the focus on Parsons\u2019 music \u2014 how it developed and what makes it special. He spent seven years interviewing Gram\u2019s friends, colleagues, and collaborators for this biography, first published in 2002 and reissued here in a revised edition. And for this reissue he turned up a source that no previous researcher had found \u2014 Michael Martin<\/strong>, Gram\u2019s sometime \u201cvalet\u201d and a participant in the abduction and cremation of his body. He had quite a story to tell.\u201d<\/p>\n\u00a0<\/p>\n
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Tonight The Music Seems So Loud: The Meaning Of George Michael<\/strong><\/span><\/em>
By Sathnam Sanghera<\/strong><\/span><\/h3>\nTHE EDITED PRESS RELEASE:<\/strong> \u201cThere is no shortage of earnest books about the cultural significance of musicians like David Bowie<\/strong>, Bob Dylan<\/strong>\u00a0and John Lennon<\/strong>. But George Michael<\/strong> does not attract such attention. The music he produced is not generally deemed worthy of serious analysis, the man considered more noteworthy as a celebrity than a cultural figure. Yet such dismissals overlook how Michael\u2019s life and work broke extraordinary boundaries and, in so doing, helped define an era. A second generation immigrant and child of a Greek-Cypriot restaurateur, Michael could barely read music, and was not trained on any instrument, yet would compose hit songs in a single afternoon and play nearly every instrument on recordings that have reached totemic status. He had the rare ability to master both rock and R&B; and was, following Freddie Mercury<\/strong>\u2019s death, seriously considered as a replacement frontman for Queen<\/strong>. For many he became a symbol of \u201980s excess, played benefit gigs for miners and nurses, and was a prolific secret philanthropist. He had massive pop hits sometimes without any promotion at all, even after launching one of the most aggressive court cases against a record company in pop history. He was a teen crush for millions of girls, and stayed in the closet due to intense homophobia from his father and the media, but then became an impassioned campaigner for gay rights. A large part of his audience was suburban, middle-aged, female, and white, yet some of his most famous tunes were essentially R&B pop songs about casual sex in the city. He was wildly popular, at times ridiculed in the press, and f\u00eated by some of the toughest critics, often simultaneously. A deeply personal engagement with the life and music of Michael, Sathnam Sanghera<\/strong>\u2019s groundbreaking Tonight The Music Seems So Loud<\/em> offers a colorful, insightful story on immigration, homophobia, and fame; the glorious eras of the \u201980s and \u201990s; creative and musical genius; the tabloids; addiction; obsessive fans; and why the love for Michael has only grown in the years since his untimely death.\u201d<\/p>\n\u00a0<\/p>\n
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The Beautiful Death Of Ozzy Osbourne: How Metal Teaches Us To Live<\/strong><\/span><\/em>
By Keith Kahn-Harris<\/strong><\/span><\/h3>\nTHE EDITED PRESS RELEASE:<\/strong> \u201cWhat is a \u2018good death\u2019? How about this: After years of terrible health, you gather friends and admirers for one last, glorious party. A couple of weeks later, you slip away, surrounded by your loving family. Then, the world comes to mourn. That is how Birmingham\u2019s favourite son, Ozzy Osbourne<\/strong>, died. By his death in June 2025 \u2014 at an age few believed he\u2019d reach \u2014 Ozzy was much-loved, far beyond the metal world. Once a feared, demonic figure to some (and a joke to others), his Back To The Beginning<\/em> farewell concert raised millions for charity. In concise, arresting chapters, Kahn-Harris explores how Ozzy \u2014 of all people! \u2014 attracted such generosity of spirit. The answer, he finds, is deeply embedded within the story and culture of metal \u2014 and has lessons for us all.\u201d<\/p>\n\u00a0<\/p>\n
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Neil Young: Reflections In Broken Glass (Updated & Revised)<\/strong><\/span><\/em>
By Sylvie Simmons<\/strong><\/span><\/h3>\nTHE EDITED PRESS RELEASE:<\/strong> \u201c In 1966 a young singer-songwriter drives an old battered hearse 2000 miles from Canada to L.A to seek his fortune. Sixty years later he is still making music, the survivor of an astonishing career that has taken in the Buffalo Springfield<\/strong>, Crosby, Stills, Nash and Young<\/strong>, Crazy Horse<\/strong>, numerous collaborations and a staggering number of albums. Written by the legendary rock writer Sylvie Simmons<\/strong>, Neil Young: Reflections In Broken Glass<\/em> was first published in 2001 as part of a series of compact books on the greatest musicians of our time commissioned by MOJO<\/em>, the U.K. music magazine. Based on new interviews Simmons that conducted with Young\u2019s friends, fellow musicians and the man himself, the book is packed with insights into his life and work \u2014 family, health issues and behind-the-scenes relationships, including a brief friendship with Charles Manson<\/strong> \u2014 that still remain relevant all these years on. The new edition comes with four new chapters, containing some fascinating, unfiltered interviews Simmons did with Young.\u201d<\/p>\n\u00a0<\/p>\n
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The Beatles | Live At Candlestick Park<\/strong><\/span><\/em>
By Jim Marshall<\/strong><\/span><\/h3>\nTHE EDITED PRESS RELEASE:<\/strong> \u201cRelive The Beatles<\/strong>\u2019 last live public concert through the eyes of the ultimate rock \u2018n\u2019 roll photographer Jim Marshall<\/strong>. This deluxe volume collects over 150 photos and proof sheets, half of them never before seen. Marshall\u2019s photographs of The Beatles<\/strong>\u2019 1966 concert in San Francisco capture a historic convergence: One of the biggest names in music photography and one of the most beloved bands in history. Specially requested as photographer by The Beatles<\/strong>, Marshall immortalized not only the concert itself, but also intimate moments backstage, such as the musicians meeting the Baez sisters and hanging out in the locker room before the show. This definitive collection presents the photographs at large scale and in the rich high-contrast tones Marshall favored. An in-depth essay by music historian Joel Selvin<\/strong> brings the moment to life. Whether you were there or wish you had been, this is your chance to see The Beatles<\/strong> as you\u2019ve never seen them before.\u201d<\/p>\n\u00a0<\/p>\n
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Over The Influence: A Memoir<\/strong><\/span><\/em>
By Joanna \u201cJoJo\u201d Levesque<\/strong><\/span><\/h3>\nTHE EDITED PRESS RELEASE:<\/strong> \u201cSigned to a major recording deal at just 12 years old, JoJo<\/strong> catapulted to the top of the pop-and-R&B-infused charts in the mid 2000s. The relatability of her youth and the appeal of her cool-girl mystique earned her millions of fans around the world. JoJo<\/strong> was an undeniable superstar and pop culture fixture, spanning roles in major studio films, omnipresence on Top 40 radio, frequenting magazine covers, and appearing on national TV. Then, out of the blue, everything came to a halt and she seemingly stepped out of the spotlight, leaving many fans to wonder: What happened to JoJo<\/strong>? In Over The Influence<\/em>, JoJo<\/strong> holds nothing back as she brings her against-the-odds story of adversity and triumph to center stage. From being raised by parents who were both battling addiction and depression, to emerging victorious in a never-ending lawsuit with her record label, to putting the fragmented pieces of herself together after a maddening period of rebellion and self-betrayal, she takes the reader through the turbulent years that led her to where she is now: Releasing new music under her own imprint, performing in shows and festivals around the world, headlining a Broadway<\/strong> show, and beyond. In this raw, behind-the-scenes look at her life, both personal and professional, JoJo\u2019<\/strong>s unflinching vulnerability allows readers to connect with her on a whole new level through stories of success, heartbreak, redemption, and resilience. More than a victory lap from an artist with over two decades in an ever-changing entertainment industry, Over The Influence<\/em> is an unapologetic rallying cry to anyone who\u2019s ever been terrified to fail and still said, \u201cCount me in.\u201d<\/p>\n\u00a0<\/p>\n
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Jazz: Best Of The Apollo, Village Vanguard, And Riverside Sessions<\/strong><\/span><\/em>
By Steve Schapiro<\/strong><\/span><\/h3>\nTHE EDITED PRESS RELEASE:<\/strong> \u201cOne of the leading social documentary photographers of the 1960s, Steve Schapiro<\/strong>\u2019s images stand among the most important of the 20th century, covering Muhammad Ali<\/strong>, Martin Luther King\u00a0Jr.<\/strong>, James Baldwin<\/strong> and many others. These largely unknown jazz photos \u2014 shot just before his career breakthrough \u2014 showcase his early mastery and his empathy for his subjects, making Jazz: Best Of The Apollo, Village Vanguard, And Riverside Sessions<\/em> an essential archive. In the early \u201960s, when Schapiro arrived on the scene, New York jazz was enjoying a golden age. A young freelance photographer who had grown up in the Bronx and somehow snagged a gig with Riverside Records<\/strong>, he began voraciously documenting shows, players, venues, recording sessions and gatherings both in his native New York and later in Chicago. Whether it\u2019s Sonny Rollins<\/strong> lifting weights backstage, or Bobby Timmons<\/strong> lost in an instant of discovery at the piano, Schapiro was on their wavelength. Written by U.S. jazz journalist Richard Scheinin<\/strong>, this book features dozens of never-before-seen photos of jazz legends like Cannonball Adderley<\/strong>, Melba Liston<\/strong>, Bill Evans<\/strong>, Wayne Shorter<\/strong>, Freddie Hubbard<\/strong>, Sonny Rollins<\/strong>, Count Basie<\/strong> and more.\u201d<\/p>\n\u00a0<\/p>\n
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Lead Belly: A Life In Pictures (Revised)<\/strong><\/span><\/em>
By Steidl<\/strong><\/span><\/h3>\nTHE EDITED PRESS RELEASE:<\/strong> \u201cThis is a new edition of Lead Belly: A Life In Pictures<\/em>, the rich visual biography of legendary Louisiana blues musician Lead Belly<\/strong>, originally published by Steidl<\/strong> in 2007. Here is a treasure trove of rare photographs, news clippings, concert programs, personal correspondence (including letters from Woody Guthrie<\/strong>), record albums, awards and other memorabilia, some of which was discovered in a basement trunk in Brooklyn, safely stored by Lead Belly<\/strong>\u2019s wife, Martha <\/strong>\u2014 \u201cMy wife is half my life; my guitar is the other half,\u201d he once said. Born Huddie William Ledbetter<\/strong>, Lead Belly<\/strong> (1889\u20131949) was an influential Louisiana bluesman who wrote and performed some of the best-loved songs of the 20th century, including The Midnight Special, Rock Island Line<\/em> and his signature Goodnight, Irene<\/em>. Notable for his strong vocals and virtuosity on the 12-string guitar, he could also play the piano, mandolin, harmonica, violin, concertina and accordion. Library Of Congress<\/strong> folk music anthropologist John A. Lomax<\/strong> discovered Lead Belly<\/strong> serving time for assault at the infamous Louisiana State Penitentiary<\/strong> at Angola in 1934. Lomax, traveling through the South in search of American folk songs, immediately recognized Lead Belly<\/strong> as a walking anthology of African American music and arranged for him to come to New York, where he soon created a sensation. His influence on later generations of popular musicians has been significant: Keith Richards<\/strong>, Jimi Hendrix<\/strong>, Jerry Garcia<\/strong>, Kurt Cobain<\/strong>, Van Morrison<\/strong>, Robert Plant<\/strong> and Beck<\/strong> have all paid their respects.\u201d<\/p>\n\u00a0<\/p>\n
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Sonic Architecture: Architecture Album Artwork<\/strong><\/span><\/em>
By Paul Groenendijk<\/strong><\/span><\/h3>\nTHE EDITED PRESS RELEASE:<\/strong> \u201cArchitecture is frozen music,\u201d wrote Johann Wolfgang von Goethe<\/strong>. It should come as no surprise, then, that architecture is a major source of inspiration for musicians: from classical composers to the improvisers of jazz and blues; from new wave bands to rappers singing the praises of their city. The architect-composer Iannis Xenakis<\/strong> collaborated with Le Corbusier<\/strong>, and the founders of both Kraftwerk<\/strong> and Pink Floyd<\/strong> studied architecture. Architecture Record Covers<\/em> brings together the finest, strangest and most unusual covers of this remarkable overlap. With album covers made to visualize the music on the record, cover designers often make use of architectural images, from the New York skyline to the Centre Pompidou<\/strong> in Paris. The result is a striking assembly of diverse musical and architectural genres, from pop to postmodernism.\u201d<\/p>\n <\/p>\n
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\u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n \u2018 Some details of this article were extracted from the following source tinnitist.com \u2019 <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"I just started reading Beefheart: Through The Eyes Of Magic, a 2010 memoir by Captain Beefheart\u2019s longtime Magic Band drummer John \u2018Drumbo\u2019 French. Since it\u2019s nearly 1,500 pages, I suspect I\u2019ll be at it for a while. That\u2019s what I get for being so late to the party. While I\u2019m at it, I might as […]<\/p>\n","protected":false},"author":2,"featured_media":2439033,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"footnotes":""},"categories":[25179],"tags":[21980,307568,386128,478613,354320,478614,431536,431537,431538,33128],"class_list":["post-2439032","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","tag-beatles","tag-featured","tag-george-michael","tag-gram-parsons","tag-jojo","tag-lead-belly","tag-music-books","tag-new-books","tag-next-week-in-music","tag-ozzy-osbourne"],"jetpack_featured_media_url":"https:\/\/celebrity.land\/en\/wp-content\/uploads\/2026\/05\/Next-Week-in-Music-June-1-7-\u2022-9-New.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2439032","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/comments?post=2439032"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2439032\/revisions"}],"predecessor-version":[{"id":2439034,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2439032\/revisions\/2439034"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2439033"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2439032"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2439032"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2439032"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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God\u2019s Own Singer: A Life Of Gram Parsons (Updated & Revised)<\/strong><\/span><\/em>