I was only sixteen when I bought an electric guitar and joined a band. A year later, I formed an all-girl band called the Marine Girls and played gigs, and signed to an indie label, and started releasing records. Then, for eighteen years, between 1982 and 2000, I was one half of the group Everything But the Girl. In that time, we released nine albums and sold nine million records. We went on countless tours, had hit singles and flop singles, were reviewed and interviewed to within an inch of our lives. I've been in the charts, out of them, back in. I've seen myself described as an indie darling, a middle-of-the-road nobody and a disco diva. I haven't always fitted in, you see, and that's made me face up to the realities of a pop career - there are thrills and wonders to be experienced, yes, but also moments of doubt, mistakes, violent lifestyle changes from luxury to squalor and back again, sometimes within minutes.

THE SUNDAY TIMES TOP TEN BESTSELLER SHORTLISTED FOR THE PENDERYN MUSIC BOOK PRIZE 'Tender, wise and funny' Sunday Express 'Beautifully observed, deadly funny' Max Porter Before becoming an acclaimed musician and writer, Tracey Thorn was a typical teenager: bored and cynical, despairing of her aspirational parents. Her only comfort came from house parties and the female pop icons who hinted at a new kind of living. Returning to the scene of her childhood, Thorn takes us beyond the bus shelters, the pub car parks and the weekly discos, to the parents who wanted so much for their children and the children who wanted none of it. With great wit and insight, Thorn reconsiders the Green Belt post-war dream so many artists have mocked, and yet so many artists have come from.

'Entertaining, affectionate and righteous' Guardian 'Says so much about being a woman' Cosey Fanni Tutti In 1983, backstage at the Lyceum in London, Tracey Thorn and Lindy Morrison first met. Tracey’s music career was just beginning, while Lindy, drummer for The Go-Betweens, was ten years her senior. They became confidantes, comrades and best friends, a relationship cemented by gossip and feminism, books and gigs and rock ’n’ roll love affairs. Thorn takes stock of thirty-seven years of friendship, teasing out the details of connection and affection between two women who seem to be either complete opposites or mirror images of each other. She asks what people see, who does the looking, and ultimately who writes women out of – and back into – history.

In her bestselling autobiography Bedsit Disco Queen, Tracey Thorn recalled the highs and lows of a thirty-year career in pop music. But with the touring, recording and extraordinary anecdotes, there wasn't time for an in-depth look at what she actually did for all those years: sing. She sang with warmth and emotional honesty, sometimes while battling acute stage-fright. Part memoir, part wide-ranging exploration of the art, mechanics and spellbinding power of singing, NAKED AT THE ALBERT HALL takes in Dusty Springfield, Dennis Potter and George Eliot; Auto-tune, the microphone and stage presence; The Streets and The X Factor. Including interviews with fellow artists such as Alison Moyet, Romy Madley-Croft and Green Gartside of Scritti Politti, and portraits of singers in fiction as well as Tracey's real-life experiences, it offers a unique, witty and sharply observed insider's perspective on the exhilarating joy and occasional heartache of singing.

A New York Times Notable Book of the Year: “Unforgettable . . . Few have told such a compelling life-story as skillfully” (San Francisco Chronicle). In the summer of 1992, on the eve of an American tour, singer/songwriter Ben Watt, one half of the Billboard-topping pop duo Everything But The Girl, was taken to a London hospital complaining of chest pain. As his condition worsened, doctors were baffled. He was eventually he was diagnosed with a rare life-threatening autoimmune disease called Churg-Strauss Syndrome. “To paraphrase Joseph Heller,” Ben says, “you know it’s something serious when they name it after two guys.” By the time he came home, two-and-half-months later, his ravaged body was forty-six pounds lighter, and he was missing most of his small intestine. “Unfold[ing] like a page-turning mystery” (The Los Angeles Times), and “told with great wit and without self-pity, Patient is a sobering look at how life can suddenly be transformed into a humbling vaudeville of tests, IV’s, catheters, and bedpans” (The New York Times Book Review). Injecting a frankness and natural humility into his “funny, frightening, and piercingly vulnerable” (Interview) chronicle of a medical nightmare, Ben writes about his childhood, reflects on family, and his shared life with band member and partner, Tracey Thorn. The result is “a vivid, finely wrought look at having one’s future yanked away, and surviving physically and emotionally” (Dallas Morning Star-Telegram). A Sunday Times Book of the Year A Village Voice Favorite Book of the Year An Esquire (UK) Best Non-Fiction Award Finalist

“In early ’77 I asked Grant if he’d form a band with me. ‘No,’ was his blunt reply.” Grant McLennan didn’t want to be in a band. He couldn’t play an instrument; Charlie Chaplin was his hero du jour. However, when Robert Forster began weaving shades Hemingway, Genet, Chandler and Joyce into his lyrics, Grant was swayed and the 80s indie sensation, The Go-Betweens, was born. These friends would collaborate for three decades, until Grant’s tragic, premature death in 2006. Beautifully written – like lyrics, like prose – Grant & I is a rock memoir akin to no other. Part ‘making of’, part music industry exposé, part buddy-book, this is a delicate and perceptive celebration of creative endeavour. With wit and candour Robert Forster pays tribute to a band who found huge success in the margins, who boldly pursued a creative vision, and whose beating heart was the band’s friendship.

Ben Watt's father, Tommy, was a working-class Glaswegian jazz musician, a politicised left-wing bandleader and a composer. His heyday in the late fifties took him into the glittering heart of London's West End, where he broadcast live with his own orchestra from the Paris Theatre and played nightly with his quintet at the the glamorous Quaglino's. Ben's mother, Romany, the daughter of a Methodist parson, schooled at Cheltenham Ladies' College, was a RADA-trained Shakespearian actress, who had triplets in her first marriage before becoming a leading showbiz columnist in the.sixties and seventies. They were both divorcees from very different backgrounds who came together like colliding trains in 1957. Both a personal journey and a portrait of his parents, Romany and Tom is a vivid story of the post-war years, ambition and stardom, family roots and secrets, life in clubs and in care homes. It is also about who we are, where we come from, and how we love and live with each other for a long time.