Book "Electronics of Rock and Roll"

The book talks about the Prog Rock FM radio quite a bit, as one of the enablers of Prog Rock in the USA. This is often forgotten now, but not completely (https://en.wikipedia.org/wiki/Progressive_rock_(radio_format)).

The book also talks about Radio Luxemburg and Pirate stations in Europe, without which we might not have had much R&R in the UK and possibly no British Invasion in the 1960s. In their biographies, Keith Richards and Paul McCartney talked about listening to Radio Luxemburg in their formative years.

In Europe, most radio stations were state-owned or state-sponsored (and even state-controlled behind the Iron Curtain) and played virtually no rock and roll (with a possible exception of some Pat Boone covers). 

Without Radio Caroline and a few other pirates, BBC would probably not have launched the BBC 1. I am not 100% sure because it was half a century ago, but to the best of my recollection, I first heard both Jethro Tull and Jimmy Hendrix on John Peel’s show on BBC 1.

The book has two chapters on Prog Rock: one discussing various definitions of Prog Rock, the other how vinyl LP, electronic instruments (Hammond organ, Mellotron, synthesizers, special effects), multi-track tape recorders, Hi-Fi stereo systems, Pirate radio in Europe and Prog Rock FM radio in the USA etc. enabled and shaped many aspects of this genre.

In other sections, the book covers the history of early acoustic recordings, AM radio and "Top 40," amplification and PA systems, loudspeakers, electric guitars, vinyl and magnetic recordings, FM, analog TV, etc.,  showing that there would not have been any rock and roll as we know it without advances in these audio and electronic technologies. 

Newer digital technologies like CD, DSD, samplers, sequencers, surround sound systems, MIDI, audio compression and audio editing software are also covered, although they came too late to influence most of rock and roll and even Prog Rock music in its heydays. They did impact the form and provided new distribution channels for all kinds of popular music that followed.

For each of these technologies, a detailed explanation of the working principles and a technical description is provided on a popular level, with no background in STEM required in order to understand.

A detailed explanation of the imperfections in analog and digital audio recordings is presented, with a special emphasis on vinyl disks. LPs are regaining popularity rapidly with the "vinyl revival." Many aspects of vinyl disk performance seem not to be properly understood these days, mainly because most of the analyses predate WW2, and many results have been largely forgotten by now.

The book is written by an electronic engineer, the author of the first two papers on distortions in vinyl reproduction in the "Journal of Audio Engineering Society" in almost 50 years (https://www.aes.org/e-lib/browse.cfm?elib=22236 and https://www.aes.org/e-lib/browse.cfm?elib=21560), and also an old Prog Rock fan who worked as a journalist in a rock magazine in his youth. Although popularly written, the book provides a rather rigorous presentation of the science of audio engineering and Hi-Fi. This is in contrast to much of the traditional Hi-Fi literature, which is often a source of misconceptions that muddy the layman's view of the whole audio engineering discipline.

Available in paperback and hardcover, with B&W (https://www.amazon.com/Electronics-Rock-Roll-Electrnics-Enabled/dp/B0CR832NVZ) and color interior (https://www.amazon.com/Electronics-Rock-Roll-Enabled-Shaped/dp/B0CPJYFB37). The Read Sample link gives a complete "Table of Contents" and more details about the book and the author.