― WillSommer, Thursday, 17 March 2005 04:18 (thirteen years ago) Permalink
― little ivan, Thursday, 17 March 2005 04:23 (thirteen years ago) Permalink
― The Brainwasher (Twilight), Thursday, 17 March 2005 04:23 (thirteen years ago) Permalink
― The Brainwasher (Twilight), Thursday, 17 March 2005 04:24 (thirteen years ago) Permalink
Please kill me.
Oh well. Read it anyway. It's amazing. And Our Band Could Be Your Life. If you're interested in criticism, check out Psychotic Reactions and Carbeurator Dung or anything by Lester Bangs or one or two Greil Marcus books (The Basement Tapes). I'd stay away from Camden Joy, contrary to popular opinion.
I need something that doesn't take too long to get into
But you're going to college, man! Just buy Adorno's Essays on Music and accept that the next 4+ years of your life are going to be like that mwahahaha...
― poortheatre (poortheatre), Thursday, 17 March 2005 04:26 (thirteen years ago) Permalink
― Joseph McCombs (Joseph McCombs), Thursday, 17 March 2005 04:43 (thirteen years ago) Permalink
I also enjoyed Last Night a DJ Saved My Life and there's the ever-classic Generation Ecstasy.
― deej., Thursday, 17 March 2005 04:49 (thirteen years ago) Permalink
― philip sherburne (philip sherburne), Thursday, 17 March 2005 04:51 (thirteen years ago) Permalink
― Elisa (Elisa), Thursday, 17 March 2005 05:09 (thirteen years ago) Permalink
― Mark (MarkR), Thursday, 17 March 2005 05:15 (thirteen years ago) Permalink
― don, Thursday, 17 March 2005 05:17 (thirteen years ago) Permalink
― don, Thursday, 17 March 2005 05:41 (thirteen years ago) Permalink
― deej., Thursday, 17 March 2005 05:45 (thirteen years ago) Permalink
I had never heard of Tate until I saw him speak not long ago. He is a BAD. ASS. Does he still write for The Voice? I feel like I never see him in there. Does he have a blog?
― poortheatre (poortheatre), Thursday, 17 March 2005 05:56 (thirteen years ago) Permalink
I'm mostly interested in reading a book of his since his prose is fairly magnificent.
― deej., Thursday, 17 March 2005 06:23 (thirteen years ago) Permalink
― J.D. (Justyn Dillingham), Thursday, 17 March 2005 07:05 (thirteen years ago) Permalink
― wtin, Thursday, 17 March 2005 10:56 (thirteen years ago) Permalink
― bg, Thursday, 17 March 2005 11:25 (thirteen years ago) Permalink
If you want a cracking funny read on hip-hop, though, pick up The Rough Guide to Hip-Hop by Peter Shapiro, which has just been updated and enlarged (it was a pocket-size the first time, now it's 8 x 10). Best line goes to the Bad Boy Records writeup, when he notes that Puff Daddy, having been responsible for 40% of all 1997's number ones, moved to the Hamptons "so he could live by the sea, just like his magic dragon namesake."
― Matos-Webster Dictionary (M Matos), Thursday, 17 March 2005 11:41 (thirteen years ago) Permalink
― Matos-Webster Dictionary (M Matos), Thursday, 17 March 2005 11:42 (thirteen years ago) Permalink
― John Fredland (jfredland), Thursday, 17 March 2005 11:44 (thirteen years ago) Permalink
Same here! (Of course there's also the Led Zep bio.)
― nathalie barefoot in the head (stevie nixed), Thursday, 17 March 2005 11:46 (thirteen years ago) Permalink
― bg, Thursday, 17 March 2005 11:54 (thirteen years ago) Permalink
― mark s (mark s), Thursday, 17 March 2005 12:26 (thirteen years ago) Permalink
Next week on "The O.C.": Seth and Ryan get into a fatal disagreement over "James Taylor: Marked For Death," while Summer meets a new hottie who shares her disgust of Nick Hornby.
― Keith C (kcraw916), Thursday, 17 March 2005 14:06 (thirteen years ago) Permalink
― don, Thursday, 17 March 2005 22:09 (thirteen years ago) Permalink
Dino by Nick Tosches (about Dean Martin; as deep as Catch a Fire by Timothy White, as entertaining as that Motley Crue book)
Backbeat: Earl Palmer's Story, by Tony Scherman (oral history/autobiography of the New Orleans drummer; had me at "Louis Armstrong was a pimp"...)
We Got the Neutron Bomb: The Untold Story of L.A. Punk by Marc Spitz and Brendan Mullen (better than Please Kill Me, kind of like L.A. punk itself)
― Pete Scholtes, Thursday, 17 March 2005 22:30 (thirteen years ago) Permalink
I was torturing this guy in the garage of my mom's house in this nice suburban neighborhood with my whole family inside eating Easter dinner... and I'd got this guy tied up in the rafter with a rope around his legs and I'm beating him with a two-by-four. I said, "Hang on a minute," and put the two-by-four down and walked into the house and kissed my aunt and said like, "Oh hi, how you doing?" I grabbed a deviled egg, told them I'd be back in a minute, and I went back out, grabbed the two-by-four, and kept workin' on the guy. I finally had to get out of Vicious Circle 'cause of the violence. There were constant stabbings and beatings and people cruising by my house at night, shooting up the neighborhood....
I did something pretty bad to somebody and they retaliated with guns. It was a big deal, I had to split to Alaska for a while, they cut the lines on my car, blew up my car... fuck...I don't wanna say who they were, but they weren't punks... boy, they were pissed off.
― Pete Scholtes, Thursday, 17 March 2005 22:34 (thirteen years ago) Permalink
i went on holiday with the Deborah Curtis book and the Nick Drake biography once. happy times, let me tell you.
― Lee F# (fsharp), Thursday, 17 March 2005 22:53 (thirteen years ago) Permalink
if you ever find dave rimmer's "once upon a time in the east", abt berlin east and west b4 the fall of the wall, i utterly UTTERLY recommend it: tho it's only somewhat abt music - unlike his earlier (and also good) "like punk never happened"
― mark s (mark s), Thursday, 17 March 2005 22:53 (thirteen years ago) Permalink
― Richard C (avoid80), Thursday, 17 March 2005 23:00 (thirteen years ago) Permalink
Joe Carducci's Rock and the Pop Narcotic is being reissued sometime this year.
― pdf (Phil Freeman), Thursday, 17 March 2005 23:02 (thirteen years ago) Permalink
― J.D. (Justyn Dillingham), Thursday, 17 March 2005 23:19 (thirteen years ago) Permalink
― don, Friday, 18 March 2005 00:01 (thirteen years ago) Permalink
― Quit glaring at Ian Riese-Moraine! He's mentally fraught! (Eastern Mantra), Friday, 18 March 2005 00:23 (thirteen years ago) Permalink
― JoB (JoB), Friday, 18 March 2005 01:32 (thirteen years ago) Permalink
― Josh in Chicago (Josh in Chicago), Friday, 18 March 2005 01:54 (thirteen years ago) Permalink
― don, Friday, 18 March 2005 06:37 (thirteen years ago) Permalink
― Ashandeej, Friday, 18 March 2005 06:41 (thirteen years ago) Permalink
Electronic and Experimental Music by Thom Holmesalso; Wireless Imagination (d kahn / g whitehead)Paul Griffiths - A Concise History of Avant-Garde MusicPaul Griffiths - Modern Music And BeyondCurtis RoadsWilliam Duckworth : Talking MusicCage: Silence / A Year From MondayCage / Feldman: ConversationsJames Tenney : Meta / HodosKarlheinz Stockhausen - Stockhausen on Music (Compiled by R Maconie)Sound By Artists (ed. Dan Lander)Chris Cutler - File Under PopularAttali - NoiseRussolo - The Art of Noises (get a hold of a copy any way you can)Trevor Wishart - On Sonic ArtDouglas Kahn - Noise Water Meat
― milton parker (Jon L), Friday, 18 March 2005 07:13 (thirteen years ago) Permalink
i think the attali book is lousy at book length—it's a good short polemic idea bulked out to a contradictory nonsense schema—and wireless imagination is patchy (which is a pity, cz it's a great idea for an essay collection)
― mark s (mark s), Friday, 18 March 2005 09:11 (thirteen years ago) Permalink
― Julio Desouza (jdesouza), Friday, 18 March 2005 09:55 (thirteen years ago) Permalink
― Matos-Webster Dictionary (M Matos), Friday, 18 March 2005 10:27 (thirteen years ago) Permalink
The Elvis Guralnick books - again, you don't have to care about the subject matter to enjoy them (personally, I was so-so on Elvis before readin' 'em, am now an unabashed fan), and the second one is one hell of a car wreck: the descent starts like twenty pages into it, and by the end of the book you can't even feel sorry for the guy anymore, you just wonder why he hasn't kicked the bucket already.
"Where Did Our Love Go?" by Nelson George has some nice anecdotes, and is probably the best book on Motown around, tho to be frank I didn't learn all that much from it.
"The Heart Of Rock & Soul" seconded, and throw in the "New Book Of Rock Lists" too, if only for the sheer joy of reading the sentence "Tragedy The Intelligent Hoodlum Lists..." over and over again (not that book of rock jokes, tho, that was awful.) And also "Fortunate Son: The Best Of Dave Marsh", great stuff on Elvis, Muddy Waters, latino rock, etc.
I remember reading Maryiln Manson's "The Long Hard Road Out Of Hell" in my early teens and being surprised by how good it was (I'd always loathed the guy's music.) Dunno if it holds up.
"Sweet Soul Music", hell yeah.
I've read the entirety of Christgau's consumer guide online, and there's some great, great stuff there. So the books are recommended, too.
― Daniel_Rf (Daniel_Rf), Friday, 18 March 2005 11:12 (thirteen years ago) Permalink
― shookout (shookout), Friday, 18 March 2005 11:14 (thirteen years ago) Permalink
yay I've been wanting to read that one for a while!
adding to my prev post here leroi jones 'blues people' which I just finished this morning: most gd bks on music accept that they aren't just abt notes and chords.
― Julio Desouza (jdesouza), Friday, 18 March 2005 12:53 (thirteen years ago) Permalink
You mean it's not long enough? I loved the book. Should re-read it...
I also loved the Lexicon Devil (bio on Darby Crash) though it's certainly not essential...
― nathalie barefoot in the head (stevie nixed), Friday, 18 March 2005 12:54 (thirteen years ago) Permalink
― Jason Toon, Friday, 18 March 2005 16:41 (thirteen years ago) Permalink
the ONLY thing wrong with JMC's line is that he somewhat slightly seems to accept the assumption that the social dimension—the "dance"—isn’t also always part of all music in the West (though he does this in the context of getting ppl to see/hear/look for the fuller sense of the meaning of music): taking his insights abt Africa (Ghana, to be more accurate) and applying them everywhere else is revelatory
Most of it is a charming telling of him learning African drumming in Ghana
― mark s (mark s), Friday, 18 March 2005 18:23 (thirteen years ago) Permalink
And I hope someone someday undertakes a lengthy Sabbath bio.
― 57 7th (calstars), Friday, 18 March 2005 19:01 (thirteen years ago) Permalink
xp there were some good articles online about the recording of Blonde on Blonde too, I guess it's true that Rainy Day Women was the most difficult song to record and they did +20 takes?
― niels, Friday, 9 November 2018 10:10 (three months ago) Permalink
No, Rainy Day Women was quick - master take was cut so fast that Robbie Robertson went down to the lobby to get cigarettes and by the time he came back they were done. The one they spent the most time on was Leopard Skin Pillbox Hat, at least 20 takes and attempted at three separate sessions.
― flappy bird, Friday, 9 November 2018 16:26 (three months ago) Permalink
thanks for clarifying that! still a relatively straightforward blues, interesting that would be the difficult one
― niels, Friday, 9 November 2018 17:46 (three months ago) Permalink
there are a bunch of weird leopard skin takes in nashville where they try to do a goofy traffic noise breakdown and add phone sounds ... bizarre to imagine it being released — it could've been a left-field novelty hit that made everyone hate Bob Dylan.
― tylerw, Friday, 9 November 2018 17:56 (three months ago) Permalink
yeah haha they spent so much time on the novelty version... it was first attempted at the New York sessions, then in the middle of the Nashville sessions (honk version), and then eventually redone on the last day. Nashville players to Robbie Robertson after they cut the master: "The whole world'll love you for that one, Robbie."
― flappy bird, Friday, 9 November 2018 18:33 (three months ago) Permalink
i haven't read the sanders book but i understand he says that robertson *didn't* play lead on the blonde on blonde version of "visions of johanna"? I've always thought it was him — and held that performance up as one of Robbie's greatest moments! haha oh well.
― tylerw, Friday, 9 November 2018 18:36 (three months ago) Permalink
yeah! Robertson is not on Visions of Johanna - it was a Nashville player that came in and only played on that one song. I don't have the book on me and everywhere I look online incorrectly states that Robertson plays lead. I'll take a look when I get home... but listening to the lead on VOJ vs. Robertson's playing on Leopard Skin Pillbox Hat and Pledging My Time, they're not the same at all. Robertson is much dirtier.
― flappy bird, Friday, 9 November 2018 19:59 (three months ago) Permalink
"Led Zeppelin All The Songs The Story Behind Every Track". Just WOW. Amidst the usual band history stuff and occasional dopey sidebars there is a feast of nerdy studio facts ( instruments and effects, mixing boards, studio engineer and Page anecdotes on mic placements et al) and great photos. I love this shit. Probably my favorite Zep book after "Trampled Underfoot".
― An Uphill Battle For Legumes (Capitaine Jay Vee), Wednesday, 21 November 2018 22:14 (two months ago) Permalink
What about When Giants Walked the Earth by Mick Wall? Haven't read it myself, but it's supposed to be the definitive Zep bio.
― the word dog doesn't bark (anagram), Wednesday, 21 November 2018 22:36 (two months ago) Permalink
Haven't read that one, either.
― An Uphill Battle For Legumes (Capitaine Jay Vee), Wednesday, 21 November 2018 22:56 (two months ago) Permalink
Has anyone read David Weigel's The Show That Never Ends: The Rise and Fall of Prog Rock? Wondering about asking for it for Christmas.
― the word dog doesn't bark (anagram), Tuesday, 27 November 2018 08:12 (two months ago) Permalink
Yeah, it’s good.
― grawlix (unperson), Tuesday, 27 November 2018 10:10 (two months ago) Permalink
if crimson's your favorite prog band you should totally ask for it. fripp comes off as the central figure in the whole scene
― reggie (qualmsley), Tuesday, 27 November 2018 13:13 (two months ago) Permalink
TBF, he also comes off as a gaping asshole, though.
― grawlix (unperson), Tuesday, 27 November 2018 13:22 (two months ago) Permalink
― An Uphill Battle For Legumes (Capitaine Jay Vee), Wednesday, November 21, 2018 4:14 PM (six days ago) Bookmark Flag Post Permalink
I flipped through this at a bookstore the other day and it looked awesome, but didn't have a good chance to really look at though as my daughter has no interest in reading up on Zep with me ("yeah hold on sweetie Dada is reading about how many takes of "Stairway" they did"), but if it is in league with the Hoskyns book that is high praise indeed.
― chr1sb3singer, Tuesday, 27 November 2018 18:25 (two months ago) Permalink
There's a few books like that about. The Grateful Dead one isn't bad. That is song by song, album by album.
― Stevolende, Wednesday, 28 November 2018 00:30 (two months ago) Permalink
I enjoyed Jeff Tweedy's memoir though it's more about him than music.
― in twelve parts (lamonti), Friday, 8 February 2019 16:45 (one week ago) Permalink
xp — that must be one long Dead book!!
― yuh yuh (morrisp), Friday, 8 February 2019 16:47 (one week ago) Permalink
Speaking of Robertson, I still haven't read his autobio, but a couple of friends tell me that it's well-described by this appealing WSJ review:
By WESLEY STACEUpdated Nov. 11, 2016 6:08 p.m. ETRobbie Robertson, the lead guitarist and main songwriter of the Band, is in the unenviable position of never having been much of a singer. (He posits asthma as a factor.) Luckily, the Band was blessed with three of the greatest vocalists of the rock era (Rick Danko, Richard Manuel and Levon Helm), who were able to give his beautiful melodies and lyrics their fullest possible emotional expression. In “Testimony,” however, the “voice” is not in question. Robust, wry, gritty and wise to the vicissitudes of a career in rock ’n’ roll, it is just what the reader wants, marred only occasionally by stiff dialogue.TESTIMONYBy Robbie RobertsonOpening with a train ride, Mr. Robertson captures the rhythm of rock’s mystery train, even its final lurch into the terminal. In this memoir named for a song from his solo debut, Mr. Robertson bears witness to his life in music, from his precocious success in Ronnie Hawkins’s “raging rockabilly” Hawks to that band’s historic involvement in Bob Dylan’s mid-1960s “explosive electric sacrilege”; the subsequent retreat to Woodstock, N.Y., for the “loose as a goose” sessions with Mr. Dylan that became known as “The Basement Tapes” to the group’s rebranding as the Band, whose career climaxed, as this book wisely does, with “The Last Waltz,” a 1976 concert in San Francisco that was filmed by Martin Waltz,” a 1976 concert in San Francisco that was filmed by Martin Scorsese.“Testimony” comes 23 years after drummer Levon Helm’s memoir “This Wheel’s on Fire,” notable partly for its extremely negative portrayal of Mr. Robertson. Of that book, Mr. Dylan enthused: “You’ve got to read this!” The blurbs here are by Mr. Scorsese and David Geffen, neatly delineating the great divide in the Band. But after the deaths of Manuel (suicide, 1986), Danko (heart failure, 1999) and Helm (throat cancer, 2012)—which triumvirate he often pits himself against in his memoir—Robertson is one of the two men left standing (along with keyboardist Garth Hudson). His may be the last word.Helm took to the grave. Resentments had long simmered: The film “The Last Waltz” seemed contrived to put Mr. Robertson center-stage, as the genius Mr. Scorsese clearly believed him to be, yet he was the only member of the Band who actually wanted that Waltz to be the Last. His Band-mates were happy to play on, and this was by no means the final Band concert, though it was the last to feature Mr. Robertson. If you saw a later incarnation of the group, you heard precisely what you would have wanted to hear: the singers singing their beloved songbook accompanied by a great rhythm section. If anything, one later felt the lack of Manuel more than of Mr. Robertson.Half-Jewish, half-Mohawk, Jaime Royal Robertson was brought up on the streets of Toronto and on the Six Nations Indian Reserve, where he was “introduced to serious storytelling. . . . The oral history, the legends, the fables, and the great holy mystery of life.” The reader might suppress a groan, but add to the mix a steel-trap memory and a muddled childhood—featuring two fathers, numerous gangsters, alcoholism and some diamond smuggling—and you have the makings of a Dickensian bildungsroman.“Testimony” next becomes a bible of road lore, a lurid coming-of-age story that veers wildly between the sweet and the brutal and a how-not-to guide to running a band. The Hawks, formed at the whim of Arkansawyer Ronnie Hawkins, who enjoyed regular residencies in Toronto, take off on the road, and the craziness of these early days is presented in brilliant Technicolor, with Helm cast as blood brother and Hawkins as amoral Virgil. A 16-year-old Mr. Robertson, too young to frequent any of the joints he’s playing, descends into an underworld of torched nightclubs (the arsonists thoughtfully remove Leon Russell’s band’s equipment before they light the match), bitten-off nipples (word to the wise: Don’t “taste her milkshake” while traversing bumpy terrain in the back seat of a car) and a vast choice of artificial stimulation.As for Mr. Dylan, a key attraction, the book offers a refreshing account all the better for starting no earlier than the recording of “Like a Rolling Stone,” to which Mr. Robertson was escorted by producer John Hammond Jr. in 1965. Here is by far the fullest first-person account of the early electric tours of Mr. Dylan, not to mention an astonishing tale of a “passed out sitting up” Mr. Dylan, “deliriously exhausted” after the final date of the emotionally and physically exhausting 1966 tour, whom Robbie and Mr. Dylan’s manager, Albert Grossman, try to revive him in a bathtub (returning once to find him submerged) while four Beatles await an audience in the adjacent hotel room. The account of Mr. Dylan’s 1966 motorcycle accident is refreshingly lucid, as is that of the subsequent making of “The Basement Tapes,” as the Band improvises around Bob’s “vibing vocables.”The Nobel Prize winner himself will probably not opine on Mr. Robertson’s livelier claims, among which is that he clothed Mr. Dylan (the classic ’66 houndstooth tweed: “Bob didn’t seem like much of a suit guy, but Lou [the designer] was on top of his game”); suggested the iconoclastic cover design of “Blonde on Blonde”; gave Mr. Dylan’s song “Obviously Five Believers” its title, adding that witty adverb—both positively (4th Street) and absolutely (Sweet Marie) something Mr. Dylan might have come up with himself; finished the editing of Mr. Dylan’s film “Eat the Document”; taught the neophyte rocker how to stretch guitar strings to keep them in tune; and saved Mr. Dylan from his musical self (by refusing to clutter the sparse perfection of “John Wesley Harding” with the requested overdubs). And of course he is responsible for creating the circumstances, and ambience, that brought the “The Basement Tapes” into existence. I am not suggesting that these claims aren’t true, merely that the abundance of them becomes slightly comical.Occasionally one has the impression that Mr. Robertson is tiptoeing around awkward issues, always to the detriment of the book: Helm’s 1993 account of the various delegations sent in to get Mr. Dylan onstage at “The Last Waltz” is agonizing (the singer didn’t like it assumed that he had given his consent to being filmed, fearing a conflict with a forthcoming movie of his own, “Renaldo and Clara,” shot the previous year). But Mr. Robertson barely scratches the surface, preferring to deal with the technical problems involved in creating the movie.Mr. Robertson’s writing about music, either from inside looking out or simply from the point of view of an audience member at a Bo Diddley or Velvet Underground concert, can be beautiful, as when, in the closing pages, he pays full tribute to each Band member and their role within the overall sound, repeating, as if in litany, “God only made one of those.” Here “Testimony” becomes a testimonial, and the effect is redemptive. Generosity suits him, and whatever the truth, “Testimony” is a graceful epitaph.
― dow, Friday, 8 February 2019 17:19 (one week ago) Permalink
the rest is noise is fuckin' phenomenal btw
― jolene club remix (BradNelson), Friday, 8 February 2019 17:19 (one week ago) Permalink
Amen to that!xpost Sorry for the typos, which are from my hasty paste, although the reviewer and/or his copy editor are responsible for conflation of John Hammond Sr., who signed nerdy little against-the-grain Bobby D. (AKA "Hammond's Folly") to prestigious Columbia, with blues-singin' Jr.(some of the Hawks, inc. Robertson, played on some of his tracks).
― dow, Friday, 8 February 2019 17:31 (one week ago) Permalink
Wondering about this---anybody read it?
Revolution in the Air: The Songs of Bob Dylan, Vol. 1: 1957 - 73Clinton Heylin
A leading expert on the life and work of Nobel laureate Bob Dylan—most notably the author of the often-updated Dylan biography Behind the Shades—British music writer Clinton Heylin here begins his two-volume analysis of Dylan's songs. We learn that the middle verse of "Blowin' in the Wind" was written much later than the first and third verses, "The Lonesome Death of Hattie Carroll" was based on a complete distortion of the facts of the case, and "Fourth Time Around" was a direct response to John Lennon's "Norwegian Wood."
"Prolific Dylanologist Heylin makes his arguably greatest contribution with a painstakingly researched consideration of every song Dylan is known to have written. Drawing from manuscripts, studio logs, concert recordings, and other sources, Heylin traces Dylan's career by listing the songs in order of writing rather than public presentation. This first of two volumes collects everything from juvenilia predating his 1961 arrival in New York to his 1974 comeback album, Planet Waves. Even songs that were never recorded or performed are noted, but the major ones receive multipage write-ups that are, in essence, insightful, revelatory mini-essays. Documenting the mercurial performer's transitions from Guthrie-influenced folkie to raging rocker to laid-back country singer, Heylin, who appears to have heard virtually all of the concerts Dylan has performed during the past 20 years of what has come to be known as the 'Neverending Tour,' reveals how vintage songs take on new meanings as they're recast by their author on stage decades later."—Booklist
― dow, Friday, 8 February 2019 17:47 (one week ago) Permalink
Alex Ross's The Rest Is Noise? That one IS very good. Haven't read Listen to This yet. For a somewhat more academic look at modern compositional music, Joseph Auner's Music in the Twentieth and Twenty-First Centuries is excellent imo. I used it as a textbook.
― silent as a seashell Julia (Sund4r), Friday, 8 February 2019 17:57 (one week ago) Permalink
yes! i've been moving through it very slowly bc i often want to stop and familiarize myself with some of the more major pieces he talks about, but the quality and depth of the writing never flags and it's a million pages long, what an achievement
― jolene club remix (BradNelson), Friday, 8 February 2019 18:00 (one week ago) Permalink
Recently bought a couple of others, Music After the Fall: Modern Composition and Culture Since 1989 by Tim Rutherford-Johnson and Musical Modernism at the Turn of the Twenty-First Century by David Metzer, but haven't done much more than leafing yet*. I have Listen to This and erm think I've read it, but don't get much recollection -- was that more of a loose essay collection than The Rest Is Noise or something?
*) oh and The Spectral Piano: From Liszt, Scriabin, and Debussy to the Digital Age by Marilyn Nonken, but there I'll really have to do some active immersion work to get anywhere I guess; I find the premise fascinating but am not an extremely big fan of piano music per se (which in this case may possibly not be a bad thing).
― anatol_merklich, Friday, 8 February 2019 18:05 (one week ago) Permalink
bitten-off nipples (word to the wise: Don’t “taste her milkshake” while traversing bumpy terrain in the back seat of a car)
why include this
― budo jeru, Friday, 8 February 2019 18:24 (one week ago) Permalink
lamonti, thanks for the reminder on the Tweedy memoir, been meaning to read it. how much is Jim O'Rourke in it?
― flappy bird, Friday, 8 February 2019 18:54 (one week ago) Permalink
The book on bad taste/celine dion by wilson was written for me. Resonates so deeply.
― nathom, Friday, 8 February 2019 20:22 (one week ago) Permalink
Attali's Noise was amazing as well. Read that over a decade ago.
― nathom, Friday, 8 February 2019 20:24 (one week ago) Permalink
tweedy's book was entertaining — he pretty much covers everything a fan would be interested in. a fair amount of o'rourke!
― tylerw, Friday, 8 February 2019 20:36 (one week ago) Permalink
I have that book on the spectral piano, have not read it yet. Title was designed to grab me though, I eat an drink solo piano stuff.
― valet doberman (Jon not Jon), Saturday, 9 February 2019 22:45 (one week ago) Permalink
haven't read it but this sounds interesting: https://global.oup.com/academic/product/making-music-american-9780190872311?cc=us&lang=en&
― tylerw, Saturday, 9 February 2019 23:18 (one week ago) Permalink
Page not found
― Only a Factory URL (James Redd and the Blecchs), Sunday, 10 February 2019 00:02 (one week ago) Permalink
That sounds really interesting. Just requested a review copy.
― grawlix (unperson), Sunday, 10 February 2019 00:10 (one week ago) Permalink
Okay, now I see
― Only a Factory URL (James Redd and the Blecchs), Sunday, 10 February 2019 00:15 (one week ago) Permalink
That looks awesome
― valet doberman (Jon not Jon), Sunday, 10 February 2019 14:18 (one week ago) Permalink
Oh yeah, I need to find some recordings of James Europe's orchestra (for instance!)Here's one I read last year:Edd Hurt aside, I mostly occasionally skim country music writing for info these days---but did fairly recently read Southwest Shuffle: Pioneers of Honky-Tonk, Western Swing, and Country Jazz (handsome trade pb w good pix, Routledge, 2003), by Rick Kienzle, who also contributed to the useful Country Music Magazine (RIP). Apparently 0 copy editing in early chapters, but then it's smooth or smoother sailing. He doesn't just enthuse, he describes what made and still makes the heyday of Western Swing so musically gratifying, and isn't shy about detailing how and when and sometimes why (increasingly desperate attempts to biz-adapt) the recorded offerings of his protagonists, incl. heroes, turned to shit. It's kind of Four Lives In The Be-Bop Business in reverse, with questing young musos from hither and yon peaking early in California, then scuffling, going back to the boonies and/or hitting a wall re The Nashville Sound and Countrypolitan.Although there are exceptions! To any predictable arc, anyway--for instance, one of these guys got to play on Frank Sinatra & The Red Norvo Quintet: Live In Australia, 1959, which deftly demonstrates how to perform depresso classics when you're happy and you know it, without lapsing into cheesy Rat Pack mannerisms. On another curveball, Ray Price went to honky tonk with a strong beat, drawing the livelier geezers and some youngsters, without actually playing that rock&roll stuff---then he decided he *did* want to do the genteel Nashville thing, not only on record but replicated live, challenging his carefully established audiences and hardened swing-to-tonk road dawg band---never mind we don't have no orkystraw or choir, just do it. And you out there, you better like it.And the saga of impressionable former teen swing fan Willie Nelson, whose vocal timing (also some of his lyrics) broke the tried & true Hit Factory assembly line, as far as the suits and producer Chet Atkins was concerned--well, you've heard about that, but maybe not in such telling detail (come to think of it, maybe he was influenced by the tenacity of Price, an early employer).Very handy discography of reissues too.
― dow, Sunday, 10 February 2019 18:56 (one week ago) Permalink
*were* concerned dang it
― dow, Sunday, 10 February 2019 18:58 (one week ago) Permalink
To any predictable arc, anyway--for instance, one of these guys got to play on Frank Sinatra & The Red Norvo Quintet: Live In Australia, 1959
― Only a Factory URL (James Redd and the Blecchs), Monday, 11 February 2019 15:55 (one week ago) Permalink
haven't read it but this sounds interesting: https://global.oup.com/academic/product/making-music-american-9780190872311?cc=us&lang=en&― tylerw, Saturday, 9 February 2019 23:18 (two days ago) Bookmark Flag Post Permalink
― tylerw, Saturday, 9 February 2019 23:18 (two days ago) Bookmark Flag Post Permalink
Thanks for the heads-up, this is of interest.
― mfktz (Camaraderie at Arms Length), Monday, 11 February 2019 16:25 (one week ago) Permalink
Don, Jazz GUITAR poll
― Only a Factory URL (James Redd and the Blecchs), Monday, 11 February 2019 16:38 (one week ago) Permalink
Wow, great post on a great thread that I'd never seen---thanks, James! Please do write more about him whenever so inclined. I'll prob comment there on Dennis Coffey when Live At Baker's comes out March 1.Despite the sharp profiles of ornery individualists, My favorite parts of Michael Streissguth's Outlaw: Waylon, Willie, Kris, and the Renegades of Nashville are the aerial views, especially the intriguing 60s mix of Vanderbilt's periphery dwellers with increasingly restive Music Rowers, especially after Mr. D. kicks off his Nashville visits with Blonde On Blonde. The saga of Exit Inn, a musical convergence point for various mainstream and counter-cultural and other factions (somewhut like Austin's Armadillo World Headquarters) is illuminating---I've got tapes from there, incl. one-night-stands of knowns and unknowns, but here we also get bands I'd never heard of, appealingly described as they live out most if not all of their lifespans together at this joint.He briefly mentions star studio rats/Nashville Cats-as-Outcats who got to make their own albums, mainly Barefoot Jerry and the sometimes audacious Area Code 615. But I want a lot more of this, like we get re Memphis, in furious.com's Insect Trust archives and Robert Gordon's books.Anyway, he makes good use of Kristofferson as tracking device through this era, and further inspiration to it, as Willie already is, going from suits-persecuted studio hopeful to the Entity sometimes descending from his Bus in a cloud of green smoke and adoring songwriters.Kristofferson comes off as the L. Cohen of Nashville, with an even/much more limited voice, as he knew, and colors himself astonished, if not appalled, when Fred Foster insists on signing him to a performing contact and a writing contract. Foster evidently knew that instant cornball classic "Help Me Make It Through the Night" was an anomaly, and that the growly epics Foster favored were unlikely to be covered (this was before K came up with "Sunday Morning Coming Down," I think and def. before "Me and Bobbie McGee," which would be inspired by La Strada and the name of one of Foster's other employees, it says here.)We also get the influence of fuckin'-finally affordable and widely available cocaine (esp. after the War on Drugs made it more practical than bulky etc. ol' maryjane). Influence incl. on Waylon, who was already driven and drivin', with much more of the earlier zig-zag career than I'd realized (had the big country version of "MacArthur Park"!) Also quite the appetite for pinball and good cover material, which he could find even or especially on the shittiest-sounding demo tapes. Thought, as the author depicts, that the Outlaw hype was a crock, and of course he did sound more like a big ol' teddy bear, even then. A bunch more characters I'd heard much less or nothing about; it's pretty good overall. (Although, come to think of it, he completely leaves out the alkyhaul factor re KK's showbiz trajectory, despite the star's own candor elsewhere, starting way back.)
― dow, Monday, 11 February 2019 19:43 (one week ago) Permalink
Furious.com's *Insect Trust* archives, of course, sorry.
― dow, Monday, 11 February 2019 19:47 (one week ago) Permalink
Has anyone read "this is your brain on music?"
― nathom, Monday, 11 February 2019 20:31 (one week ago) Permalink
I did. It ended up annoying me for some reason, can’t remember exactly why.
― Only a Factory URL (James Redd and the Blecchs), Monday, 11 February 2019 20:33 (one week ago) Permalink
Will give it a try. (It was mentioned in Carl Wilson's book on bad taste.)
― nathom, Monday, 11 February 2019 21:05 (one week ago) Permalink
yes, it's fucking awful. author lost me forever when he bald-facedly asserted that van halen's "you really got me" made an uncool song cool.
― the scientology of mountains (rushomancy), Monday, 11 February 2019 21:57 (one week ago) Permalink
Argh. Good god. Think I'll skip.
― nathom, Tuesday, 12 February 2019 07:19 (six days ago) Permalink
xp @flappy bird, tweedy doesn't bother with an entire chronology but like someone said above he hits all the bits you'd ant to read about. i thought the bits about his health and his parents were moving. i haven stopped listening to wilco since either after a few years off
― in twelve parts (lamonti), Sunday, 17 February 2019 17:58 (yesterday) Permalink
i would say there's some o'rourke in it, nota huge amount. some on the start of YHF era Wilco/Loose Fur/Kotche/Bad Timing's influence.
― in twelve parts (lamonti), Sunday, 17 February 2019 18:00 (yesterday) Permalink