Escaping The Delta by Elijah Wald debunks myths about the blues always being made by men in rural poverty using primitive instruments and always being a form of protest or expression of pain. He shows that the myth of authenticity trapped blues artists in stereotypes that denied their innovative and up-to-date artistry and how they lived alongside and absorbed the popular music of the day, whether that be swing, country or crooning, incorporating the latest popular trends into their own art.
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Originally posted by imp View Post'Listening to the Wind' is costing me a fortune, and I'm only on chapter 4. Splashed on a lot of excellent music - vinyl, cassettes and downloads - from Sahel Sounds (chapter 2), and then a bundle of 13 cassettes at $3 each from Oakland ambient label Constellation Tatsu (chapter 3). Going to get through this very slowly and carefully, but it's a rewarding, inter-active, sonically educative way to read a music book.
I think the book's daunting because it looks so thick (it's 700 pages), but if you take it chapter by chapter while searching out the music along the way, then it brings its own multiple rewards.
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- Mar 2008
- 7495
- Off the purple line
- I'm slutty: Roma (on haitus until Jose is fired), Liverpool, and Dortmund
- Del Taco
Originally posted by imp View Post
I think the book's daunting because it looks so thick (it's 700 pages), but if you take it chapter by chapter while searching out the music along the way, then it brings its own multiple rewards.
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Yeah, reading about music is like dancing about architecture (to quote Martin Mull.) Frequently the longer the book is the more redundant it feels, and the more irritated with myself I get. The same applies to art, and other forms of expression too, but music particularly so. Consequently I consciously limit myself to a couple of books a year and they're usually bios.
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- Mar 2008
- 7495
- Off the purple line
- I'm slutty: Roma (on haitus until Jose is fired), Liverpool, and Dortmund
- Del Taco
I've been working my way through different types of punk books lately. I'll summarize these in case anyone cares, although I get the sense I'm alone with this sub-genre.
Club Closed is about Tom Guido and his club The Purple Onion, which was a garage rock/garage punk club in San Franciso that existed during the 1990s. The bulk of the book is written as an oral history where different band members, scenesters, and employees (I use that last category loosely) were either interviewed or shared their thoughts and then that content was chopped up to group ideas in themes. I spent a little time in San Francisco just before the club opened so never went there, but really got a great feel for the space and Tom Guido. Guido suffered from mental illness but probably never had proper medical care that was exacerbated by being an alcoholic. I'm not spoiling anything by saying this since it comes up in the first few paragraphs, but he was murdered in the early 2000s (maybe 2001). So the book uses that murder as an excuse to remember him and the club. The stories are interesting, although they do start to get repetitive, and the blend of text, the inclusion of photographs, and show flyers makes for an interesting historical artifact. It's a bulky book so might be pricey to get to the UK, Europe, or other countries outside the US. But if you're into garage rock/garage punk, I think you would dig it.
http://www.bethzombie.com/purpleonion/
If you don't know garage punk, start here (Rip Offs, which was a band that played regularly at the Purple Onion--there were many really cool bands on Rip Off Records): https://www.youtube.com/watch?v=rm38LTYnXaM
I also finished a book about Big Frank Harrison and Nemesis Records. Big Frank was a central figure in the Orange County and LA hardcore scenes and had been around punk from the early 80s through the end of the 90s, involved with putting on shows, working at one of the biggest promoters in LA called Goldenvoice, and managing an amazing record store called Zed Records that existed in Lakewood. The book is divided into two parts: The first part is a collection of short recollections by bands that were signed to Nemesis or people that worked closely with the label. The second part is an annotated discography of all of Frank's releases. It's not the most well-written book. Some of the reflections are kind of thin and repetitive. I admittedly have more interest because I knew Frank (actually interviewed him for my book about DIY touring and punk spaces in the US), owned some Nemesis 7" singles, and spent a lot of time at Zed's. But if you're into hardcore in the vein of Revelation Records then you'd probably dig this. Again, I never see anything posted in the music forum from anyone about this genre so probably not, but who knows. As an interesting side note, the first Offspring album came out on Nemesis. The label started as a hardcore label but expanded into other genres of punk and alternative rock.
https://shopreaper.com/
Again, if you don't know this genre of music, here is a sample (I'll go with a band not on Nemesis just so you Rage Against the Machine fans can see where Zack De La Rocha's singing career started): https://www.youtube.com/watch?v=LYu62xQzjc0
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Originally posted by Benjm View PostStephen Morris' New Order book might be the pick of the three accounts by members of the band. Sumner's and Hook's are both skewed somewhat by their latter day loathing of each other.
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art sex music-Cosi Fanni Tutti. Christine Carol Newby becomes Cosey as a wilful spirited character always looking to challenge society norms. Title is apt as she has immersed herself in the world of all three and has no regrets about any of them. It still an uneven biography though. The evolution from Coucom to Throbbing Gristle is done by half way stage and gives no real clue as to how TG produced music they did before disbanding in 1981. Genesis P Orridge features prominently throughout and again hints are dropped in early half of book as to his manipulative self centred centred nature.But again this is only truly spelled out in second half of book which spends more time on TG reunions or failure of then on what made them a pioneer of the industrial genre.
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Traveling Soul, a biography of Curtis Mayfield by his son Todd, is a good insight into the man and artist; it doesn't shy away from criticism when merited and places Curtis in the context of his times.
Moanin' At Midnight, Howlin' Wolf biography by James Seagrest and Mark Hoffman. Great book but watch the Amazon Prime documentary on Wolf first to be able to visualize the events described.Last edited by Satchmo Distel; 04-12-2021, 11:25.
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Originally posted by ale View Postart sex music-Cosi Fanni Tutti. Christine Carol Newby becomes Cosey as a wilful spirited character always looking to challenge society norms. Title is apt as she has immersed herself in the world of all three and has no regrets about any of them. It still an uneven biography though. The evolution from Coucom to Throbbing Gristle is done by half way stage and gives no real clue as to how TG produced music they did before disbanding in 1981. Genesis P Orridge features prominently throughout and again hints are dropped in early half of book as to his manipulative self centred centred nature.But again this is only truly spelled out in second half of book which spends more time on TG reunions or failure of then on what made them a pioneer of the industrial genre.
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I liked two Carter Tutti Void albums quite a lot - Transverse (2012) and f(x) (2015). TG are actually a gap for me as well, though I like Coil.
I enjoyed her book but it's true she doesn't expand too much on the music, I got the impression that the art and the happenings were what she was most passionate about.
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I would recommend 20 Jazz Funk Greats as entry point for first listen to TG. But with warning it not truly representative of their work, being more accessible & mainstream than the rest of their catalogue. Though as its TG that doesnt necessarily it commercial or mainstream by most popular beat combo measurements. Sample track as follows:
https://www.youtube.com/watch?v=EK_Otav7t-w
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This is probably record for which they more familiarly associated though again not the most representative of their career
https://www.youtube.com/watch?v=s2bBACjLlPM
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Thanks for the recommendations, ale and dm, will check them out - 20 Jazz Funk Greats is one of those records you think you'll get around to sometime, but somehow you never do. Also, one of those album titles that no doubt was clever and subversive at the time, but now...
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I think I may have mentioned this before but after a te-read (or more accurately a more focused read) I’m prepared to say that Jeff Tweedy’s ‘Lets Go (So We Can Get Back’) is the most engaging and enjoyable music autobiography (or biography) I’ve ever read. He writes beautifully: the kind of sparse, pacy style associated with someone like Raymond Carver. The tone is unremittingly self deprecating and it’s very, very funny.
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Tweedys book is one of my pile of 20 or so music books that must be read soon. I’ll move it nearer the top now! Some of which have been on my shelves for well over 15yrs. Spur of the moment bargains probably.
Finished Wilko Johnson’s-Don’t Leave Me Here last week. A lovely read though I’m not sure if I’ve read it previously or a Feelgoods biog that’s obviously very similar.
Fa Fa Fa Fa Fa Fa The Adventures Of Talking Heads In The 20th Century by David Bowman occupied me this week. It’s decent enough but his fishing for a spurned woman angle with Weymouth and Byrne seemed a desperate attempt to create a story where there wasn’t one. I think she’s simply pissed off with the money they missed out on. Who wouldn’t be?Last edited by Sunderporinostesta; 23-12-2021, 22:47.
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Originally posted by Tony C View PostI think I may have mentioned this before but after a te-read (or more accurately a more focused read) I’m prepared to say that Jeff Tweedy’s ‘Lets Go (So We Can Get Back’) is the most engaging and enjoyable music autobiography (or biography) I’ve ever read. He writes beautifully: the kind of sparse, pacy style associated with someone like Raymond Carver. The tone is unremittingly self deprecating and it’s very, very funny.
I’ve never managed to get into Wilco as they’ve always sounded a bit weak or insipid or wimpy or something. I’m gonna give them another go after trying Uncle Tupelo out. I’ve one of UTs CDs from a charity shop but I’m sure it’s never been played. I’ve heard a couple of Son Volt songs so I’ll give them a go as well. Man I’m cutting edge with the kids at times.
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Originally posted by Sunderporinostesta View Post
Finished it last night. It’s everything you say. Has their ever been a musician biog that doesn’t have drug and rehab chapters? Or do those never get published?
I’ve never managed to get into Wilco as they’ve always sounded a bit weak or insipid or wimpy or something. I’m gonna give them another go after trying Uncle Tupelo out. I’ve one of UTs CDs from a charity shop but I’m sure it’s never been played. I’ve heard a couple of Son Volt songs so I’ll give them a go as well. Man I’m cutting edge with the kids at times.
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I was given Tracey Thorn's 'My Rock n Roll Friend' for Christmas and have devoured it already - it's about her friendship with Lindy Morrison of the Go-Betweens and how women are marginalised, devalued and falsely idealised in the music industry, in the indie-scene just as much as everywhere else. Got me watching old Go-Betweens footage on YouTube last night, including this superb half-hour live concert on Australia's Rock Arena in 1986, right at the band's creative peak. Lindy's drumming seemed to annoy lots of male observers and journalists at the time, in combination with her loudness and her opinions. I'm no technical expert, but I love her expressive style, playing the drums rather than hitting them - very VU.
From there I moved to this captivating 2015 documentary about their acoustic masterpiece 16, Lovers Lane. This includes Lindy in interview, and she's funnier and more interesting than anyone else on the programme, though Amanda Brown's insights are just as honest (single album bass player John Willsteed, on the other hand, comes across as a smug and irredeemable dick). I didn't realise until I read Thorn's book that after the Lovers Lane album and tour were done, Robert Forster sacked his ex-partner (of seven years) Morrison from the band, and on the same day Grant McLennan did the same to his partner Brown, who responded - understandably - by ending the relationship. The two men must have come to the realisation that they'd just killed the band, so embarked on solo careers even less commercially successful than the Go-Betweens. If you watch the band in this 2005 Brisbane concert less than a year before McLennan's death (they'd re-formed without Brown and Morrison), the missing dynamic is clear. The drummer barely registers, and Brown's spiky, melodic work on the violin and oboe can't be compensated for with extra acoustic bloody guitars.
We saw Robert Forster here in Frankfurt when he played a solo acoustic concert. It was okayish. Then not long before lockdown we saw him again, but with a band - that was a proper gig with the full sound that the re-worked Go-Betweens' songs required.
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The GoBetweens night of the long knives was as big a mistake as any band ever made.
His sons band The Goon Sax are over here soon I believe in my local venue. They’re very Gbs themselves. I’ll wait to see the lie of the land first.
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Shiny & New-Dylan Jones. Following his take on Band Aid concert the author considers the 1980s as a whole-10 moments of pop genius that defined the decade. Naturally any book that goes for this concept is failing if it cant generate a discussion as to omissions or matters of fact. So for example there is no Michael Jackson song included. And we get Rappers Delight to represent 1980-even though it is pure & simple a 1970s song from time of release to time of chart peak. A conceit of the author to bookend his concept with the way hip hop/rap developed during the decade given Public Enemy are the 1989 choice? In between we get songs from Specials ABC New Order Madonna Springsteen Smiths Prince & S Express. Which raises the question again of omissions-it not the considered 10 best songs of the decade it the considered best song of each year in chronological order. Which means even Jones is struggling too hard to justify the inclusion of Bigmouth Strikes Again. So in conclusion Jones has met the objective criteria of creating a discussion. And there plenty to agree with in his choices. And the assertion- if far from original- that the decade was one in which music splintered into more styles and factions and fashions and attitudes than in its earlier founding decades. Thought provoking and plenty of background to interest rather than fill pages.
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