For sure. Who's read the bio about Bangs, and how is it?
you mean "let it blurt"? I have, and its great. essential history.
Cosign. Anyone else read the author of that book's guide to psych? I don't know the title but it's by Jim Derogotis, who reviews pop music here in Chicago.
For sure. Who's read the bio about Bangs, and how is it?
you mean "let it blurt"? I have, and its great. essential history.
Cosign. Anyone else read the author of that book's guide to psych? I don't know the title but it's by Jim Derogotis, who reviews pop music here in Chicago.
'Kaleidescope Eyes'
it's pretty good, but I am biased, as Jim is an old friend. I used to hate some of his reviews, and I don't share his love of certain bands, but he is a good writer whose enthusiasm for the genre really comes through in that book. He has been a 'head' for a long time.
it's pretty good, but I am biased, as Jim is an old friend. I used to hate some of his reviews, and I don't share his love of certain bands, but he is a good writer whose enthusiasm for the genre really comes through in that book. He has been a 'head' for a long time.
Hmm, I don't know this one. Is it essays, reviews, history, some combination of these?
HarveyCanal"a distraction from my main thesis." 13,234 Posts
it's pretty good, but I am biased, as Jim is an old friend. I used to hate some of his reviews, and I don't share his love of certain bands, but he is a good writer whose enthusiasm for the genre really comes through in that book. He has been a 'head' for a long time.
Hmm, I don't know this one. Is it essays, reviews, history, some combination of these?
Mostly a history, but not a particularly straight narrative, but it works well with the topic at hand. He really jumps around with applying the 'psych' label to a wide variety of bands, scenes, so I am sure purists would find plenty of fault with it, but for someone looking for insight into how psychedelia permeated such a wide variety of scenes from the 60s-90s, it's chock full of info. Not for obscuro-philes, let's just put it that way.
Maybe it's just me, but music journalism (especially done by the euros) has always seemed sort of pointless and overzealous. I think it's one thing to objectively document a musician or a particular era, but more often then not "music writers" tend to write about pointless and false things. Magazines like the Wire prove my point. Pretentious, overzealous, euro dog shit.
Maybe it's just me, but music journalism (especially done by the euros) has always seemed sort of pointless and overzealous. I think it's one thing to objectively document a musician or a particular era, but more often then not "music writers" tend to write about pointless and false things. Magazines like the Wire prove my point. Pretentious, overzealous, euro dog shit.
Well, I like the Wire -- more for the music it exposes me to than for the quality or tone of their writing about that music -- but I do know what you're saying and go through phases where I don't want to read any music criticism at all (even tho I used to make a good slice of my income doing just that).
Ergo my request for books that focus on history of particular scenes coming together, particular labels, particular albums, the lives of musicians, their creative proceses, etc.
I was expecting more of a straight-ahead musical history, and while I particularly appreciated the depth of the political context and history given for the Bronx, as the book went on I found myself hungry for more musical discussion and less politics -- not because I don't appreciate the book's political slant, but because I've read about many of the subjects he tackled (LA riots, convention protests in Philly) in greater detail elsewhere.
So maybe there's another book out there that looks more at the history of the development of the music... I'd like to read about early sampling suits (De La, Biz, etc), late-80s political groups like X-Clan that didn't make as large a splash as PE, etc.
Still, thoroughly enjoyed this and would definitely recommend it, especially to younger readers who don't know much about hip-hop history and/or need some hope that music, youth, and politics can interact in positive ways.
Maybe it's just me, but music journalism (especially done by the euros) has always seemed sort of pointless and overzealous. I think it's one thing to objectively document a musician or a particular era, but more often then not "music writers" tend to write about pointless and false things.
I agree. I think the most interesting books written in regards to music are BY FAR musician's autobiographies.
Maybe it's just me, but music journalism (especially done by the euros) has always seemed sort of pointless and overzealous. I think it's one thing to objectively document a musician or a particular era, but more often then not "music writers" tend to write about pointless and false things.
I agree. I think the most interesting books written in regards to music are BY FAR musician's autobiographies.
I was expecting more of a straight-ahead musical history, and while I particularly appreciated the depth of the political context and history given for the Bronx, as the book went on I found myself hungry for more musical discussion and less politics -- not because I don't appreciate the book's political slant, but because I've read about many of the subjects he tackled (LA riots, convention protests in Philly) in greater detail elsewhere.
I agree. The first half of the book kept my interest much better than the second half of the book. But I think that the book was more about the social and political culture that produced hip hop music than it was about the music itself. I know I wanted more about the music, but I wanted in to be within the context of the broader culture. The best music writing, to me, situates the subject within the cultural landscape that produced it. That way, you learn about music, but you also learn about history. It's a Veteran's Day Bonus!
And for the record, this book CANNOT hang:
If you want to read overindulgent literary criticism applied to music and lyrics, this is your place. The Al Green segment was particularly disappointing, and the Phoebe Snow was surprisingly interesting. But on the whole, the book gave increasingly diminishing returns. Not recommended.
So maybe there's another book out there that looks more at the history of the development of the music... I'd like to read about early sampling suits (De La, Biz, etc), late-80s political groups like X-Clan that didn't make as large a splash as PE, etc.
Started this tonight, and I'm loving it. Just the sort of thing I'm looking for (as of 75 pages, anyway). Thanks for the suggestion.
Ugggh... please stop bigging this book up. It is a terd.
What don't you like about it? I've only read 75 pages (which takes me up to about 1959), but they've been enjoyable and informative.
250 pages in, and it's still treating me fine -- I have a few qualms (sometimes seems to fall in love with whichever luminary he's quoting and lose some objectivity; sometimes strikes a judgmental and/or self-righteous tone) but they're minor.
Do you think it gets the story wrong? Too cursory? Falls off when it hits the 80s (I'm not there yet)? Just like calling things terds?
No one mentioned this? Its on the same tip as can't stop won't stop in that it gives a good commentry on the social and political situations in jamaica that lead to the development of different styles of reggae.
No one mentioned this? Its on the same tip as can't stop won't stop in that it gives a good commentry on the social and political situations in jamaica that lead to the development of different styles of reggae.
This is the same book as I'm reading now (This Is Reggae Music) and we've been discussing, only it was originally published under the name you're citing in most English-speaking countries.
In fact, in my edition they forgot to change the text in the preface and intro, so it has Prince Buster writing "It's been a long wait for a book like Bass Culture, but it was worth it" which resulted in me having a brief WTF moment.
Started this tonight, and I'm loving it. Just the sort of thing I'm looking for (as of 75 pages, anyway). Thanks for the suggestion.
Ugggh... please stop bigging this book up. It is a terd.
What don't you like about it? I've only read 75 pages (which takes me up to about 1959), but they've been enjoyable and informative.
Not to answer for Faux, but I also did not like this book - mostly because I can't stand Bradley's writing style - too editorial, too many asides that do not come across as conversational or as good story-telling, just too wordy.
I agree with you on his gushing, and pair that with the dude's chatty nature, how I imagine his interview style makes me cringe a bit...this is neither here nor there on the merit on the book, unless folks didn't reveal as much to him because of it. All of this is just my take obviously.
I liked this and Katz's book on Lee Perry is essential imo.
Comments
For sure. Who's read the bio about Bangs, and how is it?
you mean "let it blurt"? I have, and its great. essential history.
Cosign. Anyone else read the author of that book's guide to psych? I don't know the title but it's by Jim Derogotis, who reviews pop music here in Chicago.
'Kaleidescope Eyes'
it's pretty good, but I am biased, as Jim is an old friend. I used to hate some of his reviews, and I don't share his love of certain bands, but he is a good writer whose enthusiasm for the genre really comes through in that book. He has been a 'head' for a long time.
Both of these look at more experimental veins in in the history of the Euro-American avant garde.
Self explanatory.
Hmm, I don't know this one. Is it essays, reviews, history, some combination of these?
Mostly a history, but not a particularly straight narrative, but it works well with the topic at hand. He really jumps around with applying the 'psych' label to a wide variety of bands, scenes, so I am sure purists would find plenty of fault with it, but for someone looking for insight into how psychedelia permeated such a wide variety of scenes from the 60s-90s, it's chock full of info. Not for obscuro-philes, let's just put it that way.
Beat me to it. Dude obviously has a bias against dancehall, but it is a good read until he hits the digital age.
Well, I like the Wire -- more for the music it exposes me to than for the quality or tone of their writing about that music -- but I do know what you're saying and go through phases where I don't want to read any music criticism at all (even tho I used to make a good slice of my income doing just that).
Ergo my request for books that focus on history of particular scenes coming together, particular labels, particular albums, the lives of musicians, their creative proceses, etc.
have you read this one yet?
I found it cheap, but it is on the shelf waiting to be read along with this
Both added to my list. Didn't know about the latter -- same author as the Fela book, right? I thought that was excellent.
Just finished reading this. Very worthwhile book.
I was expecting more of a straight-ahead musical history, and while I particularly appreciated the depth of the political context and history given for the Bronx, as the book went on I found myself hungry for more musical discussion and less politics -- not because I don't appreciate the book's political slant, but because I've read about many of the subjects he tackled (LA riots, convention protests in Philly) in greater detail elsewhere.
So maybe there's another book out there that looks more at the history of the development of the music... I'd like to read about early sampling suits (De La, Biz, etc), late-80s political groups like X-Clan that didn't make as large a splash as PE, etc.
Still, thoroughly enjoyed this and would definitely recommend it, especially to younger readers who don't know much about hip-hop history and/or need some hope that music, youth, and politics can interact in positive ways.
What are your favorites?
I agree. The first half of the book kept my interest much better than the second half of the book. But I think that the book was more about the social and political culture that produced hip hop music than it was about the music itself. I know I wanted more about the music, but I wanted in to be within the context of the broader culture. The best music writing, to me, situates the subject within the cultural landscape that produced it. That way, you learn about music, but you also learn about history. It's a Veteran's Day Bonus!
And for the record, this book CANNOT hang:
If you want to read overindulgent literary criticism applied to music and lyrics, this is your place. The Al Green segment was particularly disappointing, and the Phoebe Snow was surprisingly interesting. But on the whole, the book gave increasingly diminishing returns. Not recommended.
This sounds like a good book. Write it.
Happy Veteran's Day,
JRoot
Started this tonight, and I'm loving it. Just the sort of thing I'm looking for (as of 75 pages, anyway). Thanks for the suggestion.
Ugggh... please stop bigging this book up. It is a terd.
What don't you like about it? I've only read 75 pages (which takes me up to about 1959), but they've been enjoyable and informative.
250 pages in, and it's still treating me fine -- I have a few qualms (sometimes seems to fall in love with whichever luminary he's quoting and lose some objectivity; sometimes strikes a judgmental and/or self-righteous tone) but they're minor.
Do you think it gets the story wrong? Too cursory? Falls off when it hits the 80s (I'm not there yet)? Just like calling things terds?
And an obvious one, but always entertaining.
saw this at the book store today. it has nothing to do with music,
but if you like terry richardsons cock, pick it up.
I am half way through this and have been enjoying it. Helps if you like the band Love or are interested in the LA music scene in the sixties.
Its on the same tip as can't stop won't stop in that it gives a good commentry on the social and political situations in jamaica that lead to the development of different styles of reggae.
This is the same book as I'm reading now (This Is Reggae Music) and we've been discussing, only it was originally published under the name you're citing in most English-speaking countries.
In fact, in my edition they forgot to change the text in the preface and intro, so it has Prince Buster writing "It's been a long wait for a book like Bass Culture, but it was worth it" which resulted in me having a brief WTF moment.
Not to answer for Faux, but I also did not like this book - mostly because I can't stand Bradley's writing style - too editorial, too many asides that do not come across as conversational or as good story-telling, just too wordy.
I agree with you on his gushing, and pair that with the dude's chatty nature, how I imagine his interview style makes me cringe a bit...this is neither here nor there on the merit on the book, unless folks didn't reveal as much to him because of it. All of this is just my take obviously.
I liked this and Katz's book on Lee Perry is essential imo.