Music lovers, and particularly those who abhor the fragmentation of the music business, will enjoy this intelligent study....
An informative and analytical look at the ongoing dysfunctional relationship between country music and rock ’n’ roll.
Early rock by Chuck Berry, the Everly Brothers, and virtually every artist at Sun Records had country roots, and there were numerous instances of country tunes becoming pop successes. But the country-music establishment faced a perennial dilemma: should it remain true to its traditional hillbilly roots, or change in order to be more marketable? Movements such as the Nashville Sound, engineered primarily by influential (and recently deceased) guitarist/producer Chet Atkins, created music that satisfied the country market without alienating urban pop listeners. Then a growing country-rock community took shape in the 1960s, and when Bob Dylan issued his Nashville Skyline album and appeared on The Johnny Cash Show in 1969, the hybrid of musical styles entered the American mainstream. The journey of country-rock from Nashville to California, from Texas to Great Britain, is painstakingly and admirably traced by Doggett, former editor of Record Collector magazine, who gives proper credit to such obvious trailblazers as the Flying Burrito Brothers, The Byrds, and Gram Parsons, as well as to less heralded musicians like ex-Monkee Michael Nesmith, Chris Hillman, and Gene Clark. Country-rock’s identity crisis has continued for decades. Artists who tried to be progressive were often faced by a backlash, and for every crossover success, there would be rumblings for a counterculture. Doggett’s text is marred somewhat by his tendency to jump from one time period to another in an attempt to acknowledge a trend or movement, but by identifying as many contributors as possible, he demonstrates that “identity is less a matter of what you are than what you are perceived to be.” A list of 100 recommended country-rock albums appears at the end.
Music lovers, and particularly those who abhor the fragmentation of the music business, will enjoy this intelligent study. (20 pages b&w photos, not seen)Pub Date: Sept. 28, 2001
ISBN: 0-14-200016-7
Page Count: 576
Publisher: Penguin
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 2001
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s...
Music journalist and musician Wald (Talking 'Bout Your Mama: The Dozens, Snaps, and the Deep Roots of Rap, 2014, etc.) focuses on one evening in music history to explain the evolution of contemporary music, especially folk, blues, and rock.
The date of that evening is July 25, 1965, at the Newport Folk Festival, where there was an unbelievably unexpected occurrence: singer/songwriter Bob Dylan, already a living legend in his early 20s, overriding the acoustic music that made him famous in favor of electronically based music, causing reactions ranging from adoration to intense resentment among other musicians, DJs, and record buyers. Dylan has told his own stories (those stories vary because that’s Dylan’s character), and plenty of other music journalists have explored the Dylan phenomenon. What sets Wald's book apart is his laser focus on that one date. The detailed recounting of what did and did not occur on stage and in the audience that night contains contradictory evidence sorted skillfully by the author. He offers a wealth of context; in fact, his account of Dylan's stage appearance does not arrive until 250 pages in. The author cites dozens of sources, well-known and otherwise, but the key storylines, other than Dylan, involve acoustic folk music guru Pete Seeger and the rich history of the Newport festival, a history that had created expectations smashed by Dylan. Furthermore, the appearances on the pages by other musicians—e.g., Joan Baez, the Weaver, Peter, Paul, and Mary, Dave Van Ronk, and Gordon Lightfoot—give the book enough of an expansive feel. Wald's personal knowledge seems encyclopedic, and his endnotes show how he ranged far beyond personal knowledge to produce the book.
An enjoyable slice of 20th-century music journalism almost certain to provide something for most readers, no matter one’s personal feelings about Dylan's music or persona.Pub Date: July 25, 2015
ISBN: 978-0-06-236668-9
Page Count: 368
Publisher: Dey Street/HarperCollins
Review Posted Online: May 15, 2015
Kirkus Reviews Issue: June 1, 2015
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
BOOK TO SCREEN
BOOK TO SCREEN
BOOK TO SCREEN
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
© Copyright 2025 Kirkus Media LLC. All Rights Reserved.
Follow
Popular in this Genre
We can’t wait for you to join Kirkus!
It’s free and takes less than 10 seconds!
Already have an account? Log in.
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
Welcome Back!
OR
Sign in with GoogleTrouble signing in? Retrieve credentials.
