An informative read that’s well-suited to readers interested in country music and its history.
This debut nonfiction work traces the history, development, and legacy of the Californian country-music subgenre known as the “Bakersfield sound.”
Price, the executive editor of the Bakersfield Californian newspaper, weaves a savvy blend of personal anecdotes and broader historical narrative in this work. The result firmly defines the Bakersfield sound as a gritty, visceral style of music about personal struggle, as opposed to the more formulaic and melodically elegant material produced by the mainstream Nashville-based music industry. The sound’s story begins with the Oklahoman migration to California in the wake of the Dust Bowl, but Price argues that the style, heard in the music of country icons such as Merle Haggard and Buck Owens, is more deeply rooted in the communities that sprung up on the West Coast during World War II. It was born, he says, in blue-collar bars and dimly lit honky-tonks where men brawled and drank whiskey whenever they were off-shift. Price captures that atmosphere well thanks to his extensive interviews (and, readers may imagine, long-standing relationships) with small-business owners and other assorted characters who still live in the Bakersfield area. Indeed, the book’s greatest asset is this local flavor; the author excels when describing barkeeps, backing musicians, and the relationships between them. He also draws attention to the fact that many of the groups on popular records shared players with one another, which accounted for the consistent, unique style that emerged. Price infuses two minibiographies of Owens and Haggard with the passion of a lifelong fan, and they’re among the most engaging chapters in the book. On the other hand, the book addresses some subjects, such as the factors that influenced the popularity of the Bakersfield sound and its competition and partial appropriation by the mainstream, in a way that makes them feel more like asides than subjects in their own rights. That said, this book thrives on the personalities of its people.
An informative read that’s well-suited to readers interested in country music and its history.Pub Date: Nov. 20, 2015
ISBN: 978-1-4917-7296-6
Page Count: 292
Publisher: iUniverse
Review Posted Online: Jan. 5, 2016
Review Program: Kirkus Indie
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
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
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