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Revolution in the Air: The Songs of Bob Dylan 1957-1973 (Songs of Bob Dylan Vol 1) (English Edition) [Format Kindle]

Clinton Heylin

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Descriptions du produit

Revue de presse

"The only Dylanologist worth reading." - The New York Times.<br/><br/>"Arguably the world's greatest rock biographer." - The Irish Independent.<br/><br/>"The most exhaustive, balanced and intelligent account of Dylan's accomplishments that anybody is likely to provide." - Mick Brown, Daily Telegraph.<br/><br/>"This epic portrait could hardly be bettered." - The Independent.<br/><br/> "Beg, steal, borrow ... a compelling history of Dylan s mercurial songwriting" - Mojo, 5 star review.<br/><br/> "Valuable resource" - Observer.<br/><br/> "Already has the critics singing its praises" - The Herald.<br/><br/> "Another epic work from Heylin" - Ham & High.<br/><br/> "Terrifically interesting for Dylan nuts" - Sunday Herald. <br/><br/>"Manna for completists" - Metro<br /><br />"A gripping new book by Dylan scholar Clinton Heylin so is so far in the deep end that its borderline insane . . [yet] has been devoured with a ravenous, insatiable appetite, and I have even made notes in the margin."- Mark Ellen, Word.<br /><br />"A magnum opus that anyone curious about, fascinated by, and devoted to His Master's Voice will want to read and ponder." --Jonathan Cott, author, Dylan, and editor, Bob Dylan: The Essential Interviews

`A gripping new book by Dylan scholar Clinton Heylin so is so far in the deep end that its borderline insane . . [yet] has been devoured with a ravenous, insatiable appetite, and I have even made notes in the margin.' --Mark Ellen, Word

"A magnum opus that anyone curious about, fascinated by, and devoted to His Master's Voice will want to read and ponder." --Jonathan Cott, author, Dylan, and editor, Bob Dylan: The Essential Interviews

Présentation de l'éditeur

Bob Dylan has always regarded himself as a songwriter: 'I am my words,' he wrote in 1964.

Distilling a lifetime's passion and study, leading Dylan author, Clinton Heylin charts the development and first moments of genius of this unique artist whose songs changed the world.

From his first attempts at writing, Song to Bridget, in 1957, (apparently for Brigitte Bardot) Bob Dylan always aspired to poetry, yet his role as a writer rather than a performer of his own songs is often overlooked. In over fifty years of creativity he had penned some of the most iconic, and perfect, songs in popular history. Arriving in New York in 1961, the city had an enormous impact on the young artist and, as he established himself amongst the folk clubs and artists, he would produce songs that spoke for a whole generation: Blowing in the Wind, A Hard Rain's Gonna Fall, The Times They Are a Changin', Like a Rolling Stone, and Forever Young.

In Revolution in the Air Clinton Heylin recounts the story of each song as it is written, giving a full appreciation of the songs themselves as well as Dylan the emerging artist. Unlike any other book on Dylan, it charts his rise as a writer, where he gained his inspiration, the burst of energy which produced some of his most famous songs as well as the lesser known stories behind the more iconic verses.

This is an essential book for anyone interested in Dylan and his place in literature. Informative, opinionated, packed with new insights and revelations, this is an instant classic.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 902 KB
  • Nombre de pages de l'édition imprimée : 501 pages
  • Editeur : Constable (1 juin 2009)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ISBN-10: 184901244X
  • ISBN-13: 978-1849012447
  • ASIN: B002S0KBX6
  • Synthèse vocale : Activée
  • X-Ray :
  • Word Wise: Non activé
  • Composition améliorée: Non activé
  • Classement des meilleures ventes d'Amazon: n°153.342 dans la Boutique Kindle (Voir le Top 100 dans la Boutique Kindle)

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Commentaires en ligne

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Commentaires client les plus utiles sur Amazon.com (beta)
Amazon.com: 3.2 étoiles sur 5  16 commentaires
50 internautes sur 58 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Sadly disappointing 7 avril 2009
Par Manfred Helfert - Publié sur Amazon.com
Just received this today (from amazon.de) - and I'm sadly disappointed by the pretentious and rather sloppy research.

Nothing really new here - no really new insights, but mostly a repetition of material found elsewhere already and treated in a more reliable and considerably more scholarly way in books like Michael Gray's The Bob Dylan Encyclopedia or Oliver Trager's Keys to the Rain.

Add to this Heylin's rather condescending tone, everybody else's research (in his eyes) seems to be faulty and cannot be trusted - just savor this rather pompous statement:

"Needless to say, the Internet has also provided endless opportunities for the unpublishable, self-appointed "expert" to pontificate on the man and his art, but I have felt little inclination to fuel their self-importance, with a citation here." (p. 451)

As condescending (or outright arrogant) Heylin is in (several) statements like these throughout the book whenever other people's research/work is concerned, he obviously has no scruples whatsoever to exploit the websites of these "unpublishable" peons (in his eyes) rather extensively, presenting their findings in a way that suggests that these are his own without crediting his sources appropriately, thus rendering his book as academically rather useless, even bordering on plagiarism.

A particularly blatant example is to be found on p. 136. Heylin writes that "Judy Collins, in a 1996 email regarding the two songs, confirms that 'the Seven Curses are related to Anathea'" and extensively quotes from this email, creating the impression that he had been the recipient of it, whereas he "lifted" this email (without credit to his source and proper attribution) verbatim from [...] whose webmaster (and not Heylin) had received it from Judy Collins back in 1996.

It is this obvious lack of scholarly ethics (not crediting sources that one considers "below par" while at the same time using and exploiting them for one's own gain and "glory") which exposes Clinton Heylin as what he claims others to be: a basically "unpublishable" (his book is rather boring to boot), mostly self-appointed "expert".

Do yourselves a favor and do not fuel Heylin's self-importance by buying this hyped and pretentious product (except for a comparison to those by Michael Gray, Oliver Trager, or Derek Barker's Bob Dylan: The Songs He Didn't Write and Todd Harvey's The Formative Dylan -- all of those present an unbiased scholarly approach devoid of the obvious hybris found throughout Heylin's book, a clear distinction between these authors' own research with properly attributed and credited citations from sources and websites consulted and not merely "exploited" without proper credit as in Heylin's case).

To sum it up: Pretentious and hyped in advance but found to be scholarly totally unreliable (sources not credited properly in academic fashion). Sadly disappointing....
15 internautes sur 17 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Academic and dull 30 septembre 2009
Par Frank T. Becker - Publié sur Amazon.com
Format:Relié|Achat vérifié
Dylan certainly wrote some of the most fascinating music of our time. But Heylin's treatise is so soaked in detail about the first performances and other technicalities that there appears to be little passion for the music itself. Other reviewers take Heylin to task for being factually incorrect; I do not know enough to judge that. I take him to task for making what should be a fascinating subject very dull and academic. After reading the book, I wondered, did Heylin actually like any of these 300 songs? If he did, I sure could not tell from this book.
14 internautes sur 16 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Brings it back home to what matters: the songs 1 mai 2009
Par Southern Boy - Publié sur Amazon.com
I agree with part of the two previous reviewers' comments: Heylin is unnecessarily self-hyping, especially for a biographer. He inserted himself (and what appears to be a perpetual grumpy-older-guy persona) into his biography of Van Morrison ("Can You Feel The Silence?"), ruining what otherwise would have been an enjoyable read for me.

Similarly, he has so many axes to grind with other Dylan writers in his preamble to "Revolution In The Air," you feel he wants a fight with them more than to speak the truth about his subject -- which is Dylan, not those other writers.

Still... this book is so rich. First, it concentrates on the songs. Not "the legend." And it mostly leaves critical comments about specific songs behind, instead just detailing circumstances and background behind their writing. That levelheadedness is valuable in the hothouse bubble of Dylan criticism.

And this book just reminds you where the hothouse really was -- in Dylan's inspired brain. Especially in the 60s which is most of what this first volume covers. (A second volume is planned.) It focuses your attention on Dylan's amazing crawl from copying Woody Guthrie to... replacing him, if you will. An amazing journey.

And the journey is all about those songs. I found it a fascinating read and very hard to put down. I recommend the book highly, even with the caveats about Heylin's personality mentioned above.
20 internautes sur 24 ont trouvé ce commentaire utile 
1.0 étoiles sur 5 Could have used a fact checker (and an ego checker) 27 avril 2009
Par Adam Selzer - Publié sur Amazon.com
Clinton Heylin is notorious for editorializing in works that are supposed to be scholarly, as well as for spending a lot of time bad-mouthing everyone ELSE who writes about Dylan. Here, he's in rare form, lodging one complaint after another about Dylan critics (who are, in many cases, actually better writers AND better historians than he is). While there is some new information here that will make the book useful for Dylan fans, there is so much inaccuracy among the known facts that the new information has to be considered questionable (in particular, when he mentions whether a song was performed on the Neverending Tour, when it was first performed, or how often it was performed, the information given is often demonstratably false, despite the fact that the information is VERY easy to obtain). As usual, though, it's not the inaccuracy that makes this book hard to read, it's Heylin's usual sniveling, self-satisfied tone. The act of writing a book about someone else is, by nature, something of an unselfish act, but Heylin manages to look like an egomaniac in the process.
10 internautes sur 12 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Five stars but I can see two as well 12 août 2009
Par Vincent - Publié sur Amazon.com
Mr. Heylin's previous works on Dylan (three that I know of and own) are quite wonderful, despite what reviewers accurately point out as his arrogant, occasionally over-opinionated observations. This work is consistently informative, enlightening, and arguable. I like his use of language and the organization he's used here is especially conducive to examining BD's work as a songwriter. The factual lapses, which really aren't numerous, don't present an issue for readers. Heylin's knowledge and passion are unquestionable, as is his scholarly approach. The rather condescending comments he makes about other critics do not contribute in any positive way to Mr. Heylin's voice as a writer but they also don't seriously mar the the content of this study. He also has a habit of being rather nasty to musicians who Dylan himself holds highly and I do have a problem with that. I do wish that Mr. Heylin (and this goes for each book he's authored on Dylan) would curtail his comments a bit on The Grateful Dead, who he just doesn't get. (Even though almost no one holds the 1987 collaboration to any high estimation). Van Morrison, too. I also am puzzled at Mr. Heylin's negative feelings about Theme Time Radio. He doesn't really explain himself regarding that wonderful radio show. But these are minor quibbles in a work that is a brilliant critical canvas, covering the songs of the major artist of our time. I do look forward to Mr. Heylin's next volume, warts and all. It deserves five stars but I can understand readers who might be furious enough to give it two.
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