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Détails sur le produit

  • Broché: 304 pages
  • Editeur : Backbeat Books (23 mai 2002)
  • Langue : Anglais
  • ISBN-10: 087930703X
  • ISBN-13: 978-0879307035
  • Dimensions du produit: 15,2 x 1,8 x 22,9 cm
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
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Première phrase
Walking around the intersection of Bleecker and Macdougal Streets in Greenwich Village on a hot summer night in 2000, you might not suspect this area was the launching pad for the folk music boom of the early '60s. Lire la première page
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Couverture | Copyright | Table des matières | Extrait | Index | Quatrième de couverture
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Par Moonlight on the waters le 1 septembre 2008
Format: Broché Achat vérifié
Le livre comme..."La Bible" est une somme et le titre 2ème "Numéro 1" des Byrds pour leur deuxième album - que je préfère personnellement au précédent - renvoie à l'Ecclesiaste " To everything there is a season...".
Excellent ouvrage pour qui aime ce courant fondamental des sixties surtout aux USA, né de la rencontre des topical songwriters - içi on dirait auteurs à texte -« folkeux » plus qu'impressionnés par la British invasion, Beatles en tête - huit titres dans les charts en 1964 pour leur première tournée US -.
Cela toucha Dylan qui néanmoins resta ... Dylan mais d'autres, les Byrds en premiers créèrent un son, un courant musical.
Des informations, des interviews de participants notoires, des commentaires, des analyses et tout une foule de grands et moins grands.
Félicitations à l'auteur dont ce n'est pas le seul ouvrage notamment la suite "Eight miles high" de nouveau un titre des Byrds pour la continuité de ce courant avec la mouvance psychédélique.
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Amazon.com: 15 commentaires
13 internautes sur 14 ont trouvé ce commentaire utile 
take a sanity break 5 septembre 2003
Par Eric - Publié sur Amazon.com
Format: Broché
This is exactly the kind of book you want to own, not the kind you want to borrow or get from a library. You will want to go back to it often, when you hear a song and want to remember who played what and if someone else recorded it first or after.
It is very entertaining and informative. Unterberger is a great storyteller and he tells the reader story after story. Like how Neil Young and Bruce Palmer teamed up with Rickey James Mathews (a few years later to resurface as Superfreak Rick James) to form a Toronto band, the Mynah Birds, and how their break-up lead to the formation of Buffalo Springfield due to a chance meeting on a congested Los Angeles freeway. A lot of funny stuff in the details of just this story.
Unterberger connects the dots on scores of 60s bands. He tells you who played with who before and after they were famous. Who played what brand of instrument. He tells the reader who came from a folk background, or a jazz background, or a country background.
For those of us who lived through the era, he reminds us of the zeitgeist that drove the music. But keeps us grounded by also reminding us that Steve Stills tried out for the Monkees and Sonny Bono was a star. It is true that Unterberger's book mentions maybe hundreds of musicians and songs, some we remember, some we have forgot, some we wish we had forgot and some we never heard of. But that is not boring. It's fun.
I love this book. It's not a long read, 282 pages including discography. It is full of information that will probably not help you save the world, lose weight or cook a better soufflé; but will make you smile (and might save your sanity at least for a little while). And that my friend is what the music was about. My only caution, it will cause you to jump to the CD section of Amazon.com and want to buy a whole lot of CDs.
26 internautes sur 31 ont trouvé ce commentaire utile 
Take a dip in the well-weather'd waters of folk-rock 3 septembre 2002
Par Phil Rogers - Publié sur Amazon.com
Format: Broché
An amazing amount of research and organization went into this, including gazillions of interviews. Mr. Untermeyer, who at the outset adopts a healthy reverential attitude towards his subject, didn't actually live through the period (he was only around three years old when "Mr. Tambourine" hit). I think that this helps to explain why sometimes his sympathies aren't as glowing as they otherwise might be. Here and there his aesthetic judgements and character assessments fall somewhat flat; in some spots his prose (temporarily) gets thin and ragged. But in his defense, he had to backtrack to 'learn' this music, and in the process discovered how to genuinely love a good deal of it. What we end up with here is a serious and useful piece of journalism, almost a 'biography' of the period.
Here's one example of the kind of minor gaffs we encounter here: even at 15 years old, I sort of knew that Sonny and Cher weren't the profound artists that some of the others seemed to be, and neither was I ape[] crazy about them. But hey, they sounded really good anyway. And when DJ's Boots Bell ("your bearded buddy Bootsy"), Al Knight and others from WHOT radio ("the Hot Spot") in Youngstown, Ohio said that they were folk rock, none of my age group had any problem with the idea; in fact it seemed perfectly obvious to us. Having bassoons rather than 12-string Rickenbackers playing those staccato'd ostinados made no difference to us . . . it was all part of the new sound, which was [and it still does sound so] fresh, brilliant, and above all beautifully arranged. Most of all, it felt really right at the time. It really was aimed at us, not at the critics, and we didn't know nor would we probably have cared what they thought/wrote about "our" music.
Here's another minor one: Mr. Unterberger seemed [am I wrong here?] to make light of McGuinn's remark that the Beau Brummels sang out of tune. Well, the Beau Brummels had maybe a better overall sound even than [McGuinn's] Byrds, but they also really did sing out of tune. Not far out of tune, but enough that might have kept them from greater success, their four [or so] brilliant singles notwithstanding (the author missed citing "You Tell Me Why" and "Don't Talk to Strangers"). With a better engineer and/or producer, they might have been able to get past this (or even fix it in some way); but Autumn records was a small outfit, and its personnel were probably relatively inexperienced as compared with the guys from the big studios.
The author's treatment of Simon and Garfunkle is particularly weak, seeming almost like a brush-off. Have a good listen to the albums 'Sounds of Silence' and 'Parsley Sage Rosemary and Thyme' (their two folk-rock albums) on a good set of headphones. Take your time. You'll be amazed (stunned?) at the depth of sound in the arrangements, the melodies and lyrics . . . everything. I myself didn't notice the genius that went into their work, way back when. But it's there for us all to hear, to rejoice in, and to learn from. Even "A Simple Desultory Philippic" doesn't at all deserve the negative criticism Unterberger directs its way. It's pretty hilarious, especially Paul Simon's Dylan imitation. Mr. Zimmerman in all likelihood found it extremely amusing himself. Would he have actually fallen off his chair laughing? Heck, I don't know! But it's known that S&G and Dylan dug each other quite a bit.
I'd say that for anyone else (like me) who was in their teens (or thereabouts) when "Tambourine" and "Like a Rolling Stone" hit, and still really loves the period . . . take it slow reading this book. That way, the relatively few jaded pronouncements won't come at you quickly enough to be much annoying. For there is an abundance of very good writing here - and some of it is poetic. To his credit, Mr. Unterberger doesn't become nearly so harsh as does another (otherwise brilliant) rock journalist (Mark Brend) working under the aegis of the same publisher.
16 internautes sur 18 ont trouvé ce commentaire utile 
A Page Turn, Turn, Turner 16 octobre 2002
Par Rose A. Goergen - Publié sur Amazon.com
Format: Broché
I love music but some books about music are better left unread. Some pop music aficinados are best advised to go back and just listen to the music as a few attempts to give a literary voice to the spirit of the sound can strike a dull and pedantic note. Not so with this book. I found myself often unable to put it away as the author packed each chapter with so many historical notes that I was not aware of; clearly he did his homework. Much of his information came straight from the source, the writers, musicians, producers, and other insiders who were the leading lights and inspiration of that musical genre known as folk-rock. Of course, if one is not a fan of this type of music (and I am)you may not be engaged by Joe Unterberger's writing. However, as someone who was entranced by the Lovin' Spoonful and the Byrds, I consumed Mr. Unterberger's book with great zeal. I think musicians will find his work especially appealing as Unterberger gives careful attention to the creative side of the artists featured in his book. But if you are like me, someone who merely loves to sing along with the marvelous tunes of the gifted artists who gave voice to folk-rock, you may enjoy reading about the historical aspects of the music that, to paraphrase John Sebastian, is magical and can set you free.
10 internautes sur 12 ont trouvé ce commentaire utile 
unterberger is the best music writer out there 2 août 2002
Par Stephen F Mulcahy - Publié sur Amazon.com
Format: Broché
when it comes to the 60's and early 70's, unterberger is the best music writer i know of. david fricke is also good. what i like about these two guys is that they refuse to get bogged down in 60's cliches, unlike dave marsh and christgau. these guys don't condescend to their readers, or try to tell them what to like. unterberger in particular is a champion of overlooked and underappreciated acts, whereas marsh and christgau tend to generally go for the tunes that are played to death or commercially successful. unterberger and fricke seem like nice guys who really care about music, and don't have a hipper than thou vibe or abrasive personality. they're not allied with the music industry either in the way that landau and marsh were.
unterberger's newest book is a concise summary of the folk rock era, with detailed analysis of the usual names like dylan, baez, and the byrds- but it also includes rather obscure and under appreciated figures from that time as well, at least to the average person, including tom paxton, fred neil, the great tim hardin, and judy henske. these people, and numerous others, were also important in the development of that genre. this book is a great read for not only the person who devours as much music trivia and information from rock's greatest era as he or she can, but it is also one that i would also recommend for the casual reader who just wants to know about the style and/or period. that's what i really like about this book, and unterberger's other works. they are eminently readable and entertaining, even humorous at times, and both music fanatics and the people who are ordinary, run of the mill fans will enjoy them. i don't always agree with unterberger's choices or opinions ( for instance,in particular if you're listening richie,i can't understand why you have given the move's third album, looking on , only 2 stars as i am a huge fan of that band, one you won't read about here as only a few songs are sort of folk rock and they fall outside the time frame of this work!) but they are always engaging and often enlightening to read. the man is more than just a good music writer, he's a good writer period.
this fascinating book goes up to about mid 1966, it is the first of two works that deal with folk rock. the next one is apparently coming out next year. many key musicians and others involved with the music of the time were interviewed for this book. it's a tremendous work, and i would like to know what's next as far as unterberger books go.
1 internautes sur 1 ont trouvé ce commentaire utile 
Simply the Best 28 novembre 2013
Par johnf - Publié sur Amazon.com
Format: Broché
If you are at all interested in the Sixties and particularly its music, this is certainly a book to read. It is a major accomplishment of research and scholarship that transcends the recitation of facts or recycling of old clichés that fill the usual articles one runs across in magazines and documentaries. It is an original and spellbinding work.

To write the book was an enormous undertaking in itself, given that outside of the music itself, there is little written material to speak of. The trade magazines such as Billboard were concerned with sales and airplay, not content, so they are not helpful beyond statistics. Rock journalism wasn't even in its infancy yet and took virtually until 1968 to begin to amount to anything. Even then, the writers of that time had their own axes to grind and created a standard story that is in great need of reexamination, being as it was to a certain extent, a reaction to the virulent hostility rock and the emerging counterculture received during. that turbulent era. An example is the author's suggestion that the music of the early 60's pop scene was not entirely a wasteland given the music of Phil Spector, the Girl Groups, the Brill Building composers such as Carole King and Burt Bacharach, Surf Music and even some of the better Teen Idols like Bobby Darin.

Once said, the author wisely avoids attempting to cover the entire Sixties Scene and focuses on one of the most primary events if not THE most primary event of the 60's - the emergence of folk-rock. Folk-rock was not just a style of music or a fad of 1965, but a whole set of attitudes and expectations about popular music and what it could be that fused together the two most innovative and exciting worlds of popular music at that time to create something much bigger than its parts. Essentially, the unexpected emergence of the Beatles reenergized pop-rock-top 40 to a level that exceeded even the mid 50's. At the same time, the big Kennedy Era folk scene was winding down, largely due to limitations of repertoire. But the Folk Scene itself had evolved in a way that it had attracted a large number of hugely talented composers and performers who appealed to the literate folk audience but who were already going beyond "folk" and in need of a larger canvass. The Beatles, who were so much more than the Teen Idols they were originally thought to be, did the revolutionary thing of composing most of their material, in the process attracting the new composers of the Folk scene. The result is what this book so admirably tells.

The author's way of telling it is also noteworthy. The danger here is becoming an endless recitation of facts or falling into idle speculation and editorializing without backing anything up. Mr. Unterberger has a style that fills you with an avalanche of facts without getting lost in them, but also keeps his narrative on the bigger picture, which is no mean accomplishment. Hardly any recording escapes his attention, even minutae like flash-in-the-pan Jody Miller's "Home of the Brave" (which most critics wouldn't have bothered mentioning) to real obscurities like Mouse & the Traps "A Public Execution" (which most critics wouldn't have known about). The amount of data is incredible, yet is always related to the point he is making and never seems pedantic. There is a particularly fine discussion of Folk Music and how multi-faceted it was which sets the scene for what was to come.

As someone who lived through all this and was totally devoted to the music, I cannot more highly recommend a book on it. It captures most of the feeling of the time including its unbounded optimism and is an accurate compendium of songs and artists. Because the music of the Sixties was central to the cultural changes that occurred and not just an accompaniment to them, it is an important historical book as well as a musical one. If you have any interest in the music or the times, get it.
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