I'm Not There - Blockbuster Exclusive - Bonus Footage Review

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(More customer reviews)It's hard to relate the Rock `n' Roll experience to film. Even harder to relate is the experience of the actual lives of rock stars. Rock stars live their lives on the edge of experience. Most rock bio-pics while great at relating the biographical details, fail at the existential experience of the person. So, maybe the way to relate an avant garde life is through an avant garde film?
We all have many selves within ourselves. Maybe it should be cellves, the different cellular aspects of our personalities that build the whole person. I'm Not There tries to capture the experience of Bob Dylan by breaking down the different aspects and personas Dylan has projected over the years of his fame. The young Woody Guthrie acolyte trying to find his voice, the Rimbaud rebel, the star, the born again preacher, the aged outlaw trying to lay low. A lot of writers, filmmakers, artists, and psychologists have all tried to break down the human psyche to one degree or another and I'm Not There does portray an interesting and complex personality in an interesting and avant garde manner.
Given it's experimental or avant garde credentials, I'm Not There isn't incomprehensible to the viewer. The portrayals of the different selves overlap and bleed into each other but the fragments fall together into the jigsaw of the whole. You just may have to spend a little time to let it all play out before you.
Probably the most daring aspect of I'm Not There is the casting of Cate Blanchett as Jude Quinn, the mid-60's era Dylan that went from folk music to electric. This could have been nothing but a cheap gimmick to flaunt the experimental nature of the film. But it isn't a gimmick, you quickly forget Blanchett is a woman playing a man, or in the context of the film you're never really conscious of it. It fits in with all the other portrayals in the film. Each is a subtle, nuanced fragment. Christian Bale's usual knock you over the head delivery is toned down to match the rest of the film. Richard Gere as the aging outlaw living in the surrealistic village of Riddle that's full of anachronisms and you're never sure if it's set in the 19th and 20th century. Gere's performance is sympathetic to a man trying to live out quietly his later years without all the fanfare and attention his early celebrity generated. A feeling I'm sure Gere can relate to. Another performance I really liked was David Cross as Allen Ginsburg. Cross leaves behind all his comic goofiness and delivers a nice little cameo.
The movie admits it's failure to categorize Dylan in the title, I'm Not There. As soon as you think you've nailed down the complexity of a person they've moved on.Special Features-There's an Introduction to the film that gives you a little thumbnail synopsis of the personas. I thought it was a little unnecessary, the movie more than adequately defines the characters. There's a commentary by Director/co-writer Todd Hynes, and a making of documentary.

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The Ballad of Bob Dylan: A Portrait Review

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(More customer reviews)Author Daniel Mark Epstein has set his goals high. How else can you explain the brave desire to assemble a new biography about someone for whom many others have already produced thousands of pages? About an individual who has already published the first volume of his own autobiography? To additionally spend time analyzing many of the tunes and lyrics created during this 50+-year musical career, knowing full well that myriad liberal arts students dissect those same lines and melodies in countless classrooms across this globe every day? What could possibly be said here and now that hasn't already been made public and well known?
Well, Mr. Epstein's got a hook. He's a fan. He has seen Bob Dylan four times in concert, with more than a decade separating each event. By anchoring his approach with those evenings (in 1963, 1974, 1997, & 2009), the author plants himself in that narrow aisle between his iconic subject matter and the rest of us in the audience. Epstein becomes Everyman, and it's easy for us to identify with his experiences and his viewpoints. We've sat in similar theaters and arenas. We know the music. The four gigs serve as the stanzas to the Dylan life ballad. Epstein's text could be sketched as a quadrupled Venn diagram. The concert hours are the overlapping slivers of time; and that which falls into the wide outside spaces represents the lives lived away from the stage, both for the performer and for the listener.
You might think, Great, four concerts. This won't take long. Wrong! The author fills in the gap of those intervening years with the kinds of details we crave from in-depth celebrity portrayals. He catches us up on what Bob Dylan was doing musically at those times and what aspects of his personal life affected his creativity, his lifestyle, and his performances. Epstein comes this close (pressed fingertips) to meeting the man in person. He interviews people close to Dylan at various points in his career. He does not dwell a lot on the topic of substance abuse; but he does document the letdown when Dylan abandoned his previous work for born-again religion at the beginning of the 1980s. We can relate. Somehow we expect our heroes (esp. our musical ones, it seems) to remain the same or to sustain a good level of predictability, even while we grow older and move in and out of relationships with people, ideas, places, etc. It doesn't occur to us that those icons are (mostly) human too, and that the same waves that change us might change them. Here we can tag along to the venues and share in Epstein's struggles to understand the varying musical styles, images and dimensions of one particularly gifted and knowledgeable singer/songwriter/painter/poet.
I saw Bob Dylan in concert in Amherst MA in November 2004. Admittedly, I'm not much of a fan. I don't own any Dylan albums, and I'm familiar only with his most popular and radio-friendly songs. But I am a huge follower of folk and rock music and I am a veteran concertgoer / reviewer. I went to the arena that night because I thought I had to see Dylan at least once in my life. And I can well remember the chills I got when he ended the evening with "Like a Rolling Stone" and came back with the encore of "All Along the Watchtower." I'm quite glad I was able to witness it. I guess journalist Ed Bradley must have been in the house that night too, because he later met Dylan at a local hotel in order to conduct his interview for "60 Minutes." Watching that TV show made the outing, in retrospect, much more memorable and real for me. That was my own little snippet of the circle: one that I kept in my mind as I was reading about Mr. Epstein's own concert memories. The lines blurred, and our encounters mingled. Anyone who has seen Dylan in person will find something to identify with here.
Cresting the 440-page mark, "The Ballad of Bob Dylan" is hardly a superficial treatment. It requires just as much dedication to read and to turn the pages as it must have taken to write them. Readers should know the generalities of the Dylan chronology before venturing into this volume, since it does not follow a typically stale biographical format. This narrative is aimed at an intelligent and thoughtful audience that wants to dive into history, musicianship, composition analysis, and critical performance -- or who just wants to hear a darn good story told well. It makes for an interesting and enlightening read for any Baby Boomer, any avid concertgoer of any ilk, and any student of popular music of the 20th and 21st centuries. And it arrives just as Bob Dylan turns 70 (!) on May 24, 2011. (... while unfortunately, his first muse and "Freewheelin'" album cover mate, Suze Rotolo, recently passed away at the age of 67.)
[This review was based on seeing an uncorrected proof of the publication.]

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Corn Flakes with John Lennon: And Other Tales from a Rock 'n' Roll Life Review

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(More customer reviews)Cornflakes with John Lennon is less a memoir of Robert Hilburn and more a history lesson of Contemporary music through his experiences. Most well known as the Country and Rock music reviewer for The Los Angeles Times, Hilburn gives us a good glimpse into his life experiences that started his passion for R&B and Rock music. He finishes up telling us of his experiences with many musicians he covered and the inside look he had into the music industry and its many changes.
Some of the musicians and bands you will hear the most about include: John Lennon, Bob Dylan, Elvis Presley, Bruce Springsteen, Johnny Cash, Waylon Jennings, Willie Nelson, The Beatles, Micheal Jackson, Janis Joplin, Elton John, Chuck D, Ice Cube, Jack White, and many more.
The viewpoints on the music industry mostly come from the views of musicians and insiders more than Hilburns personal opinion.
As a fan of rock history, this ranks right up there with the 20th anniversary 2-hour TV special of The Rolling Stones Magazine in 1987, hosted by Dennis Hopper. The insight was wonderful. Hilburn's experiences shares rock 'n roll alongside historical insights from his experiences at the time. It brings depth and meaning into the subject with a personal touch. He shows a willingness to be open minded to genres and types of popular music besides rock and roll. Hilburn goes into detail the lengths he went to to decide the legitimacy of Rap. He also discusses the criticism he received for going against societies views at the time. I greatly respect Hilburn's expectation that music should be more than superficial subjects. That music should at times be deep and give the listener something for it's soul.
As mentioned by Bono in the introduction, when he wanted to get deeper into Hilburn's life, the subject changed. Hilburn does give you bits of his life that relate to his music experiences, but little past that.
Corn Flakes With John Lennon is an excellent look into popular music's past and I highly recommend it.

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Robert Hilburn's storied career as a rock critic has allowed him a behind-the-scenes look at the lives of some of the most iconic figures of our time. He was the only music critic to visit Folsom Prison with Johnny Cash. He met John Lennon during his lost weekend period in Los Angeles and they became friends. Bob Dylan granted him his only interviews during his "born-again" period and the occasion of his 50th birthday. Michael Jackson invited Hilburn to watch cartoons with him in his bedroom. When Springsteen took to playing only old hits, Hilburn scolded him for turning his legendary concerts into oldies revues, and Springsteen changed his set list. In this totally unique account of the symbiotic relationship between critic and musical artist, Hilburn reflects on the ways in which he has changed and been changed by the subjects he's covered; Bono weighs in with an introduction about how Hilburn's criticism influenced and altered his own development as a musician. Corn Flakes with John Lennon is more than about one man's adventures in rock and roll: It's the gripping and untold story of how popular music reshapes the way we think about the world and helps to define the modern American character.

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The Sound Of The City: The Rise Of Rock And Roll Review

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(More customer reviews)As rock 'n' roll recedes into the past, what actually was rock 'n roll becomes less and less clear. The Sound of the City, first written some thirty years ago, remains the best book on the subject. Period. I know. I was there listening to it all as it unfolded.
Gillett weaves the various forms together -- vocal group, jump blues, southern pop gospel, urban big band blues, rockabilly -- and constructs a means to understand it as a musical movement.
An important strength is the emphasis on location and record label, something few younger critics understand today. We called it all rock 'n' roll then, although as Gillett relates, it all turned into blues for teenagers.
The Sound of the City remains the best overall description of the music of the 1946-1964 era.

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Dandelion: Memoir of a Free Spirit Review

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(More customer reviews)Here's a plug for someone I've never met in the form of a book review. It's a newly released autobiography called "Dandelion" by Catherine James. Her style is similar to her compatriot groupie Pamela Des Barres, but less fluttery. Its plainer style actually serves her content well, for this isn't just the tale of amusing sexual encounters among the paleontological dig-sites of the usual 60's dinosaurs, but one of real, live, actual survival.
When you see photographs of her, even now, you'll note the incontestibility that Ms. James has always been a stunner in the looks department. Her family albums of film stars and singers show this was clearly inherited as well as polished by her own self-maintenance and style. However, she was not only the product of the gorgeous genetics of a Hollywood, entertainment-enmeshed family, but also of absolutely off the charts family dysfunction, so vile that it seems part Charles Dickens and part Edgar Allen Poe, hardly something you'd associate still happening in the 20th century of her childhood.
The journey away from horribleness remains the heart of the story, no matter what era. I found a strange, personal recognition in her tale of the Mother From Hell, insofar as it showed me even if my own troublesome family had been as creative in the arts as hers, there still would have been the same friction: toxic is toxic, and unconstrained selfishness in parents is poisonous to children.
Reviewers seem to be divided on this book, some contesting that it may be lightweight in tone by someone of not overwhelming accomplishment. Others note that's it would be a fascinating read even without the name-droppy stuff. Its subhead is "Memoirs of a Free Spirit," and the tabloid-esque encounters she found as both pursuer and pursued in the heady days of the 1960's was a solution that suited her in her escape from horribleness. Metaphorically thrown into the deep end of the pool to drown, she instead learned to swim quite well enough to fashion her own happy ending. I claim take "Dandelion" for what it is, an unusual person's unusual tale of survival, with her journey attaining quite a torrent of enlightenment about family dynamics and personal relationships, for herself or for any other reader.


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Life Review

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(More customer reviews)Keith Richards. Right, he's the Rolling Stone you notice when Mick Jagger's not shaking and singing. The one who kicked his heroin addiction by having all his blood transfused in Switzerland. Who was --- for ten years in a row --- chosen by a music magazine as the rocker "most likely to die." Whose solution to spilling a bit of his father's ashes was to grab a straw and snort. Whose most recent revelation is about the size of Mick's equipment.
Yeah, that's the guy. Wild man. Broken tooth, skull ring, earring, kohl eyes --- he's Cpt. Jack Sparrow's father, lurching though life as if it's a pirate movie, ready to unsheathe his knife for any reason, or none. Got some blow, some smack, a case of Jack Daniels? Having a party? Dial Keith.
When you get a $7 million advance for your memoirs, there's no such thing as a "bad" image. But the thing about Keith Richards is, he wants to tell the truth. Like: he didn't have his blood transfused. Like: he didn't take heroin for pleasure or to nod out, but so he could tamp his energy down enough to work. Like: he and Jagger may not be friends but they're definitely brothers --- and if you criticize Mick to him, he'll slit your throat.
Why does Keith want to undercut his legend?
Because he has much better stories to tell.
And in the 547-page memoir he wrote with James Fox, he serves them up like his guitar riffs -- in your face, nasty, confrontational, rich, smart, and, in the end, unforgettable.
Start with the childhood. Keith grew up in a gray, down-and-out suburb of London. School: "I hated it. I'd spend the whole day wondering how to get home without taking a beating." By his teens, he'd figured the system out: "There's bigger bullies than just bullies. There's 'them,' the authorities." He adopts "a criminal mind." His school record reflects this: "'He has maintained a low standard' was the six-word summary of my 1959 school report, suggesting, correctly, that I had put some effort into the enterprise."
His mother is his savior. She likes music, and is a "master twiddler" of the knobs on the radio. When he's 15, she spends ten quid she doesn't have to buy her only child a guitar. (No spoilers here, but much later in the book, you're going to fight tears when he plays a certain song for her.)
The rest of the book? Keith Richards and a guitar --- and what a love story: "Music was a far bigger drug than smack. I could kick smack; I couldn't quit music. One note leads to another, and you never know what's going to come next, and you don't want to. It's like walking on a beautiful tightrope."
What music interests him? Oh, come on: the music of the dispossessed --- black Chicago blues. Mick Jagger, who lives a few blocks away and is prosperous enough to actually buy a few records, also loves this music. To say they bond is to understate: "We both knew we were in a process of learning, and it was something you wanted to learn and it was ten times better than school."
The Rolling Stones form. The casting is quite funny: "Bill Wyman arrived, or, more important, his Vox amplifier arrived and Bill came with it."
Today bands dream of getting rich. Not the Stones: "We hated money." Their first aim was to be the best rhythm and blues band in London. Their second was to get a record contract. The way to do that was to play.
Something happened when the Stones were on stage, something sexy and dangerous and never seen before. The Beatles held your hand. In 18 months, the Stones never finished a show. Keith estimates they played, on average, five to ten minutes before the screaming started, and then the fainting, until the security team was piling unconscious teenage girls on the stage like so much firewood.
Fame. When it comes, there's no way out; you need it to do your work. The Stones at least brought a new look to it; they provoked the press, didn't care what the record company wanted. Only the music mattered. As Berry Gordy liked to say, "It's what's in the grooves that counts."
"The world's greatest rock band" --- between 1966 and 1973, it's hard to argue that they weren't. Songs poured out of them: "I used to set up the riffs and the titles and the hook, and Mick would fill in. We didn't think much or analyze....Take it away, Mick. Your job now. I've given you the riff, baby."
Drugs? Necessary. In the South, a black musician laid it out for Keith: "Smoke one of these, take one of these." Keith would move on beyond grass and Benzedrine to cocaine for the blast and focus, heroin for the two or three day work marathon. Engineers would give their all and fall asleep under the console, to be replaced by others. Keith would soldier on. "For many years," he says, "I slept, on average, twice a week."
With money and success, though, there's suddenly time to think --- in Keith's case, about all the things about Mick that drove him nuts. His interest in Society. His egomania. His insecurity. And his promiscuity: "Mick never wanted me to talk to his women. They end up crying on my shoulder because they've found out that he has once again philandered. What am I gonna do? The tears that have been on this shoulder from Jerry Hall, from Bianca, from Marianne, Chrissie Shrimpton... They've ruined so many shirts of mine. And they ask me what to do! How should I know? I had Jerry Hall come to me one day with this note from some other chick that was written backwards --- really good code, Mick! --- "I'll be your mistress forever." All you had to do was hold it up to a mirror to read it... And I'm in the most unlikely role of counselor, "Uncle Keith." It's a side a lot of people don't connect with me."
If only it could be so simple as a man and his guitar! But there are other people involved, in close association, with a lot at stake --- and here comes the business story, the drug story, the power story. It's funny and silly. And, after a while, sad. Mick breaks away from the Stones and makes a solo record: "It was like 'Mein Kampf.' Everybody had a copy but nobody listened to it." Mick gets grand. Keith's lost in drugs. From 1982 to 1989, the Stones don't tour; from 1985 to 1989, they don't go into the studio.
And now they are rich. Beyond rich. Every time they tour or license a song, their wealth mounts -- Keith, by most estimates, is worth at least $250 million. It's ironic, really, for by any creative analysis, the Stones were over after "Exile on Main Street." And yet, here they are, almost four decades later, capable of producing the most lucrative tour of any year.
Like so many things these days, music is about branding -- and there's no bigger brand than the Rolling Stones. Keith may slag his band mates; he'd never mock the Stones. Because the band is, if his version is accurate, really his triumph. Mick provided the flash, but in rock and roll, a great riff will always trump flash.
A great riff will also trump time. We love rock for many reasons, and not the smallest is the way it makes us feel young, as if everything's possible and the road is clear ahead of us. And here is Keith Richards, who never grew up and is now so rich he'll never have to.
His story slows as it approaches the present, and you start to wonder if this Peter Pan life can get to its end without real pain. And you think, well, there's another side to this -- if Mick started writing tonight, he could have his book out before he's 70. But mostly, you wish you could go back to the beginning of "Life" and start again.

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Rolling Stone Interv Review

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(More customer reviews)The presses of Rolling Stone magazine began to roll in San Francisco in the midst of a world-shaking consciousness-raising wake-up call centered around music, peace, and love. Many magazines published interviews, but The Rolling Stone Interview was definitive--in the interviewee's own words, unedited, uncensored, and whatever amount of space needed.
This book includes important interviews from 1967 to 1980 with some of the most great musicians of the time. Their words are as timeless as the music.
Ralph Gleason was a SF music columnist with an ear for great music from the jazz era to the emerging music of the mid 60s. Gleason joined with Rolling Stone Founder/Publisher Jann Wenner and contributed crucial reviews about the local bands and musicians. (Those columns alone would make an important book about the times.) Gleason did a Rolling Stone Interview with Bob Dylan in 1967. Dylan was interviewed again in 1969 by Wenner. The amazing 1972 Rolling Stone Interview with Jerry Garcia was a conversation with Wenner and Charles Reich.
The book is illustrated with photographs.
The interviews in this book--
Donovan 1967 (J Carpenter)
Bob Dylan 1967 (Gleason)
B.B. King 1968 (Gleason)
Eric Clapton 1968 (Wenner)
Pete Townshend 1968 (Wenner)
Mick Jagger 1968 (J Cott)
Jim Morrison 1969 (J Hopkins)
Phil Spector 1969 (Wenner)
Bob Dylan 1969 (Wenner)
Little Richard 1970 (D Dalton)
Van Morrison 1970 (H Traum)
Grace Slick & Paul Kantner 1970 (B Fong-Torres)
Rod Stewart 1970 (J Morthland)
John Lennon 1971 (Wenner)
Keith Richards 1971 (R Greenfield)
Jerry Garcia 1972 (Wenner & C Reich)
Paul Simon 1972 (J Landau)
Chuck Berry 1972 (P W Salvo)
Keith Moon 1972 (J Hopkins)
James Taylor & Carly Simon 1973 (S Werbin)
Ray Charles 1973 (B Fong-Torres)
Johnny Cash 1973 (R Hilburn)
Stevie Wonder 1973 (B Fong-Torres)
Elton John 1973 (P Gambaccini)
Paul McCartney 1974 (P Gambaccini)
Jimmy Page & Robert Plant 1975 (C Crowe)
Neil Young 1975 (C Crowe)
Mick Jagger 1978 (J Cott)
Linda Ronstadt 1978 (P Herbst)
Bob Dylan 1978 (J Cott)
Paul McCartney 1979 (P Gambaccini)
Joni Mitchell 1979 (C Crowe)
James Taylor 1979 (P Herbst)
Pete Townshend 1980 (G Marcus)
Billy Joel 1980 (T White)


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From its early days in San Francisco, Rolling Stone has covered the music scene from the inside with colorful, penetrating, and brilliant interviews with the men and women who are rock and roll. This definitive collection represents the best of Rolling Stone's first decade and a half.

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The History of Rock and Roll (2004) Review

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(More customer reviews)Incredibly entertaining; especially for anyone who has lived through the times talked about. Many, many of the songs ARE full-length versions, albeit with commentary provided over the top. But, after all, it is a documentary and not a CD set. I watched it about three times already and have included here what I would have liked to have known, mainly what songs and artists are covered, in essentially the order they're presented in. I may have missed a few, but what follows is 99% correct:
Episode One: Rock `n' Roll Explodes
*With or Without You - U2
*Wild Think - Jimi Hendrix
*Money Honey - Elvis Presley
*Born to Run - Bruce Springsteen
*Billie Jean - Michael Jackson
*Shut `Em Down - Public Enemy
*I Just Want to Make Love to You - the Rolling Stones
*Got My Mojo Working - Muddy Waters
*Hey, Good Looking - Hank Williams Sr.
*That'll be the Day - Buddy Holly
*Mama, He Treats Your Daughter Mean - Ruth Brown
*Caldonia - Louis Jordon & the Tympani 5
*Shake, Rattle & Roll - Big Joe Turner
*I Got a Woman - Ray Charles
*Bo Diddley - Bo Diddley
*Blue Monday - Fats Domino
*Maybellene - Chuck Berry
*Reddy Teddy - Little Richard
*Tutti Frutti - Little Richard
*Rock Around the Clock - Bill Haley & the Comets
Episode Two: Good Rockin' Tonight
*Roll Over Beethoven - Chuck Berry
*Lucille - Little Richard
*How Much is that Doggy in the Window - Patti Page
*Hound Dog - Elvis Presley
*Don't Be Cruel - Elvis Presley
*Blue Suede Shoes - Carl Perkins
*Whole Lotta Shakin' Going On - Jerry Lee Lewis
*Oh, Boy! - Buddy Holly & the Crickets
*Bye Bye Love - the Everly Brothers
*Only the Lonely (Know How I Feel) - Roy Orbison
*At the Hop - Danny and the Juniors
*Words of Love - Buddy Holly
*Calendar Girl - Neil Sedaka
*You've Lost that Lovin' Feeling - the Righteous Brothers
*Be My Baby - The Ronettes
*Searchin' - the Coasters
*Stand By Me - Ben E. King
*The Twist - Chubby Checker
Episode Three: Britain Invades, America Fights Back
*Twist and Shout - the Beatles
*I Get Around - the Beach Boys
*The Way You Do the Things You Do - the Temptations
*Don't Let the Sun Catch You Crying - Gerry & the Pacemakers
*House of the Rising Sun - the Animals
*Needles and Pins - the Searchers
*Around and Around - the Rolling Stones
*Satisfaction - the Rolling Stones
*I'm Into Something Good - Herman's Hermits
*A World Without Love - Peter and Gordon
*You Really Got Me - the Kinks
*As Tears Go By - Marianne Faithful
*You Can't Hurry Love - the Supremes
*Do You Believe In Magic? - The Lovin' Spoonful
*Good Lovin' - the Young Rascals
*Turn! Turn! Turn! - The Byrds
*Creeque Alley - Mama and Papas
*Can't Explain - the Who
*Carrie-Anne - the Hollies
*Keep on Running - the Spencer Davis Group (featuring Steve Winwood)
*Paint It Black - the Rolling Stones
Episode Four: The Sounds of Soul
*Sweet Soul Music - Arthur Conley
*Georgia On My Mind - Ray Charles/Michael Bolton
*Papas Got a Brand New Bag - James Brown
*You Send Me - Sam Cooke
*Baby Workout - Jackie Wilson
*What'd I Say - Ray Charles
*In the Midnight Hour - Wilson Pickett
*I've Been Loving You Too Long (to Stop Now) - Otis Redding
*Dr. Feelgood - Aretha Franklin
*I Heard it Through the Grapevine - Gladys Knight & the Pips
*Love is Like a Heatwave - Martha Reeves & the Vandellas
*I Can't Help Myself - the Four Tops
*Ooo Baby Baby - the Miracles
*Come See About Me - the Supremes
*My Girl - the Temptations
*Choice of Colors - Curtis Mayfield
*Say It Loud, I'm Black & I'm Proud - James Brown
*A House is not a Home - Luther Vandross
*Ain't that Peculiar - Marvin Gaye
*I Want You Back - the Jackson 5
*For the Love of Money - O'Jays
Episode Five: Plugging In
*On the Road Again - Bob Dylan
*It's Alright Ma (I'm Only Bleeding) - Bob Dylan
*Talkin' New York - Bob Dylan
*Mojo Hand - Sam "Lightenin'" Hopkins
*I Ain't Marchin' Anymore - Phil Ochs
*Handsome Johnny - Richie Havens
*Blowin' In the Wind - Peter, Paul & Mary
*All My Trials - Joan Baez
*The Times They Are a-Changin' - Bob Dylan
*I'll Roll in My Sweet Baby's Arms - the Monroe Brothers (?)
*Maggie's Farm - Bob Dylan
*Like a Rolling Stone - Bob Dylan
*My Back Pages - Bob Dylan
*Mr. Tambourine Man - the Byrds
*California Dreamin' - the Mamas & Papas
*Surfer Girl - the Beach Boys
*God Only Knows - the Beach Boys
*Purple Haze - Jimi Hendrix
*Paint It Black - the Animals
*Ball & Chain - Janis Joplin
Episode Six: My Generation
*Somebody to Love - Jefferson Airplane
*Tell Mama - Janis Joplin
*China Cat Sunflowers - the Grateful Dead
*Foxy Lady - Jimi Hendrix
*When the Music's Over - the Doors
*Up on Cripple Creek - the Band
*Street Fighting Man - the Rolling Stones
*I Feel Free - Cream
*Baba O'Riley - the Who
*Handsome Johnny - Richie Havens
*Fixin' to Die Rag - Country Joe and the Fish
*Soul Sacrifice - Santana
*Suite: Judy Blue Eyes - Crosby, Stills & Nash
*Down By the River - Crosby, Stills, Nash & Young
*Big Yellow Taxi - Joni Mitchell
*Voodoo Chile - Jimi Hendrix
*Touch of Grey - the Grateful Dead
Episode Seven: Guitar Heroes
*Black Magic Woman - Santana
*Eruption - Van Halen
*Sultans of Swing - Dire Straits
*Won't Get Fooled Again - the Who
*Blue Moon of Kentucky - Elvis
*Hello, Mary Lou - Ricky Nelson
*Johnny B. Goode - Chuck Berry
*Texas Flood - Stevie Ray Vaughan
*Sweet Sixteen - B.B. King
*The Last Time - the Rolling Stones
*Train Keep A Rollin' - the Yardbirds
*Layla - Derek and the Dominos
*Dazed and Confused - Led Zepplin
*Sunshine of Your Love - Cream
*Voodoo Chile - Jimi Hendrix
*Sweet Child O' Mine - Guns & Roses
*Bullet the Blue Sky - U2
Episode Eight: The 70's: Have a Nice Decade
*Bennie & the Jets - Elton John
*Reeling in the Years - Steely Dan
*How Many More Times - Led Zepplin
*Paranoid - Black Sabbath
*Whipping Post - Allman Brothers
*Do That Stuff - Parliament/Funkadelic
*Get Up Stand - Bob Marley
*I Want to Take You Higher - Sly and the Family Stone
*Superstition - Stevie Wonder
*Brain Damage - Pink Floyd
*Bohemian Rhapsody - Queen
*Sweet Emotion - Aerosmith
*Rock and Roll All Night - Kiss
*School's Out - Alice Cooper
*Ziggy Stardust - David Bowie
*Fame - David Bowie
*Running on Empty - Jackson Browne
*Go Your Own Way - Fleetwood Mac
*Do You Feel Like We Do - Peter Frampton
*Y.M.C.A. - the Village People
*Refugee - Tom Petty
*Quarter to Three - Bruce Springsteen
*Episode Nine: Punk
*Anarchy in the U.K. - the Sex Pistols
*The Passenger - Iggy Pop
*Sweet Jane - the Velvet Underground
*Back in the U.S.A. - the New York Dolls
*Blank Generation - the Heartbreakers
*Rockaway Beach - the Ramones
*Psycho Killer - Talking Heads
*Gloria - Patti Smith Group
*Garageland - the Clash
*Go There Natty - U-Roy
*Alison - Elvis Costello
*God Save the Queen - the Sex Pistols
*No Fun - the Sex Pistols
*Johnny Hit and Run Pauline - X
*Radio Radio - Elvis Costello and the Attractions
*Jackson, Monk and Rowe - Elvis Costello
*London Calling - the Clash
*Message of Love - the Pretenders
*I Will Follow - U2
*Every Breath You Take - the Police
*Smells Like Teen Spirit - Nirvana
*Basket Case - Green Day
Episode Ten: Up From Underground
*Whip It - Devo
*Our Lips are Sealed - the GoGos
*Do You Really Want to Hurt Me? - Culture Club
*The Breaks - Kurtis Blow
*The Message - Grandmaster Flash and the Furious Five
*Billie Jean - Michael Jackson
*Rock Box - Run-D.M.C.
*Walk this Way - Run-D.M.C. with Aerosmith
*Fight the Power - Public Enemy
*Sabotage - Beastie Boys
*Justify My Love - Madonna
*Sweet Dreams (Are Made of This) - Eurythmics
*Money for Nothing - Dire Straits with Sting
*Give It Away - Red Hot Chili Peppers
*Express Yourself - N.W.A.
*Escape from the Killing Fields - Ice-T
*My Hometown - Bruce Springsteen
*Let's Talk About Sex - Salt 'n' Pepa
*Even Better Than the Real Thing - U2
*Long View - Green Day
*Radio Song - R.E.M. with Krs-One
*Rumblefish - the Goats


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Ten titanic hours of the greatest rock extravaganza ever! This definitive 10-part documentary covers rock 'n' roll history from its humble beginnings in the '50s to Lollapalooza in the '90s. Fans can experience their favorite rock 'n' roll moments all over again through hundreds of exclusive interviews, classic footage, and unforgettable in-concert performances from rock 'n' roll's biggest stars. A must-own for any rock 'n' roll fan!

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Shakey: Neil Young's Biography Review

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(More customer reviews)I'm a huge Neil Young fan, with over two dozen of his albums in my collection. But I'm not a fanatic, and as a result I found his biography, "Shakey" to be as stimulating, but as frustratingly erratic as the artist himself. One thing Neil Young could never be accused of is self-censorship, and author Jimmy McDonough writes about him in the same vein, telling in nearly 800 pages a stoory that could have been more succinctly and powerfully conveyed in about half that number. McDonough spent over ten years working on the book, however, and I guess he felt that his huge investment of time justifies the book's length.
The book is a rambling narrative of Young's life, mainly as seen through the eyes of his closest associates, but is told in the Hunter S. Thompson "gonzo" style of journalism as McDonough frequently inserts himself into the story. There is nothing necessarily wrong with this approach, in may have in fact been necessary, but it ends up padding the length. The main story is interspersed with a hundred or so pages of text from McDonough's various interviews with Young in which the artist is quoted verbaitim. It is a fascinating and unprecedented look into Young's mind, but again it starts to become wearing after awhile. Lengthy passages about such relatively uninteresting subjects as Young's passion for model trains slow things down even further.
Ultimately, "Shakey" is likely to be endured only by Young's most ardent fans and will not win the artist any new converts. But I get the feeling that Young would prefer it that way. As McDonough recounts, the quickest way to get Young to drop a song from an album is to tell him its going to be a surefire hit. He is that rare rock star who actually eschews popularity. Young remains a startlingly original talent after nearly four decades in the recording busines and for all of its flaws, "Shakey" manages to capture his essence.

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The Advanced Genius Theory: Are They Out of Their Minds or Ahead of Their Time? Review

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(More customer reviews)I really like this book. No one who reads it will agree with even half the ideas put forth, but that's what makes it so fascinating--the reader will have strong opinions. I found myself thinking, "No, no--that's not right--but is it?" This is a very controversial but very enjoyable book! This book will appeal not only to hard-core music lovers, but also to a broader audience who wonders why otherwise rational people begin do and say strange things. At last, an explanation of why I do the nutty things I've been doing in my later years!

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Rock And Roll: A Social History Review

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(More customer reviews)There is no shortage of books purporting to give historical accounts of American rock and roll music. From trade paperbacks to more scholarly treatments (like Steve Waksman's "Instruments of Desire") these texts vary widely in scope and quality. Paul Friedlander's "Rock and Roll: A Social History" is one of the better treatments of this music, although it suffers from some difficulties. Published on Westview Press, the book is written by a musician turned academic historian, and is targeted towards an intelligent readership, although not necessarily towards the strict academician.
The book exhibits a number of strong points, including an opening essay providing a hermeneutics of rock and roll, focusing on open-ended readings of both music and lyrics, while acknowledging the biases and cultural positioning of the critic. Friedlander avoids exclusivist and reductionistic modes of analysis, instead arguing for pluralistic elements of both "escape" and "enlightenment" in popular music. This allows him to maintain a critical distance, but avoids a simplistic overgeneralization of the subject matter, as seen in both left-wing music critics like Theodore Adorno and right-wing critics like Orrin Hatch.
The bulk of Friedlander's book, however, focuses on tracing a narrative of influences from artist to genre and back again. While useful, this reveals a limitation on Friedlander's part, a subterranean impulse to regard the history of music as a history of artists. While the fetishizing of the "artist" is nothing new (dating at least from the publication of "Sentimental Education" by French realist Gustav Flaubert) it deserves to be interrogated and examined, especially in a text claiming to be a "social history."
Friedlander's narrative progresses from a largely white middle class phenomenon in the early fifties, to an infiltration of urban R +B into the musical sensibilities of white teens. Friedlander is careful to analyze the appeal of early artists in terms of race and sexually rebellious theme, as in the case of Little Richard and Jerry Lee Lewis as compared to Elvis Presley. Friedlander devotes complete chapters to supergroups, and artists, like The Beatles, Rolling Stones, and Bob Dylan, while chronicling the interplay of Soul and Motown music with issues race. Later chapters are devoted to themes of "decades" (70's, 80's) while punctuating these chapters with genre examinations, such as Punk Rock and Folk Rock. The attention given to race as a guiding issue in rock and roll music is admirable, even if some of the particular conclusions are debatable-here Friedlander shows himself superior to many other treatments of the subject, which often ignore Soul, Motown or post-50's R+B altogether.
Another strength of the book is an extensive discography of the artists covered (and skipped too) in the book. Again here Friedlander rises above others in his careful treatment and guidance to the reader regarding label reissues, as well as refusing to fetishize the "original album" as the proper unit of record collecting (a fairly recent and annoying trend). At the same time, Friedlander's endnotes are frustrating, leaving very few openings to track down interpretations and influences in his own writings.
In the final analysis, "Rock and Roll : A Social History," is a valuable but insufficient introduction, especially with regard to social issues other than race. An excellent place continue reading is Steve Waksman's "Instruments of Desire," an excellent cultural history of the electric guitar.
-Christopher W. Chase, PhD Fellow, Michigan St. Univ.

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Rock and Roll: An Introduction Review

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(More customer reviews)This textbook is good overall and very suitable for college rock and roll courses.
Michael Campbell is the author of AND THE BEAT GOES ON, a textbook about the history of American Popular Music. This textbook focuses just on rock and roll.
The first few chapters cover the roots of rock n' roll: the basics of blues, boogie woogie, and other popular styles in the years after World War II. The authors spend a large chunk of pages on Rock's ascendance from 1964-1974 (about 170 pages). The period from 1974-1989, as a comparison, receives about 90 pages.
The book's strengths are their thoroughness of explanation and clarity of the text. While the textbook is certainly not exhaustive or complete (somebody always complains that THEIR FAVORITE band was overlooked), all the major styles and bands are discussed.
Campbell and Brody do a good job of placing each rock movement within its historical context and tracking the progression of rock through the mid-90s.
The pictures and diagrams can be helpful, especially to non-music majors. The key terms at the end of each chapter are basic, and the study questions are somewhat helpful.
One strong criticism (and certainly any R&R textbook will run into this) is its listening examples. Because these songs are still so popular, it is impossible to get all of the recordings discussed on one set of recordings. The discography at the back of the book shows that most of the songs discussed are on several anthology CDs, but there are many which have to be bought piecemeal. Once again, any textbook on rock will likely have this problem.
I think undergraduate professors should strongly consider this book for their courses, as it takes a straightforward approach to the subject.


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ROCK AND ROLL: AN INTRODUCTION, 2ND EDITION takes advantage of online delivery of recorded music.For your study of a playlist of 115 rock-era songs discussed in the text. The extensive book companion website, includes timed listening guides, a multimedia-enhanced glossary, links to chapter playlists on both iTunes and Rhapsody for those songs not included on the CD set, and clearly organized recommendations for further listening.

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On This Day in Music History: Over 2,000 Popular Music Facts Covering Every Day of the Year Review

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(More customer reviews)On This Day In Music History: Over 2,000 Popular Music Facts For Every Day Of The Year by six-time Grammy- winning music publisher and historian Jay Warner offers a chronological wealth of "bite sized" infobits on the men, women, companies, and inventions that compiled and assembled provide an inherently fascinating and wonderfully informative history of music in popular culture. From the installation of the first Jukebox at San Francisco's Royal Hotel in 1899, to the induction of Tina and Ike Turner into the Rock and Roll Hall of Fame in 1991 (with producer Phil Spector accepting the award in their absence), On This Day In Music History makes for informed and informative browsing. Presented in a calendar formate and enhanced with more than 180 black/white images, On This Day In Music History will prove a welcome and popular addition to personal and community library Music History Studies collections.


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The dictionary defines trivia as: "matter or things of very slight importance, commonplace, or ordinary." Yet anyone who has ever read anything about a favorite sports star, singer, historic figure or celebrity will find that it is often the so-called trivia that makes things memorable about that person or event. Nowhere is this more apparent than in this book. Add the context of the progression of hundreds of parallel lives through the timeline of a pseudo calendar format and it becomes anything but commonplace. This is especially intriguing when coupled with music history. Over 2,000 entries are listed in chronological order, covering every day of the year. By combining a calendar format with wonderful photos and illustrations, and an elevated element of trivia, this new kind of to-the-point history in "on-this-day" format sets a new trend in books for the instant gratification of 21st-century culture.

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The Rolling Stone Interviews, 1967-1980: Talking with the Legends of Rock & Roll Review

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(More customer reviews)Although I admit, I am not a Rolling Stone kind of guy, I nevertheless have respected the Rolling Stone Interviews (and interviewers) over the years the same as I still respect the legendary Playboy interviews. This was the first time I had ever read a collection of interviews by Rolling Stone, and I must say that using the Playboy Interviews as a yardstick, I was very disappointed in them. I think the reason I was disappointed is that I expected a lot more.
It is a truism deserving respect these days, that Artists in our culture may be the last of a dying breed of freethinkers. They may be all that remains of those whose minds have not yet been completely "socially adjusted" (i.e. lobotomized into Americanized consensus herd-think). So, naturally I was expecting some freewheeling exchanges here that would take the reader beyond the "beaten path." However, this was not to be the case. Even from the iconoclast Bob Dylan, the interviews here were kept close to the already well-known script. Issues such as how one artist feels about another one, whether they were on drugs or not, their next venues, what they think of their older music, etc, dominated these interviews and seemed to me are the kind of questions that would have been more appropriate for lesser magazines. Said another way, this collection was entirely too "chatty" and superficial for my taste. Instead of engaging in either the intricacies of the music, or into more philosophical issues about the art itself or even about what things affect the artists lives outside of music, it hewed close to inane issues more suitable for "People" magazine than for one with Rolling Stone's reputation.
It unnecessarily made those interviewed seem one-dimensional and shallow. And while this may indeed be the case for the run-of-the-mill pop music star, the collection here, for the most part, was intended to represent the trailblazers and the cream of the crop, and as a result, I expected the interviewer to get beneath the surface to help us understand from whence their creativity springs? But here the reader learns very little that he could have gleaned from lesser-known pop rag sheets. Two stars

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That Would Be Me: Rock & Roll Survivor To Hollywood Actor Review

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(More customer reviews)I was hoping Mickey was going to write his autobiography, after I watched his 1966 World Tour: The Home Movies DVD. In the DVD, Mickey told some great stories about his time as a drummer for Bob Dylan and Johnny Rivers.

Well, Mickey has written a fascinating book about all his travels being a drummer for Trini Lopez, Johnny Rivers, Bob Dylan and Kenny Rogers & the First Edition. He has great stories about some of the famous and infamous people he has met in his life. In the book, he recounts his meeting of everyone from Frank Sinatra and the Beatles to Sam Ginacana & Jack Ruby.
He talks extensively about the 1966 USO tour to Vietnam with Johnny Rivers & Ann-Margaret as well as the famous Dylan World Tour of 1966, when Dylan went Electric! Mickey offers great details on the people he met and places he saw 40 years ago; he must be one of the few musicians of the 1960's, who can remember the 60's!
Mickey is very honest in the book, telling readers about his dalliances on the road during his first marriage and his lack of attention to the business side of Show Business. Luckily, he has resolved both issues in his life.
After being in Rock n' Roll bands for 20+ years, Mickey became an actor in the 1970's, but the book is a little thin on that portion on his life compared to his years working in the music industry.
I think this is a great book and I would recommend it to anyone who enjoys stories about show business.
Don't forget to checkout the aforementioned 1966 World Tour: The Home Movies DVD as well.


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Today is a day I've been dreading for a long time. Sitting here watching the Cincinnati Bengals and the Houston Oilers playoff game out of the corner of my eye, I realize that I cannot procrastinate the starting of this book any longer. My goal has been to write this book for at least the last fifteen years, but I wanted someone else to do the dirty work. That is just not going to happen. I'm stuck with this mess and it's up to me and me alone. I lived in the rock-and-roll world for more than twenty years as the drummer for some of the most famous people in the business. I've also had the pleasure of sitting in, backing up, and knowing some of the all-time greats. However, I've seen these people from a little different angle than anyone else . . . from center stage, looking at you, the audience. I used to joke and say, "I've seen the back of some of the most famous heads in the world. That's a fact. My musical career started as the drummer with a young singer from Dallas, Texas by the name of Trini Lopez. We were together for almost eight years. That collaboration took me to Los Angeles, California. My recordings with Trini include eight albums, starting with Trini Lopez "LIVE" at PJ'S. It was in L.A. that I hooked up with an Italian kid from Baton Rouge, Louisiana. His name was John Ramistella, better known as Johnny Rivers. During my time with Johnny, I had the incredible opportunity of spending time in Viet Nam in 1966 with Ann-Margret. We are still friends today. Eat your heart out! After the stint with Johnny came perhaps the ultimate musical challenge. I became the drummer with the legendary kid from Hibbing, Minnesota, the spokesman for the world of folk music, Bob Dylan and the group that started out as The Hawks and later became known as The Band. At a recent speaking engagement for a Bob Dylan convention in Manchester, England, I was introduced as the drummer on the greatest rock-and-roll tour in history

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Double Trouble: Bill Clinton and Elvis Presley in a Land of No Alternatives Review

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(More customer reviews)This book should probably rate somewhere around 3 or 4 stars. It isn't Marcus's best--that would be MYSTERY TRAIN or LIPSTICK TRACES--but anything by this fine critic is a whole lot better than the average nonfiction tripe out there (e.g., another cash cow "case" against one or both of the Clintons).
Granted, the connection between Elvis and BC is no stronger than the connection between, well, me and Mahatma Gandhi, but if you hold a magnifiying glass up close enough to a watermelon and squint your eyes, you can see an image of the Virgin Mary. And a number of pieces collected under this misleading title are not concerned, even in a Marcusian "world in a leaf of grass" way, with either Elvis or Clinton.
Having said this, no one understands the relationship between rock and American culture, past and present, better than Marcus. He is always wise, trenchant, and--though sometimes overly mystifying--strongly moral. As I read Marcus I always think, "This guy's on my side; he's saying what I would like to say if I could think of the right words." This applies to a lesser Marcus work (like this one) as well as the major ones (and he's about due for one sometime soon).

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Sounds Like Teen Spirit: Stolen Melodies, Ripped-Off Riffs, and the Secret History of Rock and Roll Review

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(More customer reviews)This book was a lot of fun. It included the sound-alikes everyone knows - "My Sweet Lord" and "He's So Fine," "Sweet Little Sixteen" and "Surfin' U.S.A." - and some surprises. Did you know, for example, that Radiohead's "Creep" borrows from the Hollies' "The Air That I Breathe," and that Bon Jovi's "You Give Love A Bad Name" was re-worked from a Bonnie Tyler song? I didn't, and it made me listen to those songs to hear the resemblances.
I wish the book had been twice as long, as there certainly are more such examples. I also wish the author had included a CD with examples, but I'm sure that would have been a copyright nightmare.
The book, as fun as it is, is full of printer's errors. Who are "Nirvina" and "Holwin' Wolf?" I hope the sequel is more carefully edited.

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"A fun read that'll have you replaying the songs in your mind and on your stereo."—Chicago TribuneHave you ever listened to a new song and felt as if you'd heard it before? It's not your imagination. Melodies are "borrowed," consciously or subconsciously, more than you might think. For instance, do you know:
That U2's "Beautiful Day" shares part of its tune with an a-ha hit from the eighties?Why Huey Lewis was so upset when he first heard Ray Parker Jr.'s "Ghostbusters"?How John Lennon's classic "Imagine" bears an uncanny resemblance to a novelty record cut by his dad?

Sounds Like Teen Spirit tells the fascinating true stories behind these and many other "sound-alike" songs. Showcasing well-known artists from the Beatles to Kraftwerk, the Staple Singers to U2, it's a virtual catalog of pop music's "secret history" for casual and hardcore rock-and-roll fans alike.With this entertaining and informative guide, you'll be surprised by the tremendously varied musical influences on your favorite songwriters and performers, and you'll develop a genuine appreciation for what it takes to create a melody that is comfortable and pleasing and yet fresh and original. Best of all, you're sure to discover some great artists and songs and hear familiar music in a fresh, new way!

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