Follow the Music: The Life and High Times of Electra Records in the Great Years of American Pop Culture
Follow the Music: The Life and High Times of Electra Records in the Great Years of American Pop Culture
Customer Review: Lovely telling of Elektra and the ’60s music industry
Elektra emerged from the ’60s as one of a very few independent labels to match the majors success. While others had fleeting commercial success or labored in record-collector obscurity, Elektra managed to maintain its artistic roots as it found its way up the top-40 charts. Label founder, Jac Holzman, and co-writer Gavan Daws re-tell the music industry’s transformation to a conglomeratized business through the prism of Elektra’s emergence in Greenwich Village folk clubs to its absorption into the WEA triad.
Holzman’s first-person reminiscences are brilliantly interwoven with interviews from many of those who were there, providing additional shades to many of the story’s events. The first half of the book is particularly fetching, following Holzman as he founds his label amid the folk revival of the early ’60s, and makes up business practices to match his feel for the art and artists. Also of great reward are Holzman’s tech-rich descriptions of equipment and recording sessions. Less incisive is Elektra’s flight into the arms of Warner Brothers, no doubt reflecting Holzman’s relative disinterest in the business of music.
Customer Review: great book about the music biz
This book really knocked me out. It’s a great look inside the sixties and seventies music business. What makes it particularly appealing is that the author was not just there but one of the major figures who made it happen. Jac Holzman and Gavan Daws have chosen to write the book from multiple points of view, quoting extensively from many of the best artists and producers of the time (even when their point of view is uncomplimentary or very different from the authors’). FOLLOW THE MUSIC lets you in on the party from many fascinating points of view. Reading this book brought me back to a time when this end of the century was being invented. I really loved it.
-
Pop Music: Technology and Creativity - Trevor Horn and the Digital Revolution (Ashgate Popular and Folk Music Series)
Pop Music: Technology and Creativity - Trevor Horn and the Digital Revolution (Ashgate Popular and Folk Music Series)
Customer Review: It Ain?t What You Do, It?s the Way That You Do It
The first paragraph of this excellent book says it all :
“This book is intended for all those - students and teachers, specialists and non-specialists alike - who wish to approach pop music as an artistic, and not primarily as a social, cultural or historical phenomenon. Its main argument is that musical creativity in pop music is inextricably bound to developments in audio technology and the working practices which ensue. Because of the strength of this relationship, pop music differs in a number of important and significant ways from other kinds of popular music. This aspect is exemplified in this study through analysis of several recordings by Trevor Horn, who is widely acknowledged as the most important, innovative and successful British pop record producer of the early 1980s.”
Clearly the book is not about Trevor Horn: the book discusses the close relationships between technology and creativity in the case of pop music and uses some of Mr. Horn’s work to exemplify those ideas. Trivia buffs with a yen to know whether he works with a Chipmunk 451 or a Pinky and Perky 452 will undoubtedly prefer books in the style of Howard Massey’s where such gratuitous urges are amply satisfied. For those of a more enquiring mind who prefer to ask ‘why’ rather than ‘what’; who prefer a book couched in unusually accessible academic prose rather than a list of supernumerary studio equipment; to those who are party to the secret that “It Ain’t What You Do, It’s the Way That You Do It”; then this book is for you. That said, there is actually plenty of information on the equipment Mr. Horn uses and, more importantly, to what creative purpose.
For the serious student and for the teacher of popular music, the book is replete with a wealth of original insight and incisive analysis that ranges from visual to musicological to technical (the latter including, for the uninitiated, useful definitions of terminology such as compression). Worth mentioning are the points made on sampling. Prima facie, sampling may seem to be the final nail in the coffin of human musicality; a dry digital technique capable of replicating ad infinitum and with machine-tooled precision the utmost nuance of the human musical experience. To Warner though, samples and samplers offer “ways of countering the sonic impact of purely machine-driven and machine-generated music” and “their imperfections provide their aesthetic significance”.
The book’s author is quite right when he pinpoints that textual analysis of popular/pop music has suffered as a result of the dominance of cultural studies and is forthright in making the case that pop music is a worthy subject for textual academic study. Furthermore, the central thesis that technology is inextricably bound to creativity in pop music marks an important new departure in the academic study of popular music. Certainly, there have been writings on the use of or development of technology in the recording industry (Chanan for example), but these tend to be historical. There have been textual analyses of pop music (Tagg etc.), but these have ignored or bypassed the influence of technology. It would not be stretching a point too far to say that Timothy Warner’s book is the first major work to provide the spark in the gap missing in previous endeavours. For that fact alone the book is to be both commended and recommended.
Finally, a cat among the pigeons quote from Trevor Horn in response to the question that forms the crux of the book Is pop music a fundamentally technological art form?: “Yeah. That’s a fascinating question. In a lot of respects, even though the classical - you know the straight music people - might fancy themselves, we’ve got them fucking licked…”.
Good reading!
Customer Review: Definitely a ?must?.
Pop Music, Technology and Creativity is the most original and wide-ranging book on pop music I have ever read. While focusing on the use of technology, which Warner considers to be one of the distinctive traits of pop music, this book is obviously not intended for the ? techies ?. Warner is careful to avoid all unnecessary jargon, and technology is always discussed in terms of its creative potential - never in a vacuum.
One of the many strengths of this extremely well informed book is that pop music is seen as a complex and multifaceted artefact produced by people who are both commercially aware and aesthetically motivated. Trevor Horn is a particularly good example of this, as confirmed by the long interview with him that concludes the book.
But this is not a book about Trevor Horn; it is about pop music and British pop music in particular. The seven recordings carefully analysed by Warner serve to highlight one or more interesting aspects of pop such as: the way in which the complexity of the production techniques can be reflected in the lyrics (’Video Killed the Radio Star’); scratching and sampling, and all their implications (McLaren’s ‘Buffalo Gals’); the interaction between performer and producer (’Owner of a Lonely Heart’); the use of repetition and the importance of remixes (’Relax’); the manipulation of timbre and space (Who’s afraid of the Art of Noise) ; the merits of the sequencer (Propaganda) ; the use of the Fairlight (Slave to the Rhythm), etc.
Far from being a narrow, self-contained, unit, each of the analytical chapters echoes and/or develops points touched upon previously. Furthermore Warner is always happy to elaborate on the wider musical implications of the points he makes and never ignores the visual or cultural aspects of the final product.
The result is a rich, subtle and multifaceted book which may irritate and frustrate readers with narrow expectations, but which I found well written, informative, full of surprises and highly stimulating. Definitely a ‘must’.
-
