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- Editor: Da Capo Press
- Idioma: Inglés
- ISBN-10: 1560257075
- ISBN-13: 978-1560257073
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº870.801 en Libros (Ver el Top 100 en Libros)
The Label: The Story of Columbia Records (Inglés) Tapa dura
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Reseña del editor
From Frank Sinatra and Billie Holiday to Janis Joplin and Michael Jackson, Columbia Records has discovered and nurtured a mind-boggling spectrum of talents and temperaments over the past 100-plus years. Now, with unprecedented access to the company's archives memos, personal correspondence, recording contracts, sales reports and job sheets, as well as rich musical and literary material excavated from the Teo Macero Collection The Label tells the never-before-told stories behind the groundbreaking music distributed by Columbia Records. More often than not, the music was created not just by the artists themselves but forged out of conflict with the men and women who handled them executives, producers, Artists and Repertoire men, arrangers, recording engineers, and, yes, even publicists. And at almost every narrative crossroads in The Label is an undercurrent of racial tension a tension that not only influenced twentieth century music, but also mirrored and at times prompted major changes in American culture. This vibrant account of Columbia Record's often tumultuous relationships with artists, businesspeople, and popular culture is sure to enlighten, entertain, and even shock.
Biografía del autor
Gary Marmorstein is the author of Hollywood Rhapsody, which was nominated for a prestigious Ralph J. Gleason Award. He writes mostly about film, theater, and popular music for publications such as The New York Times, The Los Angeles Times, Stagebill, Performing Arts, Theatre Week, Film Score Monthly, and American Theatre. He contributed more than eight hundred reviews to The Blockbuster Film Guide, now in its ninth edition. In October 2003 he won the Wheat Award from the Historical Society of Southern California for the best essay published on Los Angeles history.
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Other reviewers mention inaccuracies on which I can't comment. If you want to learn about the artists recording for the label, pass this book by. Frankly, that was one of the positives I took away, as I truly did want history, and didn't want to necessarily read about current artists, say, Bruce Springsteen. I was overdosed on Mitch Miller, Ray Conniff, Andre Kostelanetz, and other anecdotes. This narrative delivered just too much detail in confusing ways.
It was fascinating to learn about "Format Wars" pertaining to hardware and software dating to the 1800's, and some other historical nuggets.
I pd about $8 incl. shipping. For that investment, it was worthwhile.
The glory days of Columbia Records came in the pre-rock era. You can actually feel the domination coming to an end during the chapter in which Clive Davis is described cavorting at the Monterey Jazz and Pop Festival while long-time head of label Gordon Lierberson broods in his suite of offices in New York City.
Today, we think of Record Labels as being little more then a generic off shoot of the global culture industrial complex, but twas a time, my children, when bold entrepreneurs invested millions in the idea that Americans and the World would buy recorded music in large numbers. In the beginning, there was classical music. In particular, the early chapters of The Label are devoted almost entirely by the high minded attempts by Columbia to bring the best in classical music to the masses. In attitude they resemble the indie tape labels of today, determined to bring the music to the audience whether the audience wanted to hear it or not.
In the 30s and 40s, Columbia developed a catalogue of Jazz and Pop music, but eschewed blues and rhythm and blues- let alone rock and roll. Columbia is like...the label of the world of Mad Men: smooth, suave but kind of scared of black people and smug and superior about rock and roll and country music.
At the same time, it was Columbia Records where Bob Dylan recorded his most seminal albums of the 60s. In the 70s, Epic Records (a subsidiary) brought the world arena rock- one of the most interesting asides in the entire book is when Marmorstein's describes how Columbia had to bend "Union Rules" to allow producers to work in the basement studio of Boston writer/singer Tom Scholz- how DIY is that? And of course... there was Michael Jackson. Columbia Records continued to pump out hits, but they didn't really control the Zeitgeist after the one-two punch of the Beatles and the "Summer of Love."
Once again, the mid-60s proves crucial in the story of a large American culture corporation.
The beginnings of the label are fascinating, as it explains the early technology used in order to reproduce sound, and how to mass market. As of now, we take music for granted, as it evolves into more of a convenience than a chore. Now, we can download through a computer what we would like to hear. Years ago, we sometimes wanted to hear in the record store what we may like, or listened to the radio and when our favorite song came on, just increased the volume.
From the early days of creation to marketing, this book also touches on the famous groups and singers who made the label what it is, respectable.
Columbia also has been the label that took the longest to conquer the rock and soul market. Releasing middle-of-the-road and adult contemporary up into the mid 60's, the label finally began to evolve into a major force. With over 600 pages of information, you may become overwhelmed by it's majesty, but if you may have an interest in what made the label what it is now, you are in for a treat.
For what took awhile for me to finish, you can walk away with the knowledge that a record label is alot more than just releasing music.
I give this book 5 stars, mainly for the fact that alot of research that went into this project was easily digestible, and for the most part, fascinating.