- Tapa blanda: 800 páginas
- Editor: Faber & Faber (13 de septiembre de 2013)
- Idioma: Inglés
- ISBN-10: 0571281974
- ISBN-13: 978-0571281978
- Valoración media de los clientes: 4 opiniones de clientes
- Clasificación en los más vendidos de Amazon: nº119.025 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
Yeah Yeah Yeah: The Story of Modern Pop (Inglés) Tapa blanda – 13 sep 2013
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|Tapa blanda, 13 sep 2013||
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Descripción del producto
The key to Yeah Yeah Yeah is the mix of erudition and brilliantly sharp perspective; a mind equally intrigued by Bill Haley and Beyoncé. Delightful and illuminating, this is the pop answer to The Rest is Noise. (Roy Wilkinson MOJO 2013-09-30)
London has the A-Z, and pop now has Yeah Yeah Yeah. Finally, pop music has its Boswell (Caitlin Moran)
Might be the best book about music I've ever read. (Alexis Petridis Guardian)
A good old romp through the late twentieth century's greatest art form. (Jeremy Deller)
For everyone who ever made a mix tape (Observer)
...Noel Coward talked of the potency of cheap music, and Yeah Yeah Yeah is a love letter to this potency, written by a besotted and discerning suitor...as Yeah Yeah Yeah proves on nearly every page, Bob Stanley is both a fine writer and an impassioned celebrant of pop in all its mongrel, misfit glory, sending you back to records you know and in search of ones you don't with the giddy adolescent expectation that no pop fan should ever lose (Stuart Maconie The Times)
There is an ache there as much a part of pop as its natural exuberance, and Stanley's book - funny, wise, almost encyclopaedic - is testament to both aspects of the form. (Independent)
Entertaining, informative and great...he's a fine writer with a jukebox brain and a sense of humour. Through Yeah Yeah Yeah's fantastic analysis and history of pop he makes brilliant observations....this book covers everything- from pop's beginnings int the 50s to Beyonce and beyond, via Top of the Pops, Smash Hits, rock, punk, disco...It's essential. (David Quantick Q Magazine)
If anyone is qualified to condense the history of pop music into a 747-page book and reclaim the subject from the MP3 vs. vinyl hand wringers, it's Stanley. As founding member of Saint Etienne, music press stalwart and owner of a notoriously extensive record collection, Stanley practically has A-Levels in rock 'n' roll. (The Quietus)
Firstly, what makes this a must-read is Stanley's habit of nailing exactly what gives pop its romantic attraction; by the end of his concise dissection of The Beatles, you need never read another word about them. Secondly, the breadth and depth of his knowledge is astonishing. Most pages feature enough recommendations to send you on countless musical tangents, ensuring that the book becomes as much a trusted reference point as it is a wildly entertaining read. (Jamie Atkins Record Collector)
Reseña del editor
For fifty years, pop music was created and consumed like this: you heard a record on the radio, or read about it in a music paper; you bought it on Saturday; you lent it to, or taped it for, a friend; and they reciprocated with another record. It was a secret network. It was how you made friends, how you met girls, and how you soundtracked your world.
Bob Stanley's Yeah Yeah Yeah tells the chronological story of the modern pop era, from its beginnings in the fifties with the dawn of the charts, vinyl, and the music press, to pop's digital switchover in the year 2000, from Rock Around the Clock to Crazy In Love. There was constant change, constant development, a constant craving for newness. It was more than just music - it could be your whole life.
Yeah Yeah Yeah covers the birth of rock, soul, punk, disco, hip hop, indie, house and techno. It also includes the rise and fall of the home stereo, Top Of The Pops, Smash Hits, and "this week's highest new entry". Yeah Yeah Yeah is the first book to look back at the entire era: what we gained, what we lost, and the foundations we laid for future generations.
There have been many books on pop but none have attempted to bring the whole story to life, from Billy Fury and Roxy Music to TLC and Britney via Led Zeppelin and Donna Summer. Audacious and addictive, Yeah Yeah Yeah is essential reading for all music lovers. It will remind you why you fell in love with pop music in the first place.Ver Descripción del producto
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The book started in the 1950s with the great rock stars that weren't the cliche looking rock stars. Bill Hailey was middle aged. Of course Elvis at Sun studios dressed weird. Covers versions of songs were cleaned up and geared toward teens. We go into the 60s and the many differing styles of music from Motown, pop, hard rock blues, and jazz.
The differences between British rock and American rock became evident in the 70s. I know a lot of British rock so I could keep up with the musicians. I think this may be why this very good book didn't sell as well as it should've in the States.
I knew much of the music but still looked plenty up on iTunes. I learned a little and wasn't lost in a flood of information.
I liked that.
The end was good. How did music change to today? Who was to blame? how did music stores lose out? Why did labels go bankrupt? In the end music is important and varied. Attempts by the gatekeepers of agents and labels couldn't stop a music fan. There were disagreements about pop, but the listener won in the end.
Very good book.
Stanley is a contrarian critic, it seems to me, sometimes forcefully declaring an opinion that might raise an eyebrow. The Turtles the best pop band of the sixties? New Morning Dylan's best album? Does Radiohead deserve his quick dismissal? But his jabs just make readers think how they would evaluate something differently. So no complaint here either.
I do see some errors of fact. Minor. But "Queen Jane Approximately" does NOT appear on Blonde on Blonde as he says on 147-8. (It's from Highway 61 Revisited.) And Peter Sellers played multiple roles in several films, but not in Lolita (to my knowledge), as Stanley asserts on 263. And there are many notable omissions. No mention of Wilco? Warren Zevon? Nick Lowe? Graham Parker? Other readers will have their own list.
I most enjoy Stanley's way with figurative language. He can be hilarious. He describes one singer's style as giving "the impression the singer was continuously jumping off a chair to avoid a mouse." Ric Ocasek's "gaunt, almost alien presence...hid...behind huge mirror shades...make him look like a human fly." A page later the early Elvis Costello is "singing as though he's standing in a fridge." In dismissing Radiohead, Stanley has Thom Yorke singing as though he's in the fetal position. There are a lot of such gems. Whether the flippancy is always warranted or not, it can still be fun to read such things.
To me, the book seemed to have four major parts (although officially there are five): prior to 1960, 1960-1970, 1970-1975 and after 1975.
Prior to 1960, the author does an excellent job of covering the start of pop (rock and roll, R&B, etc.) from Bill Haley and Comets, the official first hit - Rock Around the Clock, through Elvis Presley, Jerry Lee Lewis, Buddy Holly, etc. This period ends when Elvis goes into the army and Buddy Holly dies in the plane crash.
After 1960 there is a lull, but a number of groups and organizations take over from there. The story about the Brill Building in NYC is especially interesting to me, because I was unaware of it. This building had cubicles with song writer groups churning out top 20 hits. This is where Carol King got her start with "Will you still love me tomorrow". Then there was the Motown organization in Detroit and the numerous acts, Four Tops, Supremes, etc and top 10 songs created by that organization. Also, there was the "British invasion" with the Beatles, Rolling Stones, and numerous other acts that followed (Kinks, Dave Clark Five, etc.). Finally, there was the US groups that responded to this including the Byrds, Paul Revere and the Raiders, etc. And, then there was Bob Dylan. This period, from 1960-1970, is arguably the best and most creative period of pop with numerous excellent acts and songs being created. (Of course, having grown up in this period, I'm biased - but the reader who disagrees should read the book and then listen to the songs created.) The author does and excellent job of covering this period.
The author rightly states that 1970 is a turning point in the period of pop - the second one after 1960 - with the disbanding of the Beatles. Although other bands, e.g. Kinks and Dave Clark Five, and individuals, Bob Dylan, lose some of their creative genius at about this time. However, pop music continues on with acts from Britain - Rod Stewart, Jethro Tull, etc., and acts from the US. In this later section, the author discusses the "Laurel Valley" area of California, near Los Angeles. This area had Crosby, Stills and Nash, the Eagles, Neil Young, Joni Mitchell, the Mamas and the Papas and other acts. The creativity of these British and US groups disappates in 1975, and pop music splinters.
This is the first place where the author shows his British bias by criticizing the "Laurel Valley" groups but not the British groups for losing their creativity. OK, so Stephen Stills was self-absorbed. But, then again, how would you describe John Lennon, George Harrison and Paul McCartney. It seems to me, and this was a key take away for me through the whole book, that these creative acts lose their drive after 5-7 years probably because they get popular, and make a lot of money and are no longer motivated to create.
After 1975, music splinters into many different types: disco, electronic, punk, heavy metal, hip hop. One interesting story in this section describes how hip hop got started in the Bronx in the late 1970s. However, to me, most of this section which took up more than half the book was mainly British centric, describing bands which were not popular in the US and not covering US bands to the same level. Consequently, in my opinion, the book interest declined after 1975.
Prior to 1975, however, this is an excellent book, and afterwards, not so much. (Maybe that is because I was not as interested in pop music after that year, but I'll let you make that determination on what you think.)
In spite of that, I do recommend the book for anyone interested in the birth and development of popular music.