It's great and all that he starts the book by saying that it's not about the album "Dusty in Memphis" but a that's a typical literary conceit that means just the opposite and b why the fuck did he write a book about the album "Dusty in Memphis" called "Dusty in Memphis" if it wasn't about the album "Dusty in Memphis"?
This has literally nothing do with the album, offering perhaps dozen senten A disappointment. This has literally nothing do with the album, offering perhaps dozen sentences in even the remotest relation to it. The writing is overwrought and seems intended more to show off Zanes' fantastic vocabulary than it is to get an idea across. Zanes does cover some interesting ground about the mysticism inherent in the South, and this is interesting reading but Authors and publishers, I suppose have a responsiblity to their readers.
That responsibility was ignored here. This book is one of a series related to great rock albums. Normally, I would have read them all. But after this, no. View 1 comment. Then you get to read about how nice Jerry Wexler was to the author while the author was researching the book - this takes about twenty pages and includes at one point, for some reason, a cutesy letter the author wrote to Jerry Wexler. The final forty pages or so explore the complicated issue of authenticity, the South, and white fascination with black art, and this is interesting until you sense that the author is setting all of this up just to somehow, for some reason, argue that Alan Lomax is more of a scoundrel than Jerry Wexler, because at least Jerry Wexler was upfront about exploiting black artists for financial reasons.
He ties this section in with the nominal focus of the book by discussing, briefly, the amount of mascara Dusty Springfield wore during the Dusty In Memphis recording sessions. I thought this book was pretty much trash. Feb 01, Nathalie added it Shelves: music , man , I give up. As unfair as it may seems for the author I'd rather listen to the music than to read about it. Sep 13, Glen Engel-Cox rated it did not like it Shelves: musical , non-fiction. Back in the s, I discovered Q, a magazine out of England.
I really loved Q in that time, as it was so different from the only other music magazine I had encountered before then, Rolling Stone. What made Q different? It actually covered music, rather than culture or movies or politics.
Dusty Springfield's Dusty in Memphis (33 1/3 Series) (Unabridged) on Apple Books
One of the really great concepts that Q had in that ti Back in the s, I discovered Q, a magazine out of England. Like the Q sleevenotes, the idea behind this is to get folks who are passionate about an album to write a short book-long essay on the album that discusses its importance, history, and meaning for the author. I think I learned more about Dusty Springfield on her Wikipedia entry, almost as if Zanes expected that every reader who came upon his book would know the fine details of this nearly-forgotten pop star from the s.
Sep 17, John rated it it was ok Shelves: audiobooked. I don't need to know the brands and number cigarettes smoked in each day's recording session, but Warren just goes on about the South in general and a certain woman from Tennessee who moved to his N. This is one of if not my fav album ever so yeah I was disappointed. I need to read Mailer's "White Negro" piece already! Mar 05, Katie rated it liked it. That being said I was pretty disappointed in this book.
Although I liked how the author personalized his experience with the record, I think he spent too much time on academic theorizing of the ides of the "south" and how other cultures and outsiders fetishize it. I was looking forward to hearing more about Dusty and how this record was made then an academic analysis of the use of black musicians in the south. I would still recommend this book but def know what you are getting in for as I think many people would expect more of a making of the record type book.
Oct 10, HBalikov rated it it was amazing. Each of these short reads is a very personal reflection by its author on a particular album in most cases by a musical artist or group during the past several decades. I give the highest rating to Dusty in Memphis because I was captivated by the wide-ranging discussion, not just for the few insights into Dusty Springfield or how the album was put together. Zanes grapels with: the mystique of the South the significance o I was introduced to the Thirty Three and a Third series by Eric Mandelbaum.
Zanes grapels with: the mystique of the South the significance of Jerry Wexler's involvement and approach how and why he Zanes connected to the music and much more. A fast read that more than pays back the investment Jul 29, Andy Troyanos rated it it was ok. Yawn, I would have loved to hear about the making of this album, but this is the author blabbing on and on about the south. He talked to some of the main participants but it really about his love affair with the south.
Nov 01, Nathan rated it did not like it Recommends it for: Southerners. Shelves: series. I had hoped that there would be some discussion on an album that I know very little about, but in my reading I discovered I had opened a treatise on the existence of the mythology of Southern music in the American folk music lexicon. While interesting as a cultural study, offered very little on the album Dec 17, Eric rated it did not like it.
Entirely too solipsistic and full of typically lame "poetic" musings on Southern culture. Only someone with an incredibly huge ego would be unembarrassed to let such sophomoric journal scribblings be published as a book. Apr 26, Monica rated it it was ok. Pretty disappointing. Zanes writes about everything but Dusty and the album itself. Jun 09, DJ Maximum Shine rated it really liked it. The only chapter that is mostly unnecessary is when Warren hijack his own book for nearly twenty pages to tell an embarrassing, degrading tales from when as a bored rural child, he and his friends, spied on women undressing at night.
Oct 15, Dean Wilcox rated it liked it. The best volumes in this series are driven by a personal passion to talk about a particular album, contextual information that places the album within a specific era, and, as one might expect, some juicy tidbits about the album itself. About half way through this book I was ready to give it five stars. Concentrating on the mythical south, primitivism, authenticity, and the pot The best volumes in this series are driven by a personal passion to talk about a particular album, contextual information that places the album within a specific era, and, as one might expect, some juicy tidbits about the album itself.
Dusty Springfield's Dusty in Memphis 33 1/3
Concentrating on the mythical south, primitivism, authenticity, and the potent sexual allure of those elements, he leads the reader toward a discussion of the album beautifully. And then, like some weird Robbe-Grillet story, just skips talking about the album in favor of exploring the work of Allan Lomax. Great passion, great context, but I kind of missed the focus on the album. Ah well, perhaps I will just go listen for myself.
Jan 04, Downward rated it it was ok. May 23, Travis Wagner rated it did not like it. Other than the revelation into how problematic Alan Lomax is, this reads as a music journalist taking up space to wax poetic about his own weird and exploitative relationship to the American South and to reclaim a creepy moment from his childhood.
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All of this occurs at the expense of not discussing an absolutely achingly beautiful record. Mar 26, pianogal rated it it was ok Shelves: non-fiction , reads , music.
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There was a lot in this book about Memphis and the South, but the author kinda forgot about Dusty. I could have had a lot more about her and less about Alan Lomax. This book did get me to listen to the album - which is a good album at least. Jul 01, Dusty Henry rated it it was ok. Having read quite a few at this point, I'm not startled when books take unconventional turns. This makes Dusty In Memphis a curious book. It's both a suitable and odd choice to start the series on.
For those looking for a book on the creation of the record, you'll find little here. In fact, there's actually very little on Dusty herself. Like other books in the series, there's a bit of personal reflection from the author as well as an "overarching idea". In this book's case, this means exploring the myth of the South in popular music.
It's an interesting concept, but with a clunky execution. Lots of grace is given for being the first book in the series to try a far out method and I can definitely appreciate the experimentation. However, for such a short work, it feels a bit unfocused.
Going from first-person anecdotes to interviews with the producer to a full-on academic dissertation on black music in the South is a bit jarring. It becomes a bit inaccessible by the end, especially with the first chapters being written in a much more casual tone. I have no doubt that given a larger word count, Warren Zanes could write the Southern opus that he flirts with here and I really hope that he does. It's an idea worth exploring. But his personal anecdotes don't seem to add much to the story or mythology around the record, self-admittedly writing as an outsider.
The interview subjects don't seem as enamored with the idea of South as he does either. I think it would've been great had he tapped further into other acts who used Southern aesthetics to their benefit. Also would have been great to hear more about Dusty. The few times she shows up in the text are very compelling and I would've loved to have learned more about her relationship with the South and the idea of white appropriation given her use of it. Two stars makes this book sound like a dud and that's not fully accurate.
It's a bold experimentation and their are moments of revelation that make it worth a read, but the faults in this book are later improved upon in later books in the series. Zanes was the guinea pig and made his attempt bold and uncompromising. That's something worth celebrating in its own right. Mar 17, Chazzbot rated it really liked it. This is the first in a wonderful series of small volumes devoted to classic albums.
This volume, written by Warren Zanes, offers a kind of mini-travelogue of the American South and some of the stereotypes that surround it. Zanes relates a peeping-tom experience from his youth that brilliantly encapsulates cultural attitudes toward Southern women and their sexuality. What does all of this have to do with Dusty Springfield?
Dusty in Memphis , Dusty Springfield's beautiful and bizarre magnum opus, remains as fine a hybrid of pop and rhythm and blues as has ever been made. In this book, Zanes explores his own love affair with the record. He digs deep into the album's Memphis roots and talks to several of the key characters who were involved in its creation; many of whom were - like Zanes - outsiders drawn to the American South and mesmerized by its hold over the imagination.
The authors provide fresh, original perspectives — often through their access to and relationships with the key figures involved in the recording of these albums. By turns obsessive, passionate, creative, and informed, the books in this series demonstrate many different ways of writing about music. What binds the series together, and what brings it to life, is that all of the authors — musicians, broadcasters, scholars, and writers — are huge fans of the album they have chosen.
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