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Blues & Chaos: The Music Writing of Robert Palmer, by Robert Palmer M.D.
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Now in paperback, the definitive anthology from a writer who “set the standard for newspaper pop-music criticism” (The Philadelphia Inquirer), the New York Times’ first chief pop music critic and Rolling Stone contributor Robert Palmer.
Robert Palmer’s extraordinary knowledge and boundless love of music were evident in all his writing. He was an authority on rock & roll, blues, jazz, punk, avant-garde, and world music—often discovering new artists and trends years (even decades) before they hit the mainstream. Noted music writer Anthony DeCurtis has compiled the best pieces from Palmer’s oeuvre and presents them here, in one compelling volume.
A member of the elite group of the defining rock critics who emerged in the 1960s and 1970s, Palmer possessed a vision so complete that, as DeCurtis writes, “it’s almost as if, if you read Bob, you didn’t need to read anyone else.” Blues & Chaos features some of his most memorable pieces about John Lennon, Led Zeppelin, Moroccan trance music, Miles Davis, Jerry Lee Lewis, Philip Glass, and Muddy Waters. Wonderfully entertaining, infused with passion, and deeply inspiring, Blues & Chaos is a must for music fans everywhere.
- Sales Rank: #1262032 in Books
- Published on: 2011-09-06
- Released on: 2011-09-06
- Original language: English
- Number of items: 1
- Dimensions: 8.81" h x 1.30" w x 5.69" l, 1.08 pounds
- Binding: Paperback
- 480 pages
From Publishers Weekly
Starred Review. Throughout his career as a critic and journalist for the New York Times, Rolling Stone and other publications (as well as books like Deep Blues), Palmer (1945–1997) strove for a unifying perspective that could cover all strains of American music, a set of procedures that will allow us to evaluate Charles Ives and James Brown as he wrote in a seminal 1979 essay. The breadth of his journalism is outstanding: he was one of the first writers to interview Sam Phillips, the head of Elvis Presley's first music label; soon after, he was alerting Times readers to the developing world music movement, and the year after that he was hanging out in the recording studio with John Lennon and Yoko Ono. He could write reviews of comprehensive box sets or write the liner notes for them, and either way the result would be an engaging, insightful essay crammed with historical details. One key test of any retrospective anthology of this sort is whether the reviews and essays are as relevant today as when they were first published, and on that front, Palmer scores an absolute success—his work, like that of Greil Marcus and Peter Guralnick, sets a standard for a critical appreciation of American culture. (Nov.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Review
"There's so much good writing here."--A.V. Club
"A posthumous collection of music writing that single-handedly justifies Palmer's inclusion into the pantheon of Essential Music Writers. . . . For the uninitiated, a revelation."--Oxford American
"The breadth of genres and artists covered in Blues & Chaos can be astonishing"--Memphis Flyer
"Eloquent and calmly authoritative prose"--The New York Times
"One key test of any retrospective anthology of this sort is whether the reviews and essays are as relevant today as when they were first published, and on that front, Palmer scores an absolute success--his work . . . sets a standard for a critical appreciation of American culture."--Publishers Weekly
"Judiciously whittles down Palmer's writings--incisive, clever reviews, vivid, chatty profiles and more."--The New York Times
"Reading Blues & Chaos, a dazzling collection of writing . . . is to be reminded of [Robert Palmer's] singular talent, his range of interests and passions. . . . Editor Anthony DeCurtis has chosen wonderfully in this collection, which showcases Palmer's gifts as an informed enthusiast and brilliant chronicler of musical moments."--Times-Picayune
"If you're a junkie for great music writing, you owe it to yourself to pick up Blues & Chaos. Lovingly edited and assembled . . . this anthology does much to highlight Palmer's curiosity and enthusiasm as well as his scholarship."--The Patriot Ledger (Quincy, MA)
"Remarkable"--Buffalo News
"Palmer . . . set the standard for newspaper pop-music criticism for years."--Philadelphia Inquirer
“Bob was a kind of uber-tutor. Hanging around with him was like doing a PhD in whatever subject he was interested in. I was a fan, and I feel lucky to have met him.” —Bono
About the Author
Robert Palmer was born in Little Rock, Arkansas in 1945, and graduated from the University of Arkansas at Little Rock in 1964. He began writing for Rolling Stone in the early '70s -- and continued to do so as a contributing editor throughout his life. From 1981 until 1988, he was the chief pop music critic at The New York Times, the first person to hold that title, and he continued to write for the Times after that. He is the author of Deep Blues: A Musical and Cultural History of the Mississippi Delta (1981); Baby That Was Rock and Roll: The Legendary Leiber and Stoller (1978); A Tale of Two Cities: Memphis Rock and New Orleans Roll (1979); Jerry Lee Lewis Rocks! (1981); The Rolling Stones (1983); and Rock & Roll: An Unruly History (1995). He wrote liner notes for dozens of releases, and his work appeared in virtually every music magazine published during his time, including Downbeat, Crawdaddy, Guitar World, and Musician. Palmer died in 1997.
Anthony DeCurtis is a contributing editor at Rolling Stone, where his work has appeared since 1980. He has written for numerable music and entertainment magazines and newspapers. A former on-air correspondent and editorial director at VH1, he has contributed to a myriad of television specials and programs. DeCurtis holds a Ph.D. in American literature from Indiana University and he teaches at the University of Pennsylvania and the Gradudate School of Journalism at the City University of New York.
Anthony DeCurtis is a contributing editor at Rolling Stone, where his work has appeared since 1980. He has written for numerable music and entertainment magazines and newspapers. A former on-air correspondent and editorial director at VH1, he has contributed to a myriad of television specials and programs. DeCurtis holds a Ph.D. in American literature from Indiana University and he teaches at the University of Pennsylvania and the Gradudate School of Journalism at the City University of New York.
Most helpful customer reviews
20 of 21 people found the following review helpful.
GREAT COLLECTION OF WRITING ON MUSIC
By Stuart Jefferson
Hardcover-432 pages of text. There is an index,and a sixteen page introduction written by Anthony DeCurtis,giving a short look into (the late) Robert Palmer's writing on music. There are no photographs accompanying the text. The various essays/interviews are grouped-such as "Jazz","The Blues","The Originators","Soul and R&B","Classic Rock","World Music","Punk and Beyond",etc.,instead of in chronological order of writing. There are also excerpts from his writings on Morocco and an excerpt from an interview with William Burroughs.
This great collection finally brings together many of Palmer's best writing concerning music and the people who make it,thanks to another noted music writer,Anthony DeCurtis. Palmer is mostly known for his wonderful book,"Deep Blues: A Musical and Cultural History of the Mississippi Delta" (which should be in every blues listeners library),and others such as "The Rolling Stones","Rock and Roll: An Unruly History",and"Baby,That Was Rock and Roll: The Legendary Leiber and Stroller". Palmer wasn't an authority on just one style of music-he seemed to have an innate sense of what makes for good music,no matter what type. While this collection isn't all of his best writing (there is still a great deal of it out there),what this great book does is bring into sharp focus a number of his best pieces,over many years and different musical subjects. Besides the above books,Palmer wrote many reviews/articles for "Rolling Stone Magazine",back when that magazine (and others) was still important musically,and he was the first person to hold the title of chief pop critic for "The New York Times". One other important point-Palmer was himself a musician (I still play his two albums when he was in the band THE INSECT TRUST),which gave him an extra feel and insight into music-making.
What elevated Palmer's writing above most of the others of the time was his obvious enthusiasm for his subjects. No matter what genre of music,if Palmer thought it had value he wrote about it with great insight and excitement. He was widely quoted and looked to for his opinion in many areas of music. His writing brought support to many musicians/bands who sometimes needed a boost into the public eye. Just some of the people/scenes he passionately wrote about included Philip Glass,Steve Reich,THE ROLLING STONES,the punk music scene,Charles Mingus,a number of blues artists,and THE VELVET UNDERGROUND. This book collects all that and much more. His way of drawing readers into his essays/reviews was second to none. At times,in the interviews,you get an almost "you are there" feel from his writing. His essays will make you think. His way of combining entertaining prose with extraordinary knowledge,and an excitement for his subject,made you want to go out and hear all this incredible music that you somehow had missed,or maybe needed to hear again with Palmer's insights. Palmer has the innate knack for both observing and getting to the heart of what music is. His opinions are usually grounded in the historical past-music (whatever genre) is based on something (blues,gospel,etc.) that came before.
His writings will make you stop and think about the music you're listening to. On reading his opinions on rock & roll as opposed to "rock",or the blues,for example,Palmer brings to light ideas and opinions that seem to get inside the very heart of what music was,is,and maybe might become. He uses examples (Springsteen,ROLLING STONES,Presley,for instance) to get his point (s) across as to just what r & r really is. On the subject of jazz innovators/innovation,Palmer argues that (to paraphrase),blacks (as they were known in the 70's),such as Armstrong,Ellington,and Parker for instance,have been the ones who have formulated and pushed every major movement in the genre. And that white musicians,while popular (Keith Jarrett,WEATHER REPORT as examples) have done relatively little,if anything to advance jazz. Palmer writes that it is because black culture is imbued with another form of music,the blues,which has been endemic to their culture for so long,while white jazz players ideas are steeped in European movements. Whether you agree completely or partially,or not at all,Palmer brings up ideas that needed (and still need)to be aired. This is why on reading his essays,you will more than likely come away listening to your favorite music with more insight and appreciation.
With this book listeners of many genres of music can once again,or for the first time (I envy you),revel in Palmer's style of making his subjects and ideas come alive on the page as few writers can. I can vividly remember reading (usually in "Rolling Stone Magazine") his reviews/thoughts on blues (especially)and jazz artists (Sun Ra),and other areas of music I was not,at the time,familiar with (Moroccan trance music for example)),and wanting to go out and purchase the music he so excitedly and passionately wrote about. Now,with this wonderful collection spanning a number of years and several genres,many more music listeners will get the chance to read Palmer's insights into the heart of what makes good music.
4 of 4 people found the following review helpful.
read this book!
By john the book guy
Something that makes Mr. Palmer's writing different from other critics' music writing is that he had deep knowledge of music itself. In this book he discusses blues and rock, but he also discusses jazz (Ornette Coleman, for example) and modern/contemporary classical composers. His musicological knowledge makes his discussions more than subjective statements of what he liked or didn't like in a song or piece of music. Instead, he discusses what experimental musicians (such as Mr. Coleman) or more traditional musicians (such as Muddy Waters) were actually doing musically.
And please don't miss his discussion of Bo Diddley. Mr. Palmer shows how he was a great innovator within particular African American musical and oral traditions, and that he deserves much more acclaim as a blues musician and rock & roll originator.
Finally: This book made me want to go out and get recordings of lots and lots of the music Mr. Palmer liked! So read this book, learn something maybe, and have fun!
1 of 1 people found the following review helpful.
Excellent read!
By William L. Farmer
Palmer was a master music writer. He was able to capture his subject in a way that few others can. Though writing about music can almost be like writing about food (i.e.,"don't tell me how it tastes, let me taste it myself"), he is able to to truly make what he writes about come to life. By reading Palmer, we not only come away a little more knowledgeable, we also have more true understanding for the music.
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