A Special Edition with a New Introduction and an Updated Discography
This is Greil Marcus's acclaimed book on the secret music made by Bob Dylan and the Band in 1967, which introduced a phrase that has become part of the culture: "the old, weird America." It is this country that the book maps--the "playground of God, Satan, tricksters, Puritans, confidence men, illuminati, braggarts, preachers, anonymous poets of all stripes" (Luc Sante, New York magazine). In honor of Dylan's seventieth birthday, this special edition includes a new introduction, an updated discography, and a cover featuring never-before-seen photographs of the legendary recording sessions.
For nearly sixty years, Jerry Lee Lewis has been a monumental figure in American life. The wildest and most dangerous of the early rock and rollers, he electrified the world with hit records such as Whole Lotta Shakin Goin On, Great Balls of Fire, and Breathless. His music was raucous, exuberant, slyly sexual; his wailing vocals were grounded by the locomotive force of his pumping piano. But his persona and performing style were what changed the world: whipping his long hair back, he would pound the keyboard like a coal-fired steam engine, then kick back the bench, climb atop the piano, and work the audience like the Pentecostal preacher he almost became. Poised to steal the crown from Elvis Presley, he seemed unstoppable until news of his marriage to his thirteen-year-old cousin broke during his first British tour, nearly ending his career.
Now, for the first time, Lewis s story is told in full, as he shared it over two years with Pulitzer Prize winning writer Rick Bragg. In a narrative rich with atmosphere and anecdote, we watch Jerry Lee emerge from the fields and levees of Depression-era Louisiana, blazing a path across Bible colleges and nightclubs en route to international fame. He shared bills with Johnny Cash and Chuck Berry, toured Australia with Buddy Holly and Paul Anka, and went Cadillac for Cadillac with Elvis on the streets of Memphis even as both of them struggled with the conflict between their faith and their music. After a decade in the wilderness, he returned as the biggest star in country music, but his victory lap became a marathon of excess, a time of guns and pills and Calvert Extra. He crashed Rolls-Royces and Lincolns, including one he drove into the gates of Graceland; suffered the deaths of wives and loved ones; and nearly met his maker twice himself. Yet after six marriages, a long spell without a recording contract, and a bruising battle with the IRS, he overcame a crippling addiction, remarried, and scored his biggest hit records since the 1970s. Today, as he approaches his eightieth year, he continues to electrify audiences around the world.
The story of Jerry Lee Lewis has inspired songs and articles, books and films, but in these pages Rick Bragg restores a human complexity missing from other accounts. The result is a story of fire and faith and resilience, informed by Rick Bragg s deep understanding of the American spirit, and rich with Jerry Lee s own unforgettable voice.
"Ms. Albertine's book is wiry and cogent and fearless.... Her book has an honest, lo-fi grace. If it were better written, it would be worse."--Dwight Garner, The New York Times
"Forget Katniss And Tris - Viv Albertine Is Your New Hero."--MTV.com
The Rough Trade #1 Book of the Year
Viv Albertine is a pioneer. As lead guitarist and songwriter for the seminal band The Slits, she influenced a future generation of artists including Kurt Cobain and Carrie Brownstein. She formed a band with Sid Vicious and was there the night he met Nancy Spungeon. She tempted Johnny Thunders...toured America with the Clash...dated Mick Jones...and inspired the classic Clash anthem "Train in Vain." But Albertine was no mere muse. In Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys., Albertine delivers a unique and unfiltered look at a traditionally male-dominated scene.
Her story is so much more than a music memoir. Albertine's narrative is nothing less than a fierce correspondence from a life on the fringes of culture. The author recalls rebelling from conformity and patriarchal society ever since her days as an adolescent girl in the same London suburb of Muswell Hill where the Kinks formed. With brash honesty--and an unforgiving memory--Albertine writes of immersing herself into punk culture among the likes of the Sex Pistols and the Buzzcocks. Of her devastation when the Slits broke up and her reinvention as a director and screenwriter. Or abortion, marriage, motherhood, and surviving cancer. Navigating infidelity and negotiating divorce. And launching her recent comeback as a solo artist with her debut album, The Vermilion Border.
Clothes, Clothes, Clothes. Music, Music, Music. Boys, Boys, Boys. is a raw chronicle of music, fashion, love, sex, feminism, and more that connects the early days of punk to the Riot Grrl movement and beyond. But even more profoundly, Viv Albertine's remarkable memoir is the story of an empowered woman staying true to herself and making it on her own in the modern world.
One of our great essayists and journalists--the Dean of American Rock Critics, Robert Christgau--takes us on a heady tour through his life and times in this vividly atmospheric and visceral memoir that is both a love letter to a New York long past and a tribute to the transformative power of art.
Lifelong New Yorker Robert Christgau has been writing about pop culture since he was twelve and getting paid for it since he was twenty-two, covering rock for Esquire in its heyday and personifying the music beat at the Village Voice for over three decades. Christgau listened to Alan Freed howl about rock 'n' roll before Elvis, settled east of Manhattan's Avenue B forty years before it was cool, witnessed Monterey and Woodstock and Chicago '68, and the first abortion speak-out. He's caught Coltrane in the East Village, Muddy Waters in Chicago, Otis Redding at the Apollo, the Dead in the Haight, Janis Joplin at the Fillmore, the Rolling Stones at the Garden, the Clash in Leeds, Grandmaster Flash in Times Square, and every punk band you can think of at CBGB.
Christgau chronicled many of the key cultural shifts of the last half century and revolutionized the cultural status of the music critic in the process. Going Into the City is a look back at the upbringing that grounded him, the history that transformed him, and the music, books, and films that showed him the way. Like Alfred Kazin's A Walker in the City, E. B. White's Here Is New York, Joseph Mitchell's Up in the Old Hotel, and Patti Smith's Just Kids, it is a loving portrait of a lost New York. It's an homage to the city of Christgau's youth from Queens to the Lower East Side--a city that exists mostly in memory today. And it's a love story about the Greenwich Village girl who roamed this realm of possibility with him.
Outside his native France, the view of Serge Gainsbourg was once of a one-hit wonder lothario. This has been slowly replaced by an awareness of how talented and innovative a songwriter he was. Gainsbourg was an eclectic, protean figure; a Dadaist, poete maudit, Pop-Artist, libertine and anti-hero. An icon and iconoclast.
His masterpiece is arguably Histoire de Melody Nelson, an album suite combining many of his signature themes; sex, taboo, provocation, humour, exoticism and ultimately tragedy. Composed and arranged with the great Jean-Claude Vannier, its score of lush cinematic strings and proto-hip hop beats, combined with Serge's spoken-word poetry, has become remarkably influential across a vast musical spectrum; inspiring soundtracks, indie groups and electronic artists. In recent years, the album's reputation has grown from cult status to that of a modern classic with the likes of Beck, Portishead, Mike Patton, Air and Pulp paying tribute.
How did the son of Jewish Russian immigrants, hounded during the Nazi Occupation, rise to such notoriety and acclaim, being celebrated by President Francois Mitterand as "our Baudelaire, our Apollinaire"? How did the early chanson singer evolve into a musical visionary incorporating samples, breakbeats and dub into his music, decades ahead of the curve? And what are the roots and legacy of a concept album about a Rolls Royce, a red-haired Lolita muse, otherworldly mansions, plane crashes and Cargo Cults?