Tag Archives: Led Zeppelin

Have I The Right?

Great British Studios

The Great British Recording Studios by Howard Massey (Hal-Leonard, $34.99, 357 pages)

If you’re looking for the perfect gift for the audiophile in your life who loves British rock music of the 60s and 70s, this is it. Howard Massey’s coffee table-sized book examines 46 major recording studios of the period (permanent and mobile), looking at their personnel, their equipment, the individual recording rooms, and the original recording techniques. It’s all here, as verified by Sir George Martin in the Foreward.

Massey supplies the answers to some great trivia questions, including “Where did the Beatles record, other than at Abbey Road?” and “Which great, highly successful record producer began his studio work as a ‘tea boy’ (a lowly paid, quasi-intern who brewed tea for anyone who wanted it)?” He also explains how the brilliant Glyn (Glynis) Johns recorded drums using just three microphones, and looks at the bizarre career of the paranoid recording producer Joe Meek. Meek was to record “Telstar” by the Tornadoes and “Have I the Right?” by The Honeycombs in his rented flat in London before he killed himself and his ever complaining landlady.

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Massey supplies the background story on several prominent recordings – such as those by The Who, The Kinks, the Rolling Stones, Led Zeppelin, David Bowie, Queen, Procol Harum and Blind Faith. As per the latter, he provides an explanation of a how an extremely unique sound was produced that enlivened Blind Faith’s somewhat dull track, “Had to Cry Today.” And, Massey details how reverb, echo, and phasing (“Pictures of Matchstick Men”,”Itchycoo Park”) tricks were used. A fascinating ultra-morsel for music lovers!

Highly recommended.

Joseph Arellano

A review copy was provided by the publisher.

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Communication Breakdown

Led Zeppelin on LZ

Led Zeppelin on Led Zeppelin: Interviews and Encounters (Musicians in Their Own Words), edited by Hank Bordowitz (Chicago Review Press, $28.95, 458 pages)

“The Led Zeppelin show depends heavily on volume, repetition, and drums.” William S. Burroughs

Led Zeppelin on Led Zeppelin is a compilation of interviews conducted with, and articles about, the former mega band. Unfortunately, some of the contributors did not seem to know who or what they were writing about. One comments about the song “Days of Confusion” – actually “Dazed and Confused” – while another writes about the band’s “laid-back subtlety and studied professionalism.” Led Zeppelin, subtle?

The interviews are usually interesting but not enlightening. While Jimmy Page comes across as focused and consistent, Robert Plant is all over the place. Sometimes Plant sounds intelligent and thoughtful, at other times he’s flakey and nearly unintelligible. One who seeks to understand the band’s songwriting and recordings will definitely be frustrated. There’s a lot said about Zeppelin’s influences, but few attempts at analysis.

Most frustrating of all, it’s never made clear why the group that created the heavy blues rock genre abandoned it after just two albums. Although the question is raised numerous times in these pages, it’s never properly answered. (Other than Page’s statement that he did not want people to confuse Zeppelin with Black Sabbath.)

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Finally, there’s a 14-page essay by William S. Burroughs that was presumably supposed to be intellectual. In it, Burroughs writes about drinking multiple fingers of whiskey with Mr. Page. The entire chapter reads like it was written while Burroughs was quite drunk; it’s not far from the tiring, insipid Gonzo journalism of Hunter S. Thompson.

Led Zeppelin on Led Zeppelin may make a fine gift for those who love and must own all things Zeppelin. It will fall short of satisfying others.

Joseph Arellano

A review copy was provided by the publisher. This book was released on November 1, 2014.

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Mr. Tambourine Man

Bob Dylan by Greil Marcus: Writings 1968-2010 (Public Affairs; $29.95; 481 pages)

“You have to pay to get out of going through these things twice.”   Bob Dylan

In 1985, rock critic Greil Marcus was asked to review the book A Darker Shade of Pale: A Backdrop to Bob Dylan by Wilfred Meller, and his review began with these words:  “This is a confused and confusing book about a confused and confusing figure: Bob Dylan, born 1941 in Duluth, Minnesota, as Robert Alan Zimmerman.”   Well, back at you, Greil, as those would be the perfect words to describe this $30 collection of essays, previously published and unpublished.   They all deal in some way – and some barely – with the subject of Bob Dylan.   It might be said that Marcus’ essays on the man are dazed and confused.

It’s a bit shocking that Marcus does not come even close to enlightening the reader about Dylan the musician or the man.   That’s shocking because just last year, he released a brilliant tome about Van Morrison (reviewed on this site on August 26, 2010), When That Rough God Goes Riding: Listening to Van Morrison.   There, Marcus seemed to capture both Van’s heart and his soul, and it made the reader want to run to play his or her Morrison CDs.   He was spot on there; here, no way.

Marcus seems confused because there are four Bob Dylans:  the genius songwriter (“Like A Rolling Stone,” “Visions of Johanna”); the oh-so-casual writer of throw-away songs (“Watching the River Flow,” “Rainy Day Women No.s 12 & 35 [Everybody Must Get Stoned]”);  the overly serious, angry and controlling musician (where there are similarities to Morrison); and the Joker, whose every action and comment is a complete put-on.   Because Marcus cannot reconcile these four personalities in one person, he appears continually lost as to what’s going on with Mr. Hughes in his Dylan shoes.   Sometimes he loves Dylan, sometimes he’s disappointed by him, sometimes he blasts him, but mostly he’s watching the parade go by and  wondering about the meaning of it all.

As an example, he prints a section of the interview that Dylan gave to Playboy magazine back in 1966.   The entire interview is a big joke – although it was lost to the magazine’s editors – and none of it is real.   But Marcus has no comment on it.

One problem is that to properly understand and analyze Dylan, one must have a breadth of background as big and wide as Dylan’s.   Such is not the case in this compilation…  At one point Marcus does note that Dylan has relied on religious writings as the inspiration for many of his songs (the same is true of philosophers, not just prophets), but he does not supply any actual references.   It’s a shame and one has to wonder if Marcus cribbed that point from another writer.

The writing is dull and flat and lacks the excitement of, say, a Lester Bangs or a John Mendelsohn.   And yet when Van Morrison appears on the scene, as when Marcus writes of The Band’s final concert, The Last Waltz, the writing is suddenly sparkling – until Morrison leaves the stage, and it returns to being flat.   So it seems that Marcus simply gets Morrison in a way that will never apply to Dylan.

“Along with a lot of other things, becoming a Bob Dylan fan made me a writer.   I was never interested in figuring out what the songs meant.”

As you can see from this quotation, you’re not going to get much from Greil Marcus that’s going to help you understand Bob Dylan’s songs…  Except…  Except that he includes an almost-perfect review of Dylan’s singular 10-song masterpiece Blood on the Tracks.   Which, as the Chuck Berry song says, goes to show you never can tell.

Marcus was quite tough in that ’85 review of Wilfred Meller’s book:  “Meller’s language collapses along with his conceptual apparatus.”   That sounds very harsh and professorial, does it not?   Getting back to Bob Dylan by Greil Marcus, I’ll just say that there’s far less here than one would expect from a writer who wrote the liner notes to one of Bob Dylan’s major albums.   Making your way through all of this is like going on an Easter egg hunt where no one finds any of the eggs.

Joseph Arellano

A review copy was provided by the publisher.

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Good Times, Bad Times

Good Times, Bad Times in the Book Trade

The New York Times created a dust-up recently by posting an article about what was said to be the current glut of memoirs.   The writer seemed to think that everyone and his dog and cat were writing their book of memories, and that there should be some type of pre-publication test of worthiness.   Most did not meet his standards.   Of course, that was but one person’s opinion, one which I happen not to share.   If there’s one area in which the publishing industry seems to have shone brightly in 2010-2011, it’s in the publication of some fine memoirs.

Five memoirs are on my recommended list:  The Memory Palace by Mira Bartok (nothing short of brilliant), The Foremost Good Fortune by Susan Conley (a cancer survivor), Between Me and the River by Carrie Host (another cancer survivor), No Place Like Home: A Memoir in 39 Apartments by Brooke Berman (about being nearly homeless in New York City), and Perfection by Julie Metz (sometimes frustrating but ultimately satisfying).   It also appears that new and worthwhile releases are on the way, including The Long Goodbye by Meghan O’Rourke (about a daughter’s crushing grief following her mother’s death) and History of a Suicide by Jill Bialosky (an examination into the causes of a sister’s self-destruction).

But then there are a couple of negative trends that I will touch upon here.   When it comes to popular fiction, tight editing seems to have been relegated to the sidelines.   More and more I run across novels that seem to have no beginning; they meander on and ramble for dozens of seemingly unstructured pages.   And some make things worse by incorporating non-chronological structures that veer back and forth between the present and past, past and present until it becomes dizzying.   Every now and then I’m reminded of the frustrating quick-cut and overly trendy music videos of the 70s.

Are there no longer any editors who will tell a writer, “Look, you need to be very clear about the storyline at the start and quickly hook the reader.   Confusion has its costs!”   Who has the patience to read a hundred or two hundred pages just to figure out what story is being told?   Sigh…  Well, I guess some people do.

Then there’s the release of what I call the non-biographical biography.   These are the ones that decide to be clever by telling us everything about the subject except precisely what it is they’re supposed to be known for!   If the subject is an actor, we’re told about his sex life, his animals, his apartments and homes, marriages and divorces, where he went on vacations, what he liked to eat, and how much he tipped the servers.   Yes, we come to learn about everything in his life except his acting and the films he made.

The same rule seems to apply to politicians – the cool author writing a bio of Ronald Reagan using this style would cover everything except Reagan’s acting career and his terms as governor of California and president of the U.S.   If you prefer, substitute the name Robert F. (Bobby) Kennedy or Edward M. (Ted) Kennedy and the same strange rule will apply – there are sideways bios on them out there on the book store shelves.   I won’t name names but they’re not that hard to find.

So, despite the view from Manhattan when it comes to memoirs the state of the publishing industry seems to be strong.   When it comes to editing today’s novels, improvements may be in order.   And when it comes to biographies, readers should hold out for the old-fashioned substantive kind, even if it requires a journey over to Powell’s Books to find a used one.

Joseph Arellano

Pictured:  The Long Goodbye: A Memoir by Meghan O’Rourke, which will be released by Riverhead Books on April 14, 2011.

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People Are Strange

Nothing Happens Until It Happens to You by T. M. Shine (Crown; $23.00; 294 pages)

“It’s time more readers found out about T. M. Shine…  (He’s) one of the funniest writers I know.”   Dave Barry

If you like Dave Barry or David Sedaris, you will undoubtedly like T. M. Shine.   If you love Lisa Scottoline (“Why My Third Husband Will Be A Dog”; “My Nest Isn’t Empty, It Just Has More Closet Space”), you will very likely love T. M. Shine.   Like Barry and Sedaris, Shine is often clever; but more often he’s simply hilarious like Scottoline.   For example, at one point in Nothing Happens, he wonders why drugs have so many listed negative effects.   He asks why there are “never any good side effects like ‘long term use of this medicine could add six inches to your broad jump or lead to…  improved cornering skills while driving at high speeds.’   Stuff like that.”

This is a semi-autobiographical novel about being suddenly unemployed, and then being unemployed for a long period of time.   Shine was, in real life,  laid off from his steady writing gig.   He decided to write a memoir about his experiences but his publisher wanted a novel instead, so this is a true-to-life story.   (If you want to enjoy yourself, Google Shine to find his sadly funny and sometimes quasi-ranting pink slip website.)

The male protagonist Jeffrey Reiner is let go from his job writing for a South Florida weekly.   He initially rushes to find a new job before his severance pay and unemployment benefits run out.   Then he begins to feel guilty for appreciating his free time before finding out that he has a third less time than he thought to get back into the working world (his high maintenance family is burning through his money stash at warp speed).   He eventually wonders if he’ll be out of work so long that he’ll lose all desire to ever work again.   But this is not the least of his problems…

Reiner’s married to a woman whom he knows he’s lucky to be married to, but once he loses his job the glue that holds their relationship together starts to weaken.   Reiner’s wife has in the past found him to be “steady,” something he no longer is; in fact, he’s dazed and confused.   Ironically, as Reiner becomes less comfortable being around his wife (and vice-versa), he develops a strong relationship with his formerly troublesome children and his physically troubled dog.

Reiner winds up tackling some strange jobs assigned to him by a hustler who is not exactly a well-respected man in the community.   He also develops an interesting relationship with the young woman who lives next door, making Reiner’s wife wonder if this is his attempt to be like old Bill Murray in Lost In Translation.   Oh, and he needs to ensure that everyone in his household uses less energy, something that’s nearly impossible – his teenage kids live like nocturnal raccoons.

Anything more said about the storyline would just subtract rather than add to the reader’s enjoyment.   Let’s just say that the tale ends with our protagonist learning about what’s really important in life, and it may not be a corner office.   This one’s fun!

Well recommended.

This review was written by Joseph Arellano.   A review copy was provided by the publisher.

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Every Story Tells A Picture

When I Stop Talking, You’ll Know I’m Dead: Useful Stories From A Persuasive Man by Jerry Weintraub with Rich Cohen (Hachette Audio, Unabridged on 8 CDs; $29.98).

“I’ve never been afraid to fail.”   Jerry Weintraub

If you’re going to experience a book based on an “old man’s” stories of his life, you might as well hear them in the voice of the man himself, Jerry Weintraub.   Weintraub, now 72, has worked with the biggest of the big in the music and movie businesses.   Yes, everyone from Frank Sinatra and Elvis Presley to Neil Diamond, Bob Dylan – who wrote the introductory poem – and Led Zeppelin in music; Brad Pitt, Matt Damon, George Clooney, Julia Roberts, Bruce Willis and Gene Hackman (with whom he attended acting school) in film.

Weintraub was also the Zelig-like figure who befriended the biggest figures in politics including a young John F. Kennedy, CIA Director George Herbert Walker Bush, and a peanut farmer by the name of Jimmy Carter.

I first attempted to read the standard book version of Talking, but something was missing.   The stories were entertaining but I couldn’t get a feel for the narrator, the person telling the stories.   This all changed when I began to listen to the audio book.   Initially, Weintraub sounds every year of his age and I began to wonder if a young actor should have been hired to voice the tales.   But within just a few minutes one becomes mesmerized by his voice.

Weintraub likes to say that there are differences between a person’s appearance and his/her behaviors and true personality; but it takes some time to learn about the individual’s soul.   The same is true here…  Only by spending time with the man do you get past his appearance as one of “the suits” in New York City and Hollywood/Los Angeles.   Eventually you get to the man and his soul – what makes him tick, what really drives him, and what he thinks life – success – is really about.

Jerry Weintraub takes the listener on a journey which begins with him as a poor Jewish kid on the streets of Brooklyn.   In his early twenties he becomes the most ambitious young man working in the mail room at the famed William Morris Agency in Manhattan.   After a couple of very quick promotions, he quits William Morris – now who would do that? – as he has the idea of taking Elvis on his first nationwide concert tour.   In order to do this he needs to come up with a cool $1 million deposit to hand to Colonel Tom Parker, Elvis’ manager.   How does he come up with the money?   This is just one of the many great, highly entertaining, stories told in this anthology of true tales.

“While we’re here, we may as well smile.”   Armand Hammer

It comes as a surprise that the most fascinating stories are about the secondary figures, such as John Denver, George Burns, Dean Martin, Dorothy Hamill (who married Dean Paul “Dino” Martin), Colonel Parker (who was originally a carnival barker), and Armand Hammer.   But Weintraub saves the very best for last, when this very mature man touches upon spirituality, religion, mortality and family.   By his own admission, Weintraub has never been religious and yet he has come to work closely with Catholic charities and Jewish congregations.   It is all very personal, as he explains in Talking and some of the connections have to be heard to be believed.   (Yes, real life is so much stranger than fiction.)

It is when he talks of the death of his parents that we come to feel the emotional soul of Mr. Weintraub.   His voice breaking, he tells us that “everything changes in life when you lose your parents.”   Materialism takes a sudden back seat to memories, to one’s basic values as one comes to realize that we’re all renters in this place.

Jerry Weintraub, we come to know, was proud of his success but so much more so because he could share it with his parents – such as with his skeptical father who came to doubt that he “really knew” President Carter and the First Lady until the Weintraubs were invited to a State Dinner at the White House.   (Weintraub’s father once wondered aloud if his son had made millions as a Jewish member of the Mafia.)

By the end of Talking, you’ll come to feel that Jerry Weintraub is a very nice man, one you’d be happy to invite to one of those special “10 people you would like to have dinner with” events.

Highly recommended.

Joseph Arellano

A review copy was provided by the publisher.

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