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More About the Author
Product Description
Product Description
In "17", Drummond analyses the past, present and possible future of music and the ways in which we hear and relate to it. He references his own contributions to the canon of popular music, and he provides fascinating insider portraits of the industry and its protagonists. But above all, he questions our ideas of music and our attitude to sound, introducing us throughout this provocative and superbly written book to his current work, "The 17".A time has arrived where we can listen to any recorded music, from the entire history of recorded music, wherever, whenever, while doing whatever we want. This has meant our relationship with music is rapidly and fundamentally changing, faster than it has done for many decades. This is good for numerous reasons. But a by-product of this is that recorded music will no longer contain the meaning it once held for us. The era of recorded music is now passing and within the next decade it will begin to look and sound like a dated medium. Recorded music will be perceived as an art form very much of the 20th century. These notions excite me. This excitement has brought about "The17".
About the Author
Artist Bill Drummond has been thinking about music since 17 March 1967, when he first lifted the lid on the family Dansette record player. In his numerous musical incarnations - as manager of Echo & The Bunnymen, as co-founder of the multi-million-selling band The KLF etc - Drummond has combined global commercial success with a fiercely independent slant. As an artist his work, over the past thirty odd years, has examined the cultural landscape through a diverse array of methods ranging from the written word, in the form of books and websites, to performance and events. Much of his work is released by him anonymously, unrecorded and often without any traditional art contextualisation.
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Customer Reviews
Most Helpful Customer Reviews
9 of 9 people found the following review helpful
Format:Hardcover
Part musical memoir, part biography, part documentation of art practice, part philosophical discourse on the nature of art and music.
And along the way lots of typical Drummond musing and digression.
The easy criticism is that it's just middle aged angst of a man desperately clinging to youthful passions. But Drummond takes his passions more seriously than that and is willing to fight for them.
And like much of what Drummond does the ideas have an appeal that has you examining things from the perspectives they throw up even as you realise their contradictions, failings or even untruth. But then these aren't really ideas to be taken literally - they're philosophical and artistic exercises, means of approaching problems from a new direction and hoping to throw new light on them. A challenge to every day conceptions.
And along the way lots of typical Drummond musing and digression.
The easy criticism is that it's just middle aged angst of a man desperately clinging to youthful passions. But Drummond takes his passions more seriously than that and is willing to fight for them.
And like much of what Drummond does the ideas have an appeal that has you examining things from the perspectives they throw up even as you realise their contradictions, failings or even untruth. But then these aren't really ideas to be taken literally - they're philosophical and artistic exercises, means of approaching problems from a new direction and hoping to throw new light on them. A challenge to every day conceptions.
10 of 11 people found the following review helpful
Format:Hardcover
I liked this so much I bought some other ones for friends. Drummond is maddeningly opinionated but it all adds to the fun. Along with Julian Cope, he is the only famous person of his generation to have ambition beyond hit singles and being on a reality show. Although, in fact, Drummond almost WAS on a Celebrity Big Brother series. Like all Drummond's productions, this book is lovingly designed and adds class to even the dustiest of living rooms.
8 of 9 people found the following review helpful
Format:Hardcover|Amazon Verified Purchase
Bill Drummond contests that all recorded music is redundant and uses this premise to launch a performance art choir concept called The17, the members of which at any given time are any seventeen people willing to be involved.
This book is mostly Drummond's diary from March 2006 to June 2007 as he launches the choir and uses his existing notoriety to help tour it across arts festivals and into schools. Meanwhile and in no particular order he also looks back on his own life association with music, from the first record he ever bought through to his 1980s jobs working with Stock Aitken Waterman and as a tour manager for Echo & The Bunnymen.
The sections about The17 are typical of Drummond's writing- prosaic yet sometimes aimless, stream of consciousness thoughts. Drummond insists on writing using pen and paper and often his attitude and opinions at the end of a chapter are very different from how that chapter began. As the 'scores' (written lists of instructions) for The17 become more and more grandiose and unrealisable the choir seems to be more of a struggle than a joy. It's difficult to be captivated by The17 concept- Drummond has to admit it's not totally original and since there will never be any available recordings of the choir, you find yourself wishing Drummond could concentrate on describing the sound a bit more.
As usual though Drummond uses his art as a starting block to talk about himself, especially when The17 is less successful. To quote him out of context, "it's more about [his] own shortcomings than about the failings the target of [his] projections may have." And Bill Drummond is a difficult character and not always likeable- he's very unapologetic about all sorts of damage he has caused.
And yet it's actually in the openly autobiographical sections that this book is at its most interesting. The anecdotes about his involvement in the Liverpool music scene in the late 70s and early 80s should really be a whole book in their own right, full of comic rock & roll stories that out-do Spinal Tap, and the few pages about what it was like working with Pete Waterman in his heyday are absolutely great. Drummond avoids going into any detail about his work with Jimmy Cauty, and suggests that that is also another books' worth of material in it's own right.
In a final slightly arsey twist Drummond gets three students from the Royal College of Art to add annotations to his book. This should be the height of unreadable pretension but in fact the comments are refreshingly honest and help ground the whole text a bit more. The most accurate of these is:
"I think [the17]'s just an interesting idea for a project that has turned into a bigger book because he can use it as a way to wax lyrical on his more general gripes with the music industry."
...which sums it up very well.
PS. Better than "45".
This book is mostly Drummond's diary from March 2006 to June 2007 as he launches the choir and uses his existing notoriety to help tour it across arts festivals and into schools. Meanwhile and in no particular order he also looks back on his own life association with music, from the first record he ever bought through to his 1980s jobs working with Stock Aitken Waterman and as a tour manager for Echo & The Bunnymen.
The sections about The17 are typical of Drummond's writing- prosaic yet sometimes aimless, stream of consciousness thoughts. Drummond insists on writing using pen and paper and often his attitude and opinions at the end of a chapter are very different from how that chapter began. As the 'scores' (written lists of instructions) for The17 become more and more grandiose and unrealisable the choir seems to be more of a struggle than a joy. It's difficult to be captivated by The17 concept- Drummond has to admit it's not totally original and since there will never be any available recordings of the choir, you find yourself wishing Drummond could concentrate on describing the sound a bit more.
As usual though Drummond uses his art as a starting block to talk about himself, especially when The17 is less successful. To quote him out of context, "it's more about [his] own shortcomings than about the failings the target of [his] projections may have." And Bill Drummond is a difficult character and not always likeable- he's very unapologetic about all sorts of damage he has caused.
And yet it's actually in the openly autobiographical sections that this book is at its most interesting. The anecdotes about his involvement in the Liverpool music scene in the late 70s and early 80s should really be a whole book in their own right, full of comic rock & roll stories that out-do Spinal Tap, and the few pages about what it was like working with Pete Waterman in his heyday are absolutely great. Drummond avoids going into any detail about his work with Jimmy Cauty, and suggests that that is also another books' worth of material in it's own right.
In a final slightly arsey twist Drummond gets three students from the Royal College of Art to add annotations to his book. This should be the height of unreadable pretension but in fact the comments are refreshingly honest and help ground the whole text a bit more. The most accurate of these is:
"I think [the17]'s just an interesting idea for a project that has turned into a bigger book because he can use it as a way to wax lyrical on his more general gripes with the music industry."
...which sums it up very well.
PS. Better than "45".
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