- Paperback: 253 pages
- Publisher: Continuum International Publishing Group Ltd. (16 Oct 2008)
- Language English
- ISBN-10: 0826428576
- ISBN-13: 978-0826428578
- Product Dimensions: 21.4 x 16.2 x 1.4 cm
- Average Customer Review: 4.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 679,882 in Books (See Top 100 in Books)
- See Complete Table of Contents
 Trade In this Item for up to £0.25
Get an extra £5 when you trade in books worth £10 or more until June 30, 2012. Trade in I Shot a Man in Reno: A History of Death by Murder, Suicide, Fire, Flood, Drugs, Disease, and General Misadventure, as Related in Popular Song for an Amazon.co.uk gift card of up to £0.25, which you can then spend on millions of items across the site. Trade-in values may vary (terms apply). Find more products eligible for trade-in.
|
Product details |
More About the Author
Product Description
Review
"An essential volume...one of the most informative and fulfilling music books you're ever likely to read." --Record Collector
Review
"Its contents more than live up to the billing...a rich and masterful read."
Inside This Book
(Learn More)
Tags Customers Associate with This Product(What's this?)Click on a tag to find related items, discussions, and people.
|
Sell a Digital Version of This Book in the Kindle Store
If you are a publisher or author and hold the digital rights to a book, you can sell a digital version of it in our Kindle Store.
Learn more
Customer Reviews
Most Helpful Customer Reviews
7 of 7 people found the following review helpful
Format:Paperback
'I can now pick out a reference in a song to murder, suicide, cancer and nuclear apocalypse blindfold at twelve paces...for most people this is not a useful skill...for them, death is only a low hum in the background'
After reading this among Graeme Thomson's conclusions to his dissection of 'death' songs you're likely to hear them roaring at you from all quarters. In a thorough examination of the 'popular song' genre it is fascinating to discover how widely the subject of death is covered. Working his way, roughly, through the 20th century , from 1920's New Orleans to Gangsta Rap and all points in between, we are introduced to a web of interwoven artists and songs. Reasonings and objectives are teased out and serve to make you listen to the songs all the more closely.
At times it can be a little demanding , as singer after singer and song after song is referenced. Perseverance is, however, rewarded with cogently expressed insights to all concerned. All the greats are there - Bob Dylan,Nick Drake,Lou Reed, Elvis Costello, Neil Young etc. The more obscure are mentioned too , including , new to me, Alasdair Roberts.
It's all delivered with the wit and accessibility that characterised his biographies of Elvis Costello and Willie Nelson. Teenage 'emo' types are chided for their , usually, safe domesticity in the line 'Death by duvet'. Songs about dead rock stars are summarised as being about ' our beloved heroes, united by a fondness for Class A drugs, alcohol abuse and flying in very small planes'. From many interviews - including Mick Jagger, Will Oldham, Nick Cave - he presents some perceptive comments. Explaining why he thinks his fans like his 'murder songs' Richard Thompson says 'They almost like to be unsettled'. Paul McCartney talks('It sounds sounds a bit goody-goody, so I don't normally tell too many people')about how his teenage visits to elderly people contributed to 'Eleanor Rigby'.
This isn't a dispassionate account. Graeme isn't afraid to tackle some sacred cows. Though he writes enthusiastically about Dylan songs, including 'Hattie Carroll', he also comments ' This was back when, lyrically speaking, Dylan owned up to possessing a conscience; he quickly discovered it was a burden and has rarely displayed one since.' Similarly he allows Will Oldham to speak at length about his distaste for the 'beautiful loser' mystique that surrounds Townes Van Zandt. Led Zeppelin are dismissed as 'extended silliness' with an 'over-inflated sense of significance'.
It's all provocative stuff , providing material for many a discussion. It's a resolutely male perspective explained , perhaps, in a comment on a poll of funeral songs. The lack of female songs is , he suggests, because '..it's more tempting to surmise that women would simply rather not contemplate their own demise in such vainglorious terms'. Straight away I can think of one omission (Laura Cantrell's 'Bees') but that's the kind of reaction that this book should inspire.
An excellent read, not just for music fans but anyone interested in contemporary culture.
After reading this among Graeme Thomson's conclusions to his dissection of 'death' songs you're likely to hear them roaring at you from all quarters. In a thorough examination of the 'popular song' genre it is fascinating to discover how widely the subject of death is covered. Working his way, roughly, through the 20th century , from 1920's New Orleans to Gangsta Rap and all points in between, we are introduced to a web of interwoven artists and songs. Reasonings and objectives are teased out and serve to make you listen to the songs all the more closely.
At times it can be a little demanding , as singer after singer and song after song is referenced. Perseverance is, however, rewarded with cogently expressed insights to all concerned. All the greats are there - Bob Dylan,Nick Drake,Lou Reed, Elvis Costello, Neil Young etc. The more obscure are mentioned too , including , new to me, Alasdair Roberts.
It's all delivered with the wit and accessibility that characterised his biographies of Elvis Costello and Willie Nelson. Teenage 'emo' types are chided for their , usually, safe domesticity in the line 'Death by duvet'. Songs about dead rock stars are summarised as being about ' our beloved heroes, united by a fondness for Class A drugs, alcohol abuse and flying in very small planes'. From many interviews - including Mick Jagger, Will Oldham, Nick Cave - he presents some perceptive comments. Explaining why he thinks his fans like his 'murder songs' Richard Thompson says 'They almost like to be unsettled'. Paul McCartney talks('It sounds sounds a bit goody-goody, so I don't normally tell too many people')about how his teenage visits to elderly people contributed to 'Eleanor Rigby'.
This isn't a dispassionate account. Graeme isn't afraid to tackle some sacred cows. Though he writes enthusiastically about Dylan songs, including 'Hattie Carroll', he also comments ' This was back when, lyrically speaking, Dylan owned up to possessing a conscience; he quickly discovered it was a burden and has rarely displayed one since.' Similarly he allows Will Oldham to speak at length about his distaste for the 'beautiful loser' mystique that surrounds Townes Van Zandt. Led Zeppelin are dismissed as 'extended silliness' with an 'over-inflated sense of significance'.
It's all provocative stuff , providing material for many a discussion. It's a resolutely male perspective explained , perhaps, in a comment on a poll of funeral songs. The lack of female songs is , he suggests, because '..it's more tempting to surmise that women would simply rather not contemplate their own demise in such vainglorious terms'. Straight away I can think of one omission (Laura Cantrell's 'Bees') but that's the kind of reaction that this book should inspire.
An excellent read, not just for music fans but anyone interested in contemporary culture.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
2 reviews
8 of 8 people found the following review helpful
An excellent read for anyone interested in contemporary culture.
31 Aug 2008
Format:Paperback
'I can now pick out a reference in a song to murder, suicide, cancer and nuclear apocalypse blindfold at twelve paces...for most people this is not a useful skill...for them, death is only a low hum in the background'
After reading this among Graeme Thomson's conclusions to his dissection of 'death' songs you're likely to hear them roaring at you from all quarters. In a thorough examination of the 'popular song' genre it is fascinating to discover how widely the subject of death is covered. Working his way, roughly, through the 20th century , from 1920's New Orleans to Gangsta Rap and all points in between, we are introduced to a web of interwoven artists and songs. Reasonings and objectives are teased out and serve to make you listen to the songs all the more closely.
At times it can be a little demanding , as singer after singer and song after song is referenced. Perseverance is, however, rewarded with cogently expressed insights to all concerned. All the greats are there - Bob Dylan,Nick Drake,Lou Reed, Elvis Costello, Neil Young etc. The more obscure are mentioned too , including , new to me, Alasdair Roberts.
It's all delivered with the wit and accessibility that characterised his biographies of Elvis Costello and Willie Nelson. Teenage 'emo' types are chided for their , usually, safe domesticity in the line 'Death by duvet'. Songs about dead rock stars are summarised as being about ' our beloved heroes, united by a fondness for Class A drugs, alcohol abuse and flying in very small planes'. From many interviews - including Mick Jagger, Will Oldham, Nick Cave - he presents some perceptive comments. Explaining why he thinks his fans like his 'murder songs' Richard Thompson says 'They almost like to be unsettled'. Paul McCartney talks('It sounds sounds a bit goody-goody, so I don't normally tell too many people')about how his teenage visits to elderly people contributed to 'Eleanor Rigby'.
This isn't a dispassionate account. Graeme isn't afraid to tackle some sacred cows. Though he writes enthusiastically about Dylan songs, including 'Hattie Carroll', he also comments ' This was back when, lyrically speaking, Dylan owned up to possessing a conscience; he quickly discovered it was a burden and has rarely displayed one since.' Similarly he allows Will Oldham to speak at length about his distaste for the 'beautiful loser' mystique that surrounds Townes Van Zandt. Led Zeppelin are dismissed as 'extended silliness' with an 'over-inflated sense of significance'.
It's all provocative stuff , providing material for many a discussion. It's a resolutely male perspective explained , perhaps, in a comment on a poll of funeral songs. The lack of female songs is , he suggests, because '..it's more tempting to surmise that women would simply rather not contemplate their own demise in such vainglorious terms'. Straight away I can think of one omission (Laura Cantrell's 'Bees') but that's the kind of reaction that this book should inspire.
An excellent read, not just for music fans but anyone interested in contemporary culture.
After reading this among Graeme Thomson's conclusions to his dissection of 'death' songs you're likely to hear them roaring at you from all quarters. In a thorough examination of the 'popular song' genre it is fascinating to discover how widely the subject of death is covered. Working his way, roughly, through the 20th century , from 1920's New Orleans to Gangsta Rap and all points in between, we are introduced to a web of interwoven artists and songs. Reasonings and objectives are teased out and serve to make you listen to the songs all the more closely.
At times it can be a little demanding , as singer after singer and song after song is referenced. Perseverance is, however, rewarded with cogently expressed insights to all concerned. All the greats are there - Bob Dylan,Nick Drake,Lou Reed, Elvis Costello, Neil Young etc. The more obscure are mentioned too , including , new to me, Alasdair Roberts.
It's all delivered with the wit and accessibility that characterised his biographies of Elvis Costello and Willie Nelson. Teenage 'emo' types are chided for their , usually, safe domesticity in the line 'Death by duvet'. Songs about dead rock stars are summarised as being about ' our beloved heroes, united by a fondness for Class A drugs, alcohol abuse and flying in very small planes'. From many interviews - including Mick Jagger, Will Oldham, Nick Cave - he presents some perceptive comments. Explaining why he thinks his fans like his 'murder songs' Richard Thompson says 'They almost like to be unsettled'. Paul McCartney talks('It sounds sounds a bit goody-goody, so I don't normally tell too many people')about how his teenage visits to elderly people contributed to 'Eleanor Rigby'.
This isn't a dispassionate account. Graeme isn't afraid to tackle some sacred cows. Though he writes enthusiastically about Dylan songs, including 'Hattie Carroll', he also comments ' This was back when, lyrically speaking, Dylan owned up to possessing a conscience; he quickly discovered it was a burden and has rarely displayed one since.' Similarly he allows Will Oldham to speak at length about his distaste for the 'beautiful loser' mystique that surrounds Townes Van Zandt. Led Zeppelin are dismissed as 'extended silliness' with an 'over-inflated sense of significance'.
It's all provocative stuff , providing material for many a discussion. It's a resolutely male perspective explained , perhaps, in a comment on a poll of funeral songs. The lack of female songs is , he suggests, because '..it's more tempting to surmise that women would simply rather not contemplate their own demise in such vainglorious terms'. Straight away I can think of one omission (Laura Cantrell's 'Bees') but that's the kind of reaction that this book should inspire.
An excellent read, not just for music fans but anyone interested in contemporary culture.
1 of 1 people found the following review helpful
A great gift
20 April 2009
Format:Paperback
My sweet heart loved this. Read it cover to cover in no time. Sure he complained a little about a few historical details but the fact that I over heard him chatting so often about it with his best friends tells me he was really inspired by it.
PS he's a history buff and a guitar player, so there might be a bias here.
PS he's a history buff and a guitar player, so there might be a bias here.
Were these reviews helpful?
Let us know
Listmania!
Look for similar items by category
Look for similar items by subject
Feedback
- Would you like to update product info or give feedback on images?
- I am the Author, and I want to comment on my book.
- I am the Publisher, and I want to comment on this book.
|
