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Joy Division's "Unknown Pleasures" (33 1/3) (33 1/3) (33 1/3)
 
 
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Joy Division's "Unknown Pleasures" (33 1/3) (33 1/3) (33 1/3) (Paperback)

by Chris Ott (Author)
3.0 out of 5 stars See all reviews (1 customer review)
RRP: £6.99
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Product details

  • Paperback: 117 pages
  • Publisher: Continuum International Publishing Group Ltd. (1 May 2004)
  • Language English
  • ISBN-10: 0826415490
  • ISBN-13: 978-0826415493
  • Product Dimensions: 16.4 x 11.8 x 1.2 cm
  • Average Customer Review: 3.0 out of 5 stars See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 245,528 in Books (See Bestsellers in Books)

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Product Description

Product Description
33 1/3 is a new series of short books about critically acclaimed and much-loved albums of the last 40 years. Focusing on one album rather than an artist's entire output, the books dispense with the standard biographical background that fans know already, and cut to the heart of the music on each album. The authors provide fresh, original perspectives - often through their access to and relationships with the key figures involved in the recording of these albums. By turns obsessive, passionate, creative, and informed, the books in this series demonstrate many different ways of writing about music. (A task which can be, as Elvis Costello famously observed, as tricky as dancing about architecture.) What binds this series together, and what brings it to life, is that all of the authors - musicians, scholars, and writers - are deeply in love with the album they have chosen.

About the Author
Chris Ott tells the remarkable story of how Joy Division's debut album was made, and examines the legacy of this short lived band.
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18 of 22 people found the following review helpful:
3.0 out of 5 stars Too much emphasis on the tragic outcome and not the music, 10 Dec 2004
By Siriam (London United Kingdom) - See all my reviews
(TOP 500 REVIEWER)      
"Unknown Pleasures" is a recording that like Jeff Buckley's "Grace", has become near mythical as a memorable initial recording followed by the singer's early death with no time to subsequently disappoint fans by later output. As a result many writers on limited evidence feel able to extrapolate their views and this book is sadly no exception.

Chris Ott is clearly a long time US based devotee of the group and their output and as an American has done a lot of homework on the Mancunian rock scene of 1976-1980. He covers well how it grew out of copying the London led punk scene and was then left behind by Joy Division as they moved on from their initial incarnations as the Stiff Kittens and Warsaw. His detailed coverage of the early recordings and John Peel "Top Gear"sessions and the growing contact with Rob Gretton and Tony Wilson plus producer Martin Hannett (whose cutting edge if erratic approach to new recording techniques was used so effectively but at the cost of alienating group members by his control freak approach), is the best retelling of the story I have seen to date.

Where the book starts going astray is half way through as we move to the recordings of the songs that made it to the final LP and the remainders that were used on later releases and compilations. That Ian Curtis developed quickly as a great lyricist and singer and that he was a major catalyst with other members of the group in how songs were developed is well covered - however the haliography with which Ott imbues him and the interaction of his private life (relying heavily on his widow's recent biography) lead to an overemphasis on the tragic suicide that occurred shortly after and little evaluation of the LP and its subsequent impact (the small sales of 15,000 in six months being little explanation of why the recording is cited in many "best of" lists). Instead what is provided is a retelling of Curtis's quick and sad decline in health and the tragic interaction of drugs and manic live performances reflecting the growth of intensity in his epilepsy seizures. One sad result is the rest of the group become a mere backdrop, which as New Order subsequently showed they were clearly not.

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