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Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era
 
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Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era (Paperback)

by Ken Emerson (Author)
5.0 out of 5 stars See all reviews (1 customer review)
RRP: £15.00
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Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era + Blue Monday: Fats Domino and the Lost Dawn of Rock 'n' Roll
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Product details

  • Paperback: 352 pages
  • Publisher: Fourth Estate Ltd (20 Mar 2006)
  • Language English
  • ISBN-10: 1841157287
  • ISBN-13: 978-1841157283
  • Product Dimensions: 23.1 x 15 x 3 cm
  • Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 249,623 in Books (See Bestsellers in Books)

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Product Description

Mick Brown, Daily Telegraph
'a magisterial study...scholarly and highly entertaining.'

Observer Music Monthly
'A loving and exhaustive examination...a stern corrective to anyone who thinks pop music began with the Beatles.'

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Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era
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Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era 5.0 out of 5 stars (1)
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Blue Monday: Fats Domino and the Lost Dawn of Rock 'n' Roll 5.0 out of 5 stars (2)
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16 of 16 people found the following review helpful:
5.0 out of 5 stars New York state of mind charted in full, 22 Mar 2006
By Pismotality (London, England) - See all my reviews
(TOP 1000 REVIEWER)   
There has been a gap in the market for a book focusing on the Brill Building songwriters and the good news is that Ken Emerson's account, while clearsighted in charting later artistic and commercial decline, is as detailed and loving as one could possibly hope for - a joy to read from beginning to end and a fitting tribute to the music that even some of the writers didn't expect to last (Barry Mann rushes off in a panic to compose more songs at the news that a current hit is drifting down the charts).

Early chapters concentrate on individual teams but as the book progresses their fates and business interests become intertwined, the slightly older Leiber and Stoller emerging as major players, producing or "editing", as they modestly call it, the contributions of younger writers as their own interest in appealing to a younger demographic wanes. There's a general promiscuity, too (creatively speaking), with writing partners sneaking in a quick collaboration on a morning when the regular soulmate is busy.

Some unsung heroes emerge: publisher Don Kirshner's role in creating the circumstances which allowed, for a few Eden-like years, his writers to flourish, and the visceral excitement of George Goldner when he hears a palpable hit. Someone ascribes the emotions of a twelve year old girl to him, hearing magic in the likes of Chapel of Love when no one else can.

But what gives this tale of connected personal, creative and business lives an especial poignancy is that the Brill Building story is also that universal tale of time passing: partners falling out; writers approaching thirty who can no longer empathise with a younger audience; the emergence of the self-supporting artists like the Beatles and Dylan causing writers like Gerry Goffin to question their purpose (he says that he now tries simply to be an "adequate" writer; one longs to tell him that the best of what he created with Carole King will never need apology).

A general exodus from New York in the late sixties, linked to the expansion of Don Kirshner's business interests which made him less hands-on with his writers, were factors in the decline of these crafted pop songs - the New York musical mix, particularly the passion for Afro-Cuban rhythms, permeated the best Brill Building recordings - and Emerson (rightly, in my view) cites Bacharach's decreasing involvement with African-American artists like Lou Johnson and Chuck Jackson as contributing to blander work in the 70s.

These writers were, in one sense, hacks, and Emerson doesn't flinch (any more than the writers themselves) from distinguishing between the trash and the gems, but what comes through more than anything in this warm and compelling account is that - not only in Bacharach's case - the best artists always brought out the best in the writers, who took enormous pride in their achievements. And Emerson has a knack for selecting the moments that matter, none more so than when, around 1960, amid fears that this music has had its day, the Drifters' Charlie Thomas finds Doc Pomus chanting: "Rock'n'roll will never die." When Thomas retorts that it's "just a song," Pomus replies: "No, it's not a song, Charlie. It's a place in your heart." This music may or may not live forever, but as Emerson says "it still resounds half a century later," and I can't imagine a better chronicler of those who shared their creative lives with us. This book will send you back, with a fresh delight, to the records.
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