- Audio Download
- Listening Length: 3 hours and 3 minutes
- Program Type: Audiobook
- Version: Unabridged
- Publisher: Audible Studios
- Audible.co.uk Release Date: 20 April 2009
- Language: English
- ASIN: B002SPWR7Y
- Amazon Bestsellers Rank:
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Dusty Springfield's Dusty in Memphis (33 1/3 Series) Audiobook – Unabridged
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At first I thought Mr. Zane was setting the scene with stories from his own background and ponderings on the mythical Deep South. Interviews with Atlantic mainman, Jerry Wexler seemed fair enough too - after all, he was bound to start examining the music on the album soon. But page after page of the same indulgent rambling went by with barely a mention of the record in question. By page 60, I began to skim. By page 90, I felt like I'd been had. there's a great analysis waiting to be written of Dusty In Memphis - the songs, the musicians, the artist - but this is certainly not it.
The most successsful of the 33 1/3 series that I've read (David Bowie's 'Low' and DJ Shadow's 'Entroducing') concentrate on the artist and the circumstances in which that music was made. This was more about the obsessions of the author. A missed opportunity.
The book however will sadly not match your expectations if you are seeking a good critical review and perspective of the music and all the related aspects (the artiste, Memphis musicians, the label- Atlantic, and especially an overview of the 60's fascination of UK artistes for US soul and R&B music). This is especially sad given the writer who is obviously a great fan of the record has clearly spent a lot of time with Jerry Wexler especially, as one of the key producers on both this record and for Atlantic.
Instead what you get are intermittent references to many of the above areas, especially by quotes, but the main part of the book is the author (a musician in the Del Fuegos from Boston in North USA) grappling with both his personal and very US perspective on the US South and in the last chapter on "nativism" a section that in content and message would be better placed in a sociology book. One suspects that many of his points are not without validity but in a book of this short length they would have benefitted from being in more edited form and better related to the key topic in hand, the music. If final proof of the lack of precision and conciseness is needed then it is the closing pages of an interview with Stanley Booth who wrote the original LP sleeve notes.
I must honestly admit I learnt more about how and why the LP came out in the form it did and the impact the LP had both commercially and in a wider artiste context from the essay insert with the Rhino re-release CD of this LP.