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Produktbeschreibungen
AMAZON.CO.UK
As the first volume of Chronicles, Bob Dylan’s long-anticipated autobiography, finally appears, we are given a forcible reminder how it has never been easy to be a Dylan admirer. How could the fiercely anti-establishment composer of With God on Our Side embrace (in turn) orthodox Judaism, then fundamentalist Christianity – two religions absolutely antithetical to his celebration of the unfettered human spirit ? How could the demigod of folk (and disciple of Woody Guthrie) make his controversial move into electric rock? How could this man of the streets become the arch capitalist? If no answers to these questions are to be found within the pages of Chronicles, there is nevertheless a whole host of pleasures to be encountered: literary felicities, brilliantly etched pen portraits of musical personalities he has encountered, the biting wit one might expect – not to mention a thousand surprises (how could a man hardly noted for the beauty of his vocal tones be such an admirer of composers whose work he could never tackle, such as Harold Arlen, composer of Over the Rainbow?.
Those who have loved Dylan’s lyrics (and that’s a good chunk of the academic world these days) will find the same coruscating prose here: idea and image fused into brilliant (if often opaque) word pictures, as Dylan takes us back to his early days on the New York folk scene, before he became the face of rebellion in music. There are insights into his reluctance to conform to the image his fans have of him (hence his highly unlikely conversion to religious dogmas?), and this inaugural volume of his autobiography takes the reader up to the moment of his first real celebrity. It’s a fascinating and infuriating read, of a piece with Dylan the Enigma. And perhaps answers to those unanswered questions will appear in succeeding volumes. --Barry Forshaw -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Kurzbeschreibung
The first volume of the autobiography of a musical and political icon - the enduringly popular musical chameleon, Bob Dylan, taking us from his birth in the provincial town of Duluth, Minnesota, up until the mid-sixties. Contents are strictly embargoed, but this undoubtedly represents a cultural and publishing event of some magnitude. B/w illus.
-- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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1 von 1 Kunden fanden die folgende Rezension hilfreich
Format:Gebundene Ausgabe
Das ist eine wunderbare Biographie nicht nur für Fans. Für diese jedoch ein Muss!
Dylan beschreibt einige Lebensabschnitte episodenhaft. Dies ist keine von-Anfang-bis-Ende-Alles-abgegrast Biographie.Dylan beweist auch im Roman den Mut zur Lücke. Hier werden sowohl einzelne Alltagsepisoden, als auch Schlüsselmomente (z.B. die Anfänge in New York)beschrieben.
Somit entwirft der Sänger eine Collage seines Lebens, die sowohl künstlerische Einflüsse wie Literatur, aber auch persönliche Hintergründe wie seine Frau Sarah einfliessen läßt.
Der Leser erhält einen kleinen Einblick in das abgeschirmte Dylan Universum. Figuren werden dem Leser nicht anhand von Beschreibungen und Erklärungen näher gebracht, sondern anbei erwähnt. Ein gewisses Vorwissen der damaligen Musikszene ist zwar nicht zwingend notwending, schadet aber nicht, da der Leser direkt in das New York der 60er hinein katapultiert wird. Und genau dieser Insider Blickwinkel auf die zeitgenössischen Begebenheiten und Figuren macht dass Buch auch für Musikinteressierte, die nicht unbedingt an Bob Dylan interessiert sind, lesenswert.
Und letztendlich ist es auch ein gut geschriebenes Stück Literatur über das Künstlersein an sich. Nichts Neues, aber immer wieder spannend und in diesem Fall ansprechend gestaltet.
Dylan beschreibt einige Lebensabschnitte episodenhaft. Dies ist keine von-Anfang-bis-Ende-Alles-abgegrast Biographie.Dylan beweist auch im Roman den Mut zur Lücke. Hier werden sowohl einzelne Alltagsepisoden, als auch Schlüsselmomente (z.B. die Anfänge in New York)beschrieben.
Somit entwirft der Sänger eine Collage seines Lebens, die sowohl künstlerische Einflüsse wie Literatur, aber auch persönliche Hintergründe wie seine Frau Sarah einfliessen läßt.
Der Leser erhält einen kleinen Einblick in das abgeschirmte Dylan Universum. Figuren werden dem Leser nicht anhand von Beschreibungen und Erklärungen näher gebracht, sondern anbei erwähnt. Ein gewisses Vorwissen der damaligen Musikszene ist zwar nicht zwingend notwending, schadet aber nicht, da der Leser direkt in das New York der 60er hinein katapultiert wird. Und genau dieser Insider Blickwinkel auf die zeitgenössischen Begebenheiten und Figuren macht dass Buch auch für Musikinteressierte, die nicht unbedingt an Bob Dylan interessiert sind, lesenswert.
Und letztendlich ist es auch ein gut geschriebenes Stück Literatur über das Künstlersein an sich. Nichts Neues, aber immer wieder spannend und in diesem Fall ansprechend gestaltet.
0 von 2 Kunden fanden die folgende Rezension hilfreich
Format:Gebundene Ausgabe
From one of the great music talents comes a masterful memoir of life in the early stages of his life. It is well worth the purchase and you will find it to be most memorable.
Other memoirs to look for: Nightmares Echo by Katlyn Stewart and A Paper Life by Tatum O'Neil.
Other memoirs to look for: Nightmares Echo by Katlyn Stewart and A Paper Life by Tatum O'Neil.
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8 Rezensionen
4 von 4 Kunden fanden die folgende Rezension hilfreich
Nice to meet you Bob
14. Juli 2007
Format:Gebundene Ausgabe
I'm not an avid reader, but I read this book until I finished it during my spare time and am now opening it randomly and reading whatever I open to. It's fun to hear his take on his view of things vs the views of the rest of the world. He seems quite normal (for one who grew up in the 40's/50's) in his approaches to non-musical life as opposed to the "my water's not wet enough/I only eat purple m&m's/I don't want to bother with the 'little' people" mindset of many of his contemporaries (and of course Prima Donna's of any age).
What I really liked were the lenghy discussions of music and musical techniques which he felt greatly aided his expression. I wish I could understand them all but they are intriguing just the same.
What I really liked were the lenghy discussions of music and musical techniques which he felt greatly aided his expression. I wish I could understand them all but they are intriguing just the same.
2 von 2 Kunden fanden die folgende Rezension hilfreich
Gotta Love It Despite Its Omissions
6. Mai 2008
Format:Gebundene Ausgabe
After reading the last page, you'll know more about Dylan than you knew before, but don't expect to find all the answers to the enigmatic Mr. Zimmerman, who chooses to remain as reclusive in his prose as he does in his life.
The book is a delight to read since Dylan's prose flows, and the book is most decidedly a page turner. He provides many insights into his thinking as he haltingly takes us from the time he arrived in New York City to the days of his mega-fame. In the pages of CHRONICLES, we see a man who is a keen observer, but also one who is far more pedestrian in his views than anyone would have guessed. He speaks at great length about how goofy the 60s and the counterculture looked to him, and his discussion of raising his children and walking his dog like any other parent is endearing.
Dylan's chronology is difficult to follow since he continually fast forwards in his description of events, and one is often not quite sure what period of his life Dylan is referring to. He names no years whatsoever by which we can match action and time. What is especially annoying is that entire periods of his life are simply missing. He goes from being a new arrival in New York, living from hand to mouth, to becoming a pop icon (a term he detests) within a matter of pages, no explanation given. Blink an eye, and he's suddenly recording the album OH MERCY in New Orleans in 1987. With major portions of his life omitted, it is impossible to discover the reason for changes in his philosophy or musical styles beyond a certain point.
Ultimately, this is not autobiography, but rather observations about life. But that's okay. His narrative is nevertheless powerful and engrossing. His prose, bordering on the poetic at times, is accessible and puts us in touch with a man who has sought to write songs and live his life. While he may have chosen to skip over major events in his life, what he gives us is pure gold. He has allowed to eavesdrop, as it were, on select moments of his life. That's worth the price of the book.
The book is a delight to read since Dylan's prose flows, and the book is most decidedly a page turner. He provides many insights into his thinking as he haltingly takes us from the time he arrived in New York City to the days of his mega-fame. In the pages of CHRONICLES, we see a man who is a keen observer, but also one who is far more pedestrian in his views than anyone would have guessed. He speaks at great length about how goofy the 60s and the counterculture looked to him, and his discussion of raising his children and walking his dog like any other parent is endearing.
Dylan's chronology is difficult to follow since he continually fast forwards in his description of events, and one is often not quite sure what period of his life Dylan is referring to. He names no years whatsoever by which we can match action and time. What is especially annoying is that entire periods of his life are simply missing. He goes from being a new arrival in New York, living from hand to mouth, to becoming a pop icon (a term he detests) within a matter of pages, no explanation given. Blink an eye, and he's suddenly recording the album OH MERCY in New Orleans in 1987. With major portions of his life omitted, it is impossible to discover the reason for changes in his philosophy or musical styles beyond a certain point.
Ultimately, this is not autobiography, but rather observations about life. But that's okay. His narrative is nevertheless powerful and engrossing. His prose, bordering on the poetic at times, is accessible and puts us in touch with a man who has sought to write songs and live his life. While he may have chosen to skip over major events in his life, what he gives us is pure gold. He has allowed to eavesdrop, as it were, on select moments of his life. That's worth the price of the book.
1 von 1 Kunden fanden die folgende Rezension hilfreich
More scenes from a life than an autobiography
14. Oktober 2007
Format:Gebundene Ausgabe
My copy of the paperback comes loaded with a long listing of all who chose this as their Book of the Year on release - while understanding their joy at Bob opening up on his life in Volume 1, unless followed by further volumes, Chronicles is in danger of leaving many wanting. This is because the book in structure while using an interesting forward and backward time structure centred around the creation of Dylan's songwriting style, with the exception of one chapter actually gives very little away.
The book starts with Dylan just signed to CBS and laying down some of the myths that clouded early bio histories. After 20 pages it reverses back to arriving in New York and covers at length how he moved around sharing people's rooms and taking in all the influences available (everything seems to get name checked in the process) with the central theme of how he took time to develop his approach to songwriting.
Skip forward (briefly) to the recording of "New Morning" and a parallel project with poet Archibald MacLeish who wanted some songs for a play he had written (which is clear will abort from the way Dylan writes about it) but then to the longer key counterpoint chapter to his earlier arrival in New York. This is how in the mid-1980s, after feeling a need for change post the dire prior recordings of the 1980s, he recorded "Oh Mercy" with Daniel Lanois producing in New Orleans. The coverage of how Dylan dealt after an accident that hurt his arm and just before setting off on touring, shows a clear case of knowing he was on an artistic slide. The time taken to get to acceptable compromises to finalise the recording after taking a long bike ride to settle his muse are easily the best part of the book. They also dispel the often quoted myths that Dylan writes his songs in one go and then records very quickly. His skill seems to be he writes a lot quickly when motivated and then scales these verses down in the studio. As the detailing of the recordings shows they were painstakingly rehearsed and developed, with Lanois being an ideal counterpoint in this.
A final closing chapter of back to the early 1960s with a mix of his trip to get to NY via a long stop over in Minneapolis and how in New York he started using records and singers heard (notably Guthrie, Dave van Ronk (the critical influence of his first LP) and Joan Baez) to start creating his own songwriting style driven especially after hearing Robert Johnston's recordings.
What is clear is that if Dylan wants to, the continuation of the Chronicles filling in the gaps (especially the 1960s and early 1970s) will be needed to make this a true autobiography rather than a few chosen scenes from his life to date.
The book starts with Dylan just signed to CBS and laying down some of the myths that clouded early bio histories. After 20 pages it reverses back to arriving in New York and covers at length how he moved around sharing people's rooms and taking in all the influences available (everything seems to get name checked in the process) with the central theme of how he took time to develop his approach to songwriting.
Skip forward (briefly) to the recording of "New Morning" and a parallel project with poet Archibald MacLeish who wanted some songs for a play he had written (which is clear will abort from the way Dylan writes about it) but then to the longer key counterpoint chapter to his earlier arrival in New York. This is how in the mid-1980s, after feeling a need for change post the dire prior recordings of the 1980s, he recorded "Oh Mercy" with Daniel Lanois producing in New Orleans. The coverage of how Dylan dealt after an accident that hurt his arm and just before setting off on touring, shows a clear case of knowing he was on an artistic slide. The time taken to get to acceptable compromises to finalise the recording after taking a long bike ride to settle his muse are easily the best part of the book. They also dispel the often quoted myths that Dylan writes his songs in one go and then records very quickly. His skill seems to be he writes a lot quickly when motivated and then scales these verses down in the studio. As the detailing of the recordings shows they were painstakingly rehearsed and developed, with Lanois being an ideal counterpoint in this.
A final closing chapter of back to the early 1960s with a mix of his trip to get to NY via a long stop over in Minneapolis and how in New York he started using records and singers heard (notably Guthrie, Dave van Ronk (the critical influence of his first LP) and Joan Baez) to start creating his own songwriting style driven especially after hearing Robert Johnston's recordings.
What is clear is that if Dylan wants to, the continuation of the Chronicles filling in the gaps (especially the 1960s and early 1970s) will be needed to make this a true autobiography rather than a few chosen scenes from his life to date.
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