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ELVIS PRESLEY: A LISTENER'S GUIDE (English Edition) [Kindle Edition]

Shane Brown
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An essential guide to the music of Elvis Presley, for general music lovers and hardcore fans alike.

In the sixty years since his first recording session, hundreds of books have been written about Elvis Presley, but very few have concentrated on the important thing: the music.

"Elvis Presley: A Listener's Guide" is ONLY about the music. Session by session, song by song, the author takes the reader on a journey through Elvis's legacy, from the first demo disc he recorded in 1953 to the final concerts in 1977. Along with providing a fresh perspective on these 700+ recordings, the book also takes a look back at how critics reacted to the material when it was first released, with reference to over 170 contemporary reviews and articles.

Shane Brown was born in 1974 and has a PhD in Film, Television and Media. He had written on horror stars Boris Karloff and Bela Lugosi (with Mark Jancovich), and silent film star Jack Pickford. Forthcoming publications include an essay on the first African-American film director, Oscar Micheaux, and another on the teen sci-fi TV series "Kyle XY." He is also the author of "Breaking Point," a novel for young adults.


  • Format: Kindle Edition
  • Dateigröße: 1616 KB
  • Seitenzahl der Print-Ausgabe: 311 Seiten
  • Gleichzeitige Verwendung von Geräten: Keine Einschränkung
  • Verkauf durch: Amazon Media EU S.à r.l.
  • Sprache: Englisch
  • Text-to-Speech (Vorlesemodus): Aktiviert
  • X-Ray:
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: #84.120 Bezahlt in Kindle-Shop (Siehe Top 100 Bezahlt in Kindle-Shop)

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1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen A real listener's guide. 10. August 2014
Von Dirk Welz
Format:Taschenbuch|Verifizierter Kauf
To me it's always refreshing to hear or read what other fans of the King think about certain songs or records. And that's what we get with ELVIS PRESLEY: A LISTENER'S GUIDE. Shane Brown offers his view of the Presley catalogue and does so in a very enjoyable way. Of course I do not agree with everything he writes, simply, because tastes are different. But in total Mr. Brown reviews Elvis' recordings honestly. It's certainly more interesting than all these other books dealing with his favorite food or the memories of his hairdresser.
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Die hilfreichsten Kundenrezensionen auf (beta) 4.0 von 5 Sternen  3 Rezensionen
10 von 13 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen A perfect book for people who really want to understand not ... 4. August 2014
Von leigh jones - Veröffentlicht auf
Format:Kindle Edition
A perfect book for people who really want to understand not only his music but life. In my opinion a must have if you not only a fan but simply enjoy great books around legions of music.
4 von 5 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen One of the most worthwhile Elvis books I've ever read 23. August 2014
Von Peter J. Gael - Veröffentlicht auf
Format:Kindle Edition|Verifizierter Kauf
This book covers Elvis music catalog song by song. While I didn't agree with all of the author's opinions (which is a good thing) the book challenged me to look at Elvis's music and career in a new way.
11 von 18 Kunden fanden die folgende Rezension hilfreich
2.0 von 5 Sternen Disappointingly not a "Fresh" look at Elvis' body of work 7. August 2014
Von Bryan Gruszka - Veröffentlicht auf
Format:Kindle Edition
From the pre-release info, I was expecting a nuanced, interesting reassessment of Elvis' musical legacy and perhaps a fresh look at overlooked songs and albums. However, I was disappointed to find a number of the typical Elvis "truths" trotted out, particularly concerning Elvis' later years - frankly, there seemed to be a number of throwaway comments included that simply reinforce the negative stereotypes of Elvis, such as the overused notion that Elvis' "erratic on-stage behavior that had become all too frequent" - while it certainly can be said that some (not all) of Elvis' post-'75 performances could be called "lackluster" or "perfunctory," using terms such as "the erratic on-stage behavior that had become all too frequent" implies that Elvis was unpredictable, even bordering on bizarre, and that audiences never knew what Elvis they might get on stage. It also implies that the majority of Elvis' shows were like this. To add insult to injury, the author also indicates that the large number of FTD concert releases only solidify this notion of an as best mediocre performer well past his prime. He takes great pains to point out FTD releases like "New Haven '76" as examples of his argument, yet doesn't mention FTD releases such as "Showtime", "New Year's Eve" or "Chicago Stadium" that don't fit the pattern.

Additionally, the author uses words such as "shocking" to describe the performances on the FTD release of "Spring Tours '77", which showcases portions of shows Elvis performed from March-May of 1977, yet provides no examples of the "shocking" performances nor any explanation of what specifically would lead a listener to use such an adjective. To me, this is unfortunate, as anyone who is not familiar with Elvis might see a statement like that and simply conclude that Elvis was in such a shocking state in 1977 that nothing he did was worthwhile, or that it was all embarrassing to hear. Again, I think such generalizations do not provide a "reassessment" of anything, but simply reinforce the already negative image of Elvis in his later years.

If the book was to be about the music, as the author claims, then it should be about just that - the author's view of Elvis' performances on record, rather than asides covering what fans on the internet said about a certain CD release (for example). In short, I was excited to read this book as the author truly did present it as something new and refreshing, yet it seems to be more of the same that we've heard many times before. I, for one, found the comments on some songs to be too short to provide any sort of in depth analysis, and had a feeling that many songs were simply dismissed out of hand.

On another note, I found the author's criticism of the Elvis Legacy CD releases as "haphazard" as somewhat odd as well. For example, the author mentions that the release of "Elvis Country" is marred by the inclusion of "Love Letters" as the second CD rather than outtakes from "Elvis Country" - however, the release itself makes it clear that "Love Letters" was included because it not only followed "Elvis Country" in release order, but that it included songs recorded at the same sessions that produced "Elvis Country" - a logical choice in terms of showcasing the type of material Elvis was working on at the time. Additionally, this particular release includes all of the singles released during the same period and presents a rather cohesive look at Elvis' 1970 studio output. Far from being haphazard, the Legacy releases serve to present similar material, recorded during related sessions, in a comprehensive package, and they have received excellent press and, as in the case of "Elvis at Stax" have provided a true reassessment of some of Elvis' work. I'd say that's an excellent achievement for the Legacy series, and one that contributes to the understanding of Elvis' as an artist rather than detracts from it.

Overall, this book was a disappointment to me, particularly as the author, in his introduction and elsewhere, takes great pains to point out that he is taking a fresh look at Elvis' body of work. The fact that this "fresh look" relies so much on repeated stereotypes in some cases is most unfortunate.
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