- Gebundene Ausgabe: 352 Seiten
- Verlag: Desert Hearts (1. Mai 2007)
- Sprache: Englisch
- ISBN-10: 189894802X
- ISBN-13: 978-1898948025
- Größe und/oder Gewicht: 23,8 x 16,2 x 5,6 cm
- Durchschnittliche Kundenbewertung: 3.0 von 5 Sternen Alle Rezensionen anzeigen (1 Kundenrezension)
- Amazon Bestseller-Rang: Nr. 419.693 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Format:Gebundene Ausgabe
Having been an avid Mellotronist for many years, I was immediately intrigued by Nick Awde´s book on one of the most godawful (or impressive) musical instruments of all times. Unfortunately, the book turned out to be a bit of a let-down after reading. It´s not bad by any means, in fact I´m convinced that Awde spent a lot of time and energy on gathering all the information displayed here, conducting all the interviews etc. etc. A solid piece of musical journalism it is, without any doubt.
What I found missing was a whole lot of other artists who used the Mellotron and created their own musical niches in the world of music. Although there is a short note by the writer that future editions will probably also cover these artists omitted here, I am afraid another edition of this book will be rather unlikely as I can´t imagine that there will be huge numbers sold of the first edition. Where is Tangerine Dream who helped making the Mellotron one of the most visible and audible ingredients of their early psychedelic phase before Froese got into scoring films big time? Not that I´m biased towards Germany´s prog rock of that era, but it´s equally important as the British leg. Where is Julian Cope? Where is The Musical Box? Where is Radio Massacre International? Of course they´re not strictly "prog rock", and some of them aren´t even British...
Secondly, the writer is heavily focussed on British progressive rock of the 1960s and 1970s. Which is no bad thing. Unfortunately, many of the musicians featured and interviewed here switched seats in the same bands, so it´s a bit redundant to read the same anecdote about the same band a third time, just told from a different angle. This really became a bit of a drag after a while and made me skip entire passages within the text.
Finally, there are many tiny little details which give away that Awde seems to be a bit blind when it comes to other electric and electronic instruments beyond the Mellotron. The "pianette" Tony Banks mentions was, of course, a Hohner Pianet, and the TR-something Nick Magnus talks about is, of course, a TR-808/TR-909. These little details pop up regularly and go to spoil the generally okay impression quite a bit as proper research -- or proof-reading, for that matter -- would have helped rectify these flaws which go to undermine the writer´s authority a bit. Not to mention his vaguely disguised enthusiasm and his occasionally fan-boyish way of asking question (and suggesting answers at the same time). But maybe I´m only anal here.
All in all it´s quite an entertaining, if occassionally lengthy read. If you know about the flaws, you can take it with a grain of salt. If not, I´d rather go for some other books which deal with a similar topic. And you better don´t wait for a second edition where you´ll find all those bands from outside the UK covered.
What I found missing was a whole lot of other artists who used the Mellotron and created their own musical niches in the world of music. Although there is a short note by the writer that future editions will probably also cover these artists omitted here, I am afraid another edition of this book will be rather unlikely as I can´t imagine that there will be huge numbers sold of the first edition. Where is Tangerine Dream who helped making the Mellotron one of the most visible and audible ingredients of their early psychedelic phase before Froese got into scoring films big time? Not that I´m biased towards Germany´s prog rock of that era, but it´s equally important as the British leg. Where is Julian Cope? Where is The Musical Box? Where is Radio Massacre International? Of course they´re not strictly "prog rock", and some of them aren´t even British...
Secondly, the writer is heavily focussed on British progressive rock of the 1960s and 1970s. Which is no bad thing. Unfortunately, many of the musicians featured and interviewed here switched seats in the same bands, so it´s a bit redundant to read the same anecdote about the same band a third time, just told from a different angle. This really became a bit of a drag after a while and made me skip entire passages within the text.
Finally, there are many tiny little details which give away that Awde seems to be a bit blind when it comes to other electric and electronic instruments beyond the Mellotron. The "pianette" Tony Banks mentions was, of course, a Hohner Pianet, and the TR-something Nick Magnus talks about is, of course, a TR-808/TR-909. These little details pop up regularly and go to spoil the generally okay impression quite a bit as proper research -- or proof-reading, for that matter -- would have helped rectify these flaws which go to undermine the writer´s authority a bit. Not to mention his vaguely disguised enthusiasm and his occasionally fan-boyish way of asking question (and suggesting answers at the same time). But maybe I´m only anal here.
All in all it´s quite an entertaining, if occassionally lengthy read. If you know about the flaws, you can take it with a grain of salt. If not, I´d rather go for some other books which deal with a similar topic. And you better don´t wait for a second edition where you´ll find all those bands from outside the UK covered.
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One of my top five music books of all time.
30. Dezember 2009
Format:Gebundene Ausgabe
This collection of musicians goes far deeper than their connection to the Mellotron, although that focus is the glue that connects them. The interviewees constitute about 750 years of collective musical experience between them, and the author/editor is no slouch, either. I found some very deep, insightful observations on music, the music business, and music journalism that I'd never read elsewhere. Whether you're a fan of progressive rock or not, I can't recommend this book highly enough. Anyone interested in intelligent, adventurous music and the catastrophic effects of shortsighted business & journalistic practices upon it will not be able to put this one down.
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