33 1/3 Greatest Hits, Volume 1: v. 1

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That such a lively collection of beats and samples—as cerebral as they are physical—was created by a dying man ensures that Jordan Ferguson’s book will be poignant, but his clear storytelling and direct prose allows producer James Yancey to emerge as a complicated, contradictory character. The first half is the most extensive biography we have of the man, from his childhood in Detroit to his death in Los Angeles, just three days after the release of Donuts. The second half grapples with the album as a meditation on mortality, which only shows what an immense talent the world lost. I wanted a tiny bit more from the Front Lawn book but was still happy, I didn’t realise how much I would love the Space Waltz book, so that pleased me a great deal, and this is the most I’m ever going to think about the Bic Runga book. Over the years, the scope has widened, albums that would have never made it into the canon, or been considered part of any canon in fact, are now celebrated – and that’s awesome. Amazing, actually. Daughter of a Baptist minister, Aretha Franklin was chastised when she left the gospel circuit to pursue a pop career. After establishing herself as one of the premiere R&B singers of the 1960s, she made a momentous return to the church on 1972’s double album Amazing Grace, which proved she could still testify mightily. In one of the most thoroughly researched books in the series, Chicago critic Aaron Cohen recounts the album’s creation and reception in great detail, noting that “the popular media rarely present her journey from a gospel perspective, so this album remains frequently overlooked.” His book is a much-needed corrective that restores Amazing Grace to its proper place in Franklin’s catalog.

a b https://web.archive.org/web/20151106232635/https://333sound.com/2015/11/04/open-call-2015-results-the-16-new-books-in-the-33-13-series/And Then Nothing Turned Itself Inside-Out by Elliott Simpson on the album by Yo La Tengo (2000) [21] The first great title in the 33⅓ series paints a vivid picture of Los Angeles in the 1960s and Arthur Lee’s place in it—or, more accurately, just outside of it. While writing and recording Forever Changes, the Love frontman rented a house high in the hills above Los Angeles, where he could look down on the city and its music scene. His songs comprise an “ode to paranoia” that reveals the decay afflicting the hippie generation even before the fabled Summer of Love. Andrew Hultkrans paints Lee as an American prophet—not predicting the future but passing judgment on society. It’s perhaps the finest piece of writing on one of the finest psychedelic albums of that tumultuous decade. New series announcement: 33 1/3 Global". 333Sound. August 9, 2017. Archived from the original on March 20, 2018. If you would like to submit a proposal for a 33 1/3 volume, please submit all of the following to [email protected]. The submission window to submit is currently closed. Kraftwerk's Computer World:: 33 1/3 Steve Tupai Francis Bloomsbury Academic". Bloomsbury Publishing.

I still buy the occasional one. I still read them online or from the library. I haven’t kept up with the series in the way I once did, and it’s unlikely I’ll now cover that lost ground. But I’m still in the race, somewhat. The last one from the main series I read was Sequioa L. Maner’s excellent assessment of Kendric Lamar’s To Pimp A Butterfly (166). The last one I bought (and will soon read) is Steve Tupai Francis’ look at Kraftwerk’s 1981 gem, Computer World (163). I’d like to read the book about George Michael’s Faith (165), Madvillain Madvillainy (171), Wendy Carlos’ Switched-On Bach (141), and, well, there are of course heaps of others. Several independent books have been spun off of the series. The first, Carl Wilson's 2007 entry on Celine Dion's Let's Talk About Love, was expanded for a 2014 Bloomsbury reissue with material not specifically pertaining to the Dion album and retitled Let's Talk About Love: Why Other People Have Such Bad Taste. Joe Bonomo, at the invitation of Barker, expanded his 33 + 1⁄ 3 proposal on Jerry Lee Lewis's Live at the Star Club, Hamburg album into a full-length book about Lewis, the album, and his career titled Jerry Lee Lewis: Lost and Found, published by Continuum in 2009. A rejected proposal from writer Brett Milano for an entry on Game Theory's 1987 album Lolita Nation was instead expanded by Milano into a biography on the band's leader Scott Miller; that project, titled Don't All Thank Me at Once: The Lost Genius of Scott Miller, was released by 125 Books in 2015. [5] So the exact moment of 12:00:00 midnight belongs to the day before. The first moment after that, for example 12:00:01, belongs to the day after. Writing about an album like R.E.M.’s debut can be treacherous. More than 30 years after its release signaled the rise of alternative music, Murmur somehow retains its playful sense of evasion, as though purposefully obscuring its meaning in an attempt to make you listen more closely. Explaining each lyric and riff risks deflating its mystery, yet J. Niimi proceeds with caution. Perhaps his greatest accomplishment is finding the right distance from his subject, so that he can explain how the music works without telling us what it’s about. That is, after all, the whole point: “Murmur is a record that needs to be completed by the listener.” In 2010, Continuum was bought out by Bloomsbury Publishing, which continues to publish the series. [3] Following a leave, Barker was replaced by Grossan in January 2013. [2] Leah Babb-Rosenfeld has been the editor of the series since 2016. [4]Here you’ll find the full list of albums already covered in the 33 1/3 series, from the very first book published in 2003 to today.

A big thanks to our external advisors, who were integral in our selection process: Samantha Bennett, Sean Maloney, boice Terrel-Allen, Sarah Piña, and Ryan Pinkard. Maria Callas's Lyric and Coloratura Arias (33 1/3) Ginger Dellenbaugh: Bloomsbury Academic". Bloomsbury Publishing. Originally published by Continuum, [3] the series was founded by editor David Barker in 2003. [1] At the time, Continuum published a series of short books on literature called Continuum Contemporaries. One-time series editor Ally-Jane Grossan mentioned that Barker was "an obsessive music fan who thought, 'This is a really cool idea, why don't we apply this to albums'. [3] PopMatters wrote that the range consists of "obscure classics to more usual suspects by the Beach Boys, the Beatles, and the Rolling Stones". [1]As U.S. planes deployed with nukes flew around the world and John F. Kennedy assessed the Bay of Pigs, James Brown was playing a week of shows at Harlem’s legendary Apollo Theater. According to Pitchfork contributor Douglas Wolk’s careful reconstruction of the making of Live at the Apollo, nuclear annihilation may have been averted by sheer force of Brown’s will. Of course, the hardest-working man in show business had nothing to do with foreign relations, but Wolk shows how those fears of mass obliteration stoked Brown’s showcase, pushing him to give even more to his crowd and prodding his audience to scream and shout as though their lives depended on it. Fortunately, humanity not only survived a nuclear standoff, but we got one of the greatest live albums ever. If given another chance to write for the series, which albums would 33 1/3 authors focus on the second time around? This anthology features compact essays from past 33 1/3 authors on albums that consume them, but about which they did not write. It explores often overlooked and underrated albums that may not have inspired their 33 1/3 books, but have played a large part in their own musical cultivation. New to this submission round*: A one-line description of the book summing up its scope and content. Q: I would really like some advice on which album to write on, or constructive criticism on my proposal. Can I write to you about this? Chapman is also an academic from Dunedin. But I’m more aware of his publishing, and have enjoyed some of his books a great deal. Sometimes there’s a mere surface skim, but always there’s the combination of academia and fan with Chapman, and I think that might be the perfect vibe for 33 1/3. It’s palpable that he had his world changed by seeing Alistair Riddell drip from the TV, sartorial and slightly gender-bender-y (for the time at least, in little old New Zealand). If we know anything about Dr Chapman, it’s that he’s a glam fanatic. And in the right way, this is also a book about himself. The best of the 33 1/3 books always situate the writer within the subject, it’s correct for the authors to put themselves right there in the text. You are reading as much for how the person writing discovered the album as you are for nuts-and-bolts stories around the making. Chapman gives you it all, or as much as he can give. A mix of digging through what’s already written, and fresh interviews with all the principals. It’s also a story of implosion – one album and then done. Band members heading off for success in other directions (Eddie Rayner of course with Split Enz, and drummer Brent Eccles first with Australian act, The Angles and then as artist manager and tour promoter with both Brett Eccles Entertainment and Frontier Touring). Riddell remaining a mercurial presence, written off in various ways by various people as a Bowie pastiche and a one-hit-wonder to boot. Chapman points out with a fan’s love that Riddell did Bowie better than almost anyone else, and also grabbed from a bunch of places New Zealanders in the mid-70s weren’t really looking (Van der Graaf Generator). And if there was really only one radio hit on the album there was certainly more substance than just that. I found this book charming and compelling. Which is exactly the space I want to end up in when reading a 33 1/3.