Wexler's account of how he talked his way into co-ownership of Atlantic Records and went on to produce some of the century's great pop music—all of which makes for some of the juiciest music history one could hope to find. As an insider's account of the golden age of rhythm and blues (a term Wexler coined), this memoir may be matched only by Atlantic founder Ahmet Ertegun's—if he chooses to write one. By turns regretful and boasting, Wexler offers a story that is above all a superlative read, with the sections describing his 1920's-30's Manhattan childhood as interesting as the more musically oriented later chapters. With help from Ritz (who's written bios of Smokey Robinson and Marvin Gaye), Wexler describes his years at Billboard magazine, his move to Atlantic, and his relationships with the Chess brothers, Alan Freed, Phil Spector, and many others. Colorfully colloquial and unflaggingly enthusiastic, Wexler makes important connections between various styles and artists—noting the influence of the blues, for example, on country balladeers—and shows what a complex cultural phenomenon the best pop has always been. Accounts of how he managed recording sessions with everyone from Ray Charles to Aretha Franklin to Bob Dylan reveal much about both music history and making. Although testimony from ex-wives, friends, and (surprisingly) enemies isn't always well integrated, and though some readers will be less sympathetic to the author's temper and excesses, Wexler's contribution to the music is unquestionable, and there's plenty of material here that only he could provide. Many anecdotes—including an amazing account of a recording date with Guitar Slim—may pass into legend. It's a shame no CD set was issued with the book. For scholars and R&B/pop aficianodos, a terrific read—in spite of and because of its idiosyncracies—and great fun for others as well. (Seventy-five photographs—not seen) (First serial to Rolling Stone)
Pub Date: May 27, 1993
ISBN: 0-679-40102-4
Page Count: 304
Publisher: Knopf
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 1993
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
BOOK REVIEW
BOOK REVIEW
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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