Check out my in-progress Pinterest board — a misguided Z-A tour of the index for The Accidental Evolution of Rock ‘n’ Roll, Chuck Eddy’s 1997 critical tome, with occasional links to songs referenced. (I like how this snapshot renders it as a series of playing cards.)
Archive for the ‘Chuck Eddy’ Category
Posted by s woods on April 26, 2013
Posted by s woods on April 1, 2013
But in Continental Europe, a style of disco developed that was notably more synthesized and austere, often sleazier or chillier or just plain sillier, than its U.S. counterpart. In other words, if rock fans building vinyl bonfires at White Sox games thought disco sounded inhuman, replacing musicianly perspiration and heart with icy technology and repetition, Eurodisco proved their point. Europe was farther from the nexus of African-American music and cursed by its own English-as-second-language traditions (Eurovision pop, home-grown art rock), and also, frequently, more immersed in Third World rhythms, as early as Belgian group the Chakachas’ faux-equatorial (and Top 10 in the U.S.) “Jungle Fever” in 1972.
- Chuck Eddy, Silver Connections: 8 Essentials of Eurodisco.
Posted by s woods on January 29, 2013
On the heels of last night’s NME chart from ’81, Chuck Eddy provides an overview of 50 singles from the same year over at Rhapsody, and captures the tenor of the year in a single sentence: “Stuff was getting weird.”
Posted by s woods on November 17, 2011
Rev. Keith A. Gordon in Blurt Online:
“Eddy’s critical flights of fancy notwithstanding, he’s a solid writer of no little wit and humor, and if we readers (such as yours truly) can agree to disagree on some of the dreck that he immortalizes in Rock And Roll Always Forgets, we can all find middle ground. As music critics go, Chuck Eddy has always been a bit of a provocateur, and his tendency to risk ridicule with absurdist or unpopular critical stances is what has always made him an engaging and intelligent writer.”
Posted by s woods on November 3, 2011
Randall Roberts (Los Angeles Times) reviews RARAF:
Eddy’s work is compiled in Rock and Roll Always Forgets: A Quarter Century of Music Criticism, a career overview whose very title is contrarian: The writer’s got a problem with the premise of Bob Seger’s hit song “Rock and Roll Never Forgets.” He offers evidence with the lost artists, one-hit wonders, egocentric blowhards and various inspired eccentrics that he’s championed since writing early-1980s pieces on a budding genre called “rhymed funk,” soon dubbed rap music.
Posted by s woods on October 28, 2011
Ken Tucker reviews Chuck Eddy’s new tome (Entertainment Weekly)
How glad I am to see the publication of Eddy’s new song(s) of himself Rock and Roll Always Forgets: A Quarter Century of Music Criticism (Duke University Press). Glad, first, because it’s truly a representative selection, tracing the slithery paths of Eddy’s enthusiasms from Marilyn Manson to Mindy McCready just to stick with the ‘M’s, with tart new intros that set up reprints of some of his greatest hits. And glad, second, that there exist publishers still willing to release anthologies of rock writing, since so much great rock criticism remains uncollected, neglected, less forgotten than never known to a wider audience. (Can we get a Tom Smucker book together, please? I’ll edit the damn thing myself.)
Posted by s woods on September 15, 2011
Simon Reynolds points towards the index of the latest BookForum, which contains his twin review of Chuck Eddy’s RARAF and Marcus’s upcoming Doors book (not to mention that the same issue also contains a review of James Wolcott’s upcoming memoir and a piece on Dwight MacDonald — of these, only the MacDonald piece is available online) (but yeah: critical geek alert, for sure). I will buy BookForum when I can find a copy, and review at great length Reynold’s review of Eddy and Marcus (just kidding. I think). In the meantime, Reynolds chimes in with a few thoughts on GM and his version of the Doors:
This narrative arc of the Doors oeuvre — explosive entrance, rapid fading of powers, belated resurgence — is the standard critical shape for the group’s output and probably representative of how people of Marcus’s generation responded in real-time. You might say that this is the Historical Truth of the Doors. But why should listeners who discover the band subsequently, long after the fact, feel obliged to keep faith with that historical truth as it unfolded so many years ago? More to the point, how could they stay faithful to it even if they wanted to? The way music listening is now organized and freed up by digital archiving systems, trying to abide by that Truth would entail a great deal of effort: not just listening to things in exact sequence, but trying to keep out of your mind what happened next to the band. It’s impossible and probably pointless.
Two reasons I look forward to Marcus’s book:
1) there’s not been a lot of worthwhile criticism about the Doors (too often they’ve been under-served, unfairly dismissed, ridiculously misunderstood); I look forward to a fresh approach, and am genuinely curious about GM’s perspective, given how little he has previously written about them.
2) um, see last line in previous point: they are fresh material for GM. As I’ve written elsewhere, and probably ad nauseum, I tend to prefer Marcus when he’s exploring stuff that exists (or anyway, appears to exist) more around the edges of his usual obsessions, if that makes any sense.
Posted by s woods on September 5, 2011
Rock Book Show: Interview With Music Critic Chuck Eddy
Posted by s woods on August 7, 2011
Final quotes and discussion points from EddyFest 2011 (Weingarten/Kogan)
- CE: “What’s weird about Accidental — and it seems like a lot of people like Accidental more than Stairway now — this is a tangent, but — Accidental, a lot of those lists, it’s proto-ILM [a.k.a. I Love Music]. To me it kind of decreases its value over time, it’s just like, ‘oh, I was just doing ILM threads.’ CW: Yeah, where as now you’d have, like, 50 people to help you make it even more thorough.
- “Now the information is on your fingertips, so like, who gives a shit? Back then, it was actually just fun to figure that stuff out… Back in those days, you actually had to listen to music.”
- CE confesses to using Wiki: “You can’t not use it… Everybody’s knowledge becomes everybody else’s knowledge. Which means there’s no secret knowledge, there’s fewer and fewer surprises.”
- CE re: the Cloud: “You know what? I don’t want fucking everything at my fingertips. It was better when it wasn’t at my fingertips… I would rather find something by accident, or hear something accidental over the radio, than be, you know, looking for it and be able to find it in 30 seconds. It takes all the fun out of it. Not all the fun, but it takes a lot of the fun out of it.”
- CW: “We’ve kind of lost the folklore aspect of music” (to illustrate the point, notes the “Eat Me easter egg” in the Licensed to Ill album art, which he was told about well after the fact).
- CW: “What do you do to keep that element of surprise in your listening?” CE: “What do I do? Outside of what I have to do for money, I don’t listen to music on the internet — I just don’t. I live in Austin, there are eight pretty good record stores here, maybe, most of them have dollar bins, there’s a record convention twice a year that has dollar bins, there are garage sales, there are thrift stores… in the car I have my radio on and hear stuff by accident.”
- “I want to walk into a used record store, go to a dollar bin, and see “Shoot the Pump” by J. Walter Negro that Christgau wrote about in his “Additional Consumer News” to the Consumer Guide in 1982, that I’d never seen, and I’m like, holy shit — this is that record. And pay a dollar for it. And it’ll be the best record I’ve heard in the last five years, which it is…. You can still do it, you just have to not fall for everything they’re trying to sell you, I guess. Just because someone creates a need for me, doesn’t mean I have that need.”
- CW: “So, let’s say I were to adopt the accidental method of hearing music. How would I know what chillwave sounds like? CE: Why would you want to? CW: That’s a very good point! But I feel that part of our job is knowing what the discourse is about, and knowing, you know, the things that are defining the sound of now. CE: It’s part of your job if you’re writing about chillwave, for one thing. It’s not part of my job to know…. [discussion then detours into another terrible-sounding genre he'd be better off not kowing much about] what power violence sounds like .. Until I’m assigned a power violence article, I could give a shit what power violence sounds like.”
- CE acknowledges that his perspective in part stems from being “one of the very, very few people in this world lucky enough to get free promos in the mail pretty much every working day for the last quarter century.”
- Good points by CE on why it’s not necessarily important to know what chillwave is, or which chillwave artists matter, if you’re reviewing a chillwave record… “the point is, I’m writing about that record… I don’t even have to pretend chillwave exists!” (CW: “I wish I could pretend it didn’t exist!”)
- CW ends interview by “[lobbing] a softball” — “Have you talked to any of the Beastie Boys since?” CE ponders writing a 25-years-ago-today essay — “hey, maybe I should!” [Heard it here first.]
- How Pere Ubu & Nazareth Brought Frank and Chuck Together at Last: CE asks FK “how we first met”; FK notes it was due to correspondence FK started with CE after reading “Howls From the Heartland: The Untamed Midwest” in the VV (said piece of which is reprinted in RARAF); FK took exception at time to CE saying Pere Ubu “[thought] of themselves as a heavy metal band, and I said, ‘okay, I’m gonna write this guy a letter and set him right!’”
- We Are All Cinderella Now: Randy Montana and the State of Contemporary Country: FK’s favourite RM song, after one listen, is “It’s Gone” in part because the riff reminds him of “Gypsy Road” by “Schoolly-D’s favourite band, Cinderella.” CE responds: “I hear Cinderella in so much modern country that I probably stopped hearing Cinderella.” … FK “really likes” the guitars on the RM album, and notes that “country has kept the guitar as a viable contemporary instrument, and I wouldn’t say that they’re breaking ground, but… if, in let’s say 1969, Jorma Kaukonen or someone like that had done some of those intervals that the guitars were doing on this album, I would’ve said, ‘Wow! That’s damn amazing and innovative.’” … CE and FK affirm mutual belief that (in CE’s words) “this is a really horrible year for country.” … Short riff by CE on hair metal’s affinity with cowboys and with southern rock… CE: “I kind of think that what made country so exciting in the last ten years, it seems like it was “a historic blip, and I just feel like it had to run out.” … FK: “Why Country Sucks: That could be a fanzine!”
- CE and FK on K-Pop: FK notes of one K-Pop outfit (SW not sure who’s being discussed here) that they have “incredible dance routines” (due to performing the song on different TV shows, night after night) — “they make things into an event very well.” … CE would enjoy more K-Pop if he wasn’t chasing down YouTubes and was instead actually listening to LPs of the stuff (“I have to really go out of my way to see stuff… you have to be very active to pick up on that stuff”) … CE’s 3-year old daughter does, however, love E.Via’s “Pick Up U.”
- Just in Case You Were Thinking of Buying the New Night Ranger Album: FK asks CE “what have you been listening to in the last day?” A seemingly startled CE provides capsule review of new NR, which he just listened to in his car: “I really liked the music, I liked the singing, I liked the melodies, I liked the arrangements, but I kind of think the songwriting sucks from beginning to end. So I don’t even think I’m going to end up keeping the record.”
- CE’s Other Recent Listening… includes: New John Waite and Nazareth albums (FK hasn’t heard either). CE: “In the new book, I write about how I kind of left metal to the metalheads, and I don’t really pay attention to it much anymore. But Rhapsody wanted metal to be my specialty, and I basically have contracted to a certain number of hours a month for them.” Via which he has also listened to and enjoyed The Gentleman’s Pistols (from England… “seventies hard rock stuff”) and Cauldron (from Toronto… “early ’80s metal… between really early Def Leppard and really early Metallica, when they were both wearing blue jeans”)… “What’s weird is that I’m actually listening to rock this year.”
- With the Clok Tik-Tokking on Pop: CE: “I say I hate country now, but I hate pop music even more; I kind of don’t give a shit about pop music now, and I feel really bad about that, you know, I feel like I must be missing something, but I don’t know where it is. I mean, I guess it’s in Korea! [laughs]… I can say this is a horrible year for country, but it’s not like it seems like a better year for r&b or pop to me.” FK thinks it’s better than 2009, which was the real disappointing recent pop year for him, and that, following exciting things like “Boom Boom Pow” and “Disturbia” pop “got into a really lame rut, really fast.” CE: “Last year I got excited by Ke$ha, eventually, and the year before I got excited by Gaga, eventually, and… the Far East Movement stuff last year…” CE also notes that he’s “the disco sucks guy now — but maybe this time, ‘disco sucks’ is right, maybe this time disco really does suck…. And I want to love Pitbull.” FK notes there’s “a ceiling” on how good Pitbull will ever be; CE thinks there may be a ceiling on how good any of it will be, including Ke$ha and Lady Gaga.… FK: “Ke$ha’s interesting. My guess is that there’s actually nowhere for her to go, that she’s actually… if she repeats the stuff, she’s ‘repeating the stuff,’ but if she — how much can you do about, like, I threw up in the closet? How many times can you do that? And be the, you know, the kind of hood rat in kind of glitter rags who mingles with the rich and throws up on them? I thought it was a great idea, I think Tom Ewing said this… she sort of found a way to make auto-tune register as feedback…” CE: “Right, she was using it as noise, or whatever…” FK: “But it’s like, so much of it — it’s like ’60s stuff. ’65 through ’68 was astonishing. But so much of that depended on the sounds being new. And the idea of affronting a lot of people, and you can’t sustain that because it all gets accepted, and in some ways it’s now, sort of, the standard part of the palette, so that Randy Montana’s band can do stuff that would’ve affronted people 40 years ago. And now it’s just kind of, you know, these are the colours we’re using, and…” CE: “But Frank, I kind of think you care more about music affronting people than I do. I don’t care if Randy Montana is affronting people.” FK: “No, I don’t either, what I’m saying is that, the music that depends on affronting people is gonna have a time limit, because it just can’t keep working…” CE brings Eminem, Axl Rose, Johnny Rotten, the Beastie Boys, and Courtney Love into it: “They don’t really last that long.” FK: “Punks don’t grow, they stop.” [Lots more good bits in this part, about old people making pop music, self-destruction in pop, etc., but SW's wrist is sore, not from typing but from constantly stopping and starting and rewinding the mp3.]
- CE: “I’m getting tired here, Frank!”
- The Revival of Everything Rock vs. Collage Rock: CE notes that collage = not just Teena Marie but “Wango Tango” by Ted Nugent (and Charley Patton)…. FK draws distinction between ‘collage’ and ‘everything,’ CE calls it a misreading, claims that “maybe everything now” is “everything rock”… “everything rock is no big deal anymore”… CE “really, really, really doesn’t give a shit about Bruno Mars” … CE: “If something like ‘Pump up the Volume’ came on now, I’d probably like it more than anything on the radio, it just seems like it might be more interesting.” Also notes that rock no longer being afraid of dance music or hip-hop didn’t make rock better… CE even down on disco-metal fusion: “It probably ended up happening, and it probably sucked.”
Posted by s woods on August 4, 2011
Some discussion points, cool one-offs, and funny/enlightening quotes from part one (Dellio/Raggett/Soto) of EddyFest 2011, in order of appearance. This is a supplement to the podcast, not by any means a full-on summary, and it was compiled in fast-forward mode (in other words, it’s pretty much a given that several key discussion points are passed over; it’s really just a transcript of comments easily translatable into digestible bullet points).
- CE on writing up ambient music for Spin‘s “Essentials” series: “Oh wait, nobody’s ever done ambient — I have a Brian Eno album! And so, I did ambient. And, and… there’s a train going by, I’m actually outside right now, by the way.” (Nice, unintentional segue there!)
- CE, in discussing intros to the sections in the book (“I didn’t want them to be perfunctory”) reveals that a couple sections were nixed, including one on world music (“because they could tell that I really didn’t care about world music”) as well as a “one-hit wonders” chapter.
- re: CE’s essay on the Ultimate Band List (“Walking Into Spiderwebs,” 1998) PD references Andrew Keen’s arguments in The Cult of the Amateur: How Today’s Internet Is Killing Our Culture, re: online grammar standards (or lack thereof), and CE notes that he didn’t realize when writing the UBL piece just how much abbreviations, lack of punctuation, and generally lousy grammar usage online “would come to bug me.” [From CE's essay: "There's a sense of involvemement here, an excitement, a commitment to how people really talk. In the fleeting space of cyber, nobody cares much for punctuation or spelling. Grammatical errors and run-on phrases make UBL writing gyrate like some hyperactive new dance step."] [SW, thinking to himself at this point: "WTF, Chuck?"]
- re: CE’s Ramones feature from Rolling Stone ["Punk's First Family Grow Old Together," 1990]: “I’m not any kind of devil’s advocate for Rolling Stone, but I think people might understate a little bit what, at certain times in their history, you could get away with there.”
- Is the future of pop in albums or singles? “I care more about albums now than I do singles. That sounds like a contradiction, as someone who’s always writing about singles, but I’m much more confident now if I were to make a Top 10 albums list than a Top 10 singles list. And this year, or the last year-and-a-half, I just don’t really care about the radio that much now. I kind of think it’s pretty bad. It’s also less and less clear to me what a single is, you know?”
- Critical point by CE: “I really like the John Waite album this year. Maybe that’s the John Waite Rule in practise.” [For elucidation of the "John Waite Rule," you need to refer to issue #1 or #2 of PD's Radio On, which this author currently has packed away somewhere in a box, but recalls it as being a kinded spirit of sorts to GM's "Pia Zadora Rule."]
- NR echoes PD off the top by noting he was struck in particular by the section introductions in RARAF. CE: “That’s generally the newest writing in the book, and of course I’m already questioning what I wrote in a lot of those introductions. So you can imagine how much I’m questioning the pieces that are 30 years old.”
[Meanwhile, back in the control room, SW mildly freaking out, thinking everyone's going to ask CE questions about his terrific introductions!]
- CE claims he still questions his career choice — “and I’m 50.”
- “If you look at even the very first piece in the book, the ‘Over and Out’ piece [an excerpt from CE's 1983 Pazz & Jop ballot, not to mention his burst on to the public stage of rock criticism], I think I really did want some kind of saviour of music or something, which seems bizarre because it’s really not how I look at music, in general. And I think I saw Metallica as these guys who would come in to save the day, or at least save heavy metal.”
- “I tend not to read biographies of rock stars. I can probably count on one hand how many I’ve read in my life, and count on zero fingers the number I’ve read in the last few years — I’m just not that interested. But, I’m also a journalist, so I think I’m capable of finding the story… A lot of the features in that book tell a story about a life, not just music, and I do try to link the two.”
- “I care less about artist’s personal lives probably now than I did 20 years ago. Do I? I think that might be true.” [Followed by some good thoughts on Rihanna and CE's annoyance about how invested pop fans are today in the personal lives of pop stars.]
- “Well, for what it’s worth, surprise surprise, I’m suddenly down on country music this year. I think it’s the dullest year since, probably the millennium, at least. It’s starting to get pretty boring to me.”
- AS notes that he is “very honoured to be calling from the hometown of Will to Power and Miami Sound Machine.” CE returns the honour.
- CE: “I think the thing with that review [Mellencamp's Lonesome Jubilee] — and I was 26 then — it was a warning. It’s like, he’s going to lose it, and I was right, I was totally right. But I heard it on that record.”
- On losing interest in Prince, CE notes: “I just thought he stopped writing catchy songs and turned into a jam band. [Someone whose name SW couldn't make out] made me a tape once of the best Prince songs of the ’90s, and I’m like — there’s nothing that’s holding my attention here. This guy used to write great hooks.”
- “You know what, I heard [Living Color's] ‘Cult of Personality’ on the radio a couple weeks ago, and it wasn’t bad, it was better than any rock you hear on the radio NOW. Maybe… history gives you a better context.”
- re: rock criticism, ca. 2011: “Sure there’s a lot of things I could complain about, but for some reason, it doesn’t bug — I think it’s worse but it doesn’t bug me as much, maybe because I’m kind of resigned to it. I don’t submit really long Pazz & Jop ballots anymore. I guess at some point I decided it was out of my hands, or to put it another way, it’s not my responsibility, you know what I mean?”
- “I have that long essay in the book about how 1986 is the worst year ever for radio ["Dead Air"]… it’s ridiculous, it’s ridiculous! It’s a good essay, and it’s really long, and it’s so amazing that Doug Simmons let me ramble on for 4,000 words about how 1986 is the worst year for pop ever, but it’s just like — you know what? I miss 1986.” [SW, for the record, believed in 1986 that CE was wrong about current pop, but in 2011 believes that he was mostly correct. Except about Nu Shooz, of course, which is thankfully rebutted by CE himself.]
Notes for parts two and three to come…
Posted by s woods on August 2, 2011
In which eight rock critics, all Chuck Eddy fans, ask Chuck Eddy questions about (among other things) his new anthology, Rock and Roll Always Forgets: A Quarter Century of Music Criticism (on Duke University Press, in stores soon). A rockcritics.com exclusive, recorded on Sunday, July 31, now available here as a three-part podcast, with each episode running a little over an hour. Enjoy! (And thanks to all contributors, especially Chuck.)
Posted by s woods on June 16, 2011
“And now, alive for a half-century, somehow weathering an increasingly bleak and unlikely to recover rock-writing doldrums wherein fewer and fewer paying publications have any interest in publishing criticism that isn’t phoned in, I can honestly say that I’m as excited about listening to music as I’ve ever been. Austin is an amazing mythical land of awesome $1 vinyl bins and garage sales and record conventions, and now that CDs are speedily approaching their historical end zone and college students who’ve only ever downloaded MP3s are suddenly all buying used turntables again, piling up on old vinyl somehow doesn’t feel so anachronistic anymore. So between falling for new music by Collin Raye, Us Jswe Doma, Traband, Scooter, Ke$ha, Jace Everett, Flynnville Train, Luther Lackey, Bigg Robb, and This Moment in Black History, I’m falling for old music by Benny, D.C. Larue, Good Rats, Christ Child, Charlie Rich, Hank Thompson, the Delmore Brothers, the Mystics, the Headboys, Head East, Millie Jackson, Pebbles, Joe Tex, Andrae Crouch and the Disciples, Maze featuring Frankie Beverly, the Fatback Band, Steve Gibbons Band, Willie Alexander and the Boom Boom Band, Kevin Coyne, Chris Rea, Tonio K, Yesterday & Today, Riot, Pat Travers, and Axe. Few of whom you’ll find mentioned anywhere in this book. Though if any generous publisher out there needs a record guide to awesome dollar-bin LPs nobody’s ever heard of, please give me a call.”
- Chuck Eddy, introduction to Rock and Roll Always Forgets
I’m just making my way through Eddy’s book now. Barely even read a quarter of it yet, and I’m sort of jumping around all over the place (the introductions to the various sections are superb, particularly the hip-hop/r&b intro, which I hope to say more about eventually). But what a contrast to jump from the Ellen Willis and Paul Nelson books to this. Willis and Nelson, as I’ve already noted, emerged in an era where it was not uncommon for a rock critic to obsessively track the work of a few key artists (in Willis’s case, Reed, Dylan, Jagger, and Joplin; in Nelson’s case, Jackson Browne, Neil, Dylan, and Zevon). Even Greil Marcus sometimes gets flack from younger fans of rock writing for his obsessive interest in the work of Dylan, the Mekons, Costello, et al. Eddy certainly has his fave raves — Def Leppard and Teena Marie come to mind, sort of — but I don’t think he devotes more than a single chapter to anyone here; he definitely has always struck me much more as a guy who keeps closer tabs on genres than on artists. (I’m not saying anything remotely surprising; it’s kind of one of the themes of his second book, The Accidental Evolution of Rock ‘n Roll). Again, it just struck me: this is as far in approach as you can get, I think, from Ellen Willis and Paul Nelson (and Marcus… though not Christgau, at least not totally).
I’m also thinking of Chuck’s words above and wondering how they might or might not relate to what Simon Reynolds, in Retromania, is describing as a “malaise,” resulting, presumably, from the over-glut of everything (we’ve got the whole world in our hands; now what do we do?). I’m also thinking that I wouldn’t mind having back the ten minutes it just took me to transcribe all those bands Chuck mentions, 90% of whom I’ve never even heard of (.03% of whom I may conceivably hear something by some day).
Posted by s woods on June 13, 2011
First review I’ve seen posted online, anyway. By Wilson Knut.
“I liked [the section’ ‘Singles Again and Again’ because it’s such a great education in music history. In ‘Radio ’86: Dead Air,’ Eddy writes ‘Rock’n’roll radio has never been as boring as it’s been this year. Not in the middle ‘70s, not in the early ‘60s, not ever.’ He goes on to explain. By the end of the article I wanted to get one of those best of the ‘80s mixes and compare the hits year to year.”
(More info about the book here.)
Posted by s woods on April 11, 2011
Because Ellen Willis and Paul Nelson aren’t going to keep me busy enough over the next few months…
1) Marcello Carlin, The Blue in the Air
2) Chuck Eddy, Rock and Roll Always Forgets
Carlin’s book is available to order now; Eddy’s tome is due in July.
Posted by s woods on November 30, 2009
Rockcritics.com contributing editor, Steven Ward, chatted with me recently about a few of his favourite music books, including:
- Kurt Loder’s Bat Chain Puller: Rock and Roll in the Age of Celebrity
- Timothy White’s Rock Lives: Profiles and Interviews
- Chuck Eddy’s Stairway to Hell: The 500 Best Heavy Metal Albums in the Universe
- Stephen Davis’s Hammer of the Gods: The Led Zeppelin Saga
- Mick Wall’s When Giants Walked the Earth: A Biography of Led Zeppelin
We also share thoughts on critics vs. journalists, Albert Goldman, Martin Popoff, James Wolcott, and current music mags. As well, Steven enthuses about his favourite non-music read of the last few years, Gwendolyn Bounds’s Little Chapel on the River: A Pub, a Town and the Search for What Matters Most.
Listen to a stream of our conversation below:
Or download the mp3s here.
Posted by s woods on October 29, 2008
The third (and final) installment of my chat with Mr. Eddy, regarding record guides. Here we yammer on about:
- The Spin Alternative Record Guide
- Christgau’s Record Guides
- Martin Popoff, The Collector’s Guide to Heavy Metal
- Tony Jasper & Derek Oliver, The International Encyclopedia of Hard Rockand Heavy Metal
- Bill Friskics-Warren & David Cantwell, Heartaches by the Number: Country Music’s 500 Greatest Singles
(This segment just a little under 25 minutes… Enjoy!)
Posted by s woods on October 20, 2008
The second installment of the Eddy podcast focuses on the discographies in Stranded (Greil Marcus) and Marooned (Phil Freeman). Most (though not all) of the music bits are samples of songs culled from Marcus’s text. I may have more to say about this later (a whole bunch of things I wish I’d responded to at the time — i.e., Hackamore Brick), but for now… Check it out below (it’s a little over 15-min. long). More Chuck on the way later in the week.