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Like a Rolling Stone: Bob Dylan at the Crossroads | 
| Author: Greil Marcus Publisher: PublicAffairs Category: Book
List Price: $14.00 Buy New: $2.00 You Save: $12.00 (86%)
New (31) Used (40) from $0.95
Rating: 20 reviews Sales Rank: 346548
Media: Paperback Pages: 304 Number Of Items: 1 Shipping Weight (lbs): 0.8 Dimensions (in): 8.2 x 5.3 x 0.6
ISBN: 158648382X Dewey Decimal Number: 782.42164 EAN: 9781586483821 ASIN: 158648382X
Publication Date: April 3, 2006 Availability: Usually ships in 1-2 business days
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Product Description Greil Marcus's popular appreciation of his, and Bob Dylan's, favorite song--a book that Rolling Stone called "essential insight into the living history of rock & roll." Greil Marcus has written the definitive biography of the greatest pop single ever made. Recorded in Columbia's Studio A in New York on 16 June 1965, "Like A Rolling Stone" was instantly of its time-and so strong it has escaped time altogether. The musicians gathered in the studio never managed a second successful recording: they caught it once and only once. Then it was gone, arguably never to be bettered in Bob Dylan's countless live performances of the song. Dylan's career as a folk singer--and the career imposed upon him, his unwanted role as "voice of a generation"--had hit a wall. Marcus recreates the brilliantly competitive pop world of 1965, and the energy, the anger, the thrill and the horror that Bob Dylan turned into a revolutionary six-minute single. Forty years later it remains the signal accomplishment of modern music. It drew to itself disparate traditions of American music and speech; it redrew the map of the country itself; it left behind a world that was not the same. The whole adventure is here.
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| Customer Reviews: Read 15 more reviews...
Candidate for the worst rock book (on the best song) June 27, 2009 Mike Rudge (New Zealand) Hard to imagine how this could be worse. Pompous and Flatulent at the same time. BEWARE
Marcus on Dylan January 9, 2009 Bob Chorba (Milwaukee, Wisconsin United States) This probably a 4 1/2 star book. Marcus is an eminent Dylanologist. He was part of a symposium on Dylan at the Skirbal, near LA. Marcus not only dissects the Highway 61 Sessions, but goes deeply into a discussion of Blues and R& B Music. He discusses Clyde McPhatter and the various groups that Clyde was part of, which pleased me greatly. (You can Still find the Drifters "White Christmas" on Juke Boxes today.) Though I didn't understand the section on takes. It seems that none of the 15 takes were satisfactory, so what take was released? 16Th?
some Blakean breakthrough into the heavens of poetry... July 7, 2007 Rob Wilson (Santa Cruz and Honolulu) 3 out of 3 found this review helpful
This reader thought he knew this era-shattering Dylan song and its contexts; but this book kept enriching it start to finish, and showed as well how it nearly did not happen, could have easily been abandoned in the drafts of the studio or the maze of putting Bloomfield and Kooper in on it. I was a CT kid in the shadows of Forest Hill concert, and in truth I was applauding that electric guitar like it was some Blakean breakthrough into the heavens of poetry, same thing when I heard the Byrds sing Turn Turn Turn or Tambourine Man. Re Dylan, Marcus keeps raising spectral contexts out of the airwaves, shows how the song breaks into the `great time' and afterlife of music created by Sam Cooke and Robert Johnson. This books shows how Dylan was using the top 40 as an access into that depth of folk-pop poetry coming out of the future, making a future America happen in the present, endure as a legacy and obligation. I can see how a poet such as Dylan would be grateful for such a reading, breaking his poetry into the invisible republic of the spirit.
Let Us Now Praise Famous Pop Songs April 21, 2007 Steve Peters (Seattle, WA) 2 out of 2 found this review helpful
Marcus, especially in this book, reminds me of James Agee. Not Agee the reactionary film critic, but the ecstatic Agee of Let Us Now Praise Famous Men - the way he could look deeply and lovingly at a sharecropper's cabin and find every splinter and stain luminous and profoundly human and dignified. Check out Agee's riff about listening to Beethoven with your head crammed into the speaker and cranking it up until it hurts. When Marcus digs into his obsessions it can be like that, revealing details of perception and levels of feeling that you can't imagine having missed. On the downside, Marcus also shares Agee's tendency to lapse into rambling and grandiosity, and the words can pile up and stumble over themselves, leaving you wondering what the hell he's talking about. He has so many ideas and passions, and wants to draw connections between his subject and so many other things. When it works it can be fascinating, but sometimes it's a bit of a stretch, and you wish he would at least not try to cram them all into one sentence/paragraph/page. In this book especially, I often found myself wishing for a stronger editorial hand to rein him in and clear up some of the log jams. It raises an interesting question about how far you can push journalism in the direction of literature and have it still be effective. After all, Agee's great tome began as a magazine article that got out of hand... But I like to watch Marcus' mind at work, even when he goes off the deep end. He's one of my favorite writers to argue with; I may occasionally think he's full of it, but I admire the effort. When so much music writing is either lame fanboy drivel, shallow blurbage, or arid academic nonsense, it's a pleasure to read someone both passionate and scholarly who is prepared to dig so deeply, to stake a claim that this music (whatever it is - in this case Dylan's) really matters.
A really good magazine article that went undited. April 2, 2007 Gerard L. (Anchorage, AK United States) There are many interesting facts regarding the cultural and musical importance of this song and many good anectodes from the studio. However, the interesting parts could have made a decent magazine article (and have already) while the rest is quite rambling and bloated. Still, a decent enough book and if you don't know much about the song or its importance, not a waste of time.
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