Portishead's Dummy (33 1/3)
| Author | : | |
| Rating | : | 4.75 (727 Votes) |
| Asin | : | 1441194495 |
| Format Type | : | paperback |
| Number of Pages | : | 248 Pages |
| Publish Date | : | 2017-01-28 |
| Language | : | English |
DESCRIPTION:
"A growing Alexandria of rock criticism - Los Angeles Times, 2008 Ideal for the rock geek who thinks liner notes just aren't enough - Rolling Stone One of the coolest publishing imprints on the planet - Bookslut"
How is that so many people have, collectively, made a quintessential headphone album into a nightclub album? How have they made the product of a niche local scene into an international success? This is the story of how an innovative, experimental album became the iconic sound for the better part of a decade; and an aesthetic template for the experience of music in the digital age.. The approach focuses as much on the reception and response that Dummy engendered as it does on the original production of the album. An album which distilled a genre from the musical, cultural, and social ether, Portishead's Dummy was such a complete artistic achievement that its ubiquitous successes threatened to exhaust its own potential. RJ Wheaton offers an impressionistic investigation of Dummy that imitates the cumulative structure of the album itself, piecing together interviews, impressions of time and place, cultural criticism, and a thorough exploration of the music itself
too_old_to_be_so_indie said A very good entry in the A very good entry in the 33-1/3 series I've read quite a few of the 33-1/3 series, and I think this is one of the best entries. It gives a great insight into the making of the album and also positions its creation within the greater musical trends of the time. My one disappointment is that the book presupposes the instance of a single "Bristol Scene" that existed around the time of this album; but the city is also important as home of two other scenes -- that of iconic indie label Sarah Records, and the more experimental sounds of the loose collective of musicians that included Flying Saucer Attack, The. A very good entry in the 33-1/3 series I've read quite a few of the 33-1/3 series, and I think this is one of the best entries. It gives a great insight into the making of the album and also positions its creation within the greater musical trends of the time. My one disappointment is that the book presupposes the instance of a single "Bristol Scene" that existed around the time of this album; but the city is also important as home of two other scenes -- that of iconic indie label Sarah Records, and the more experimental sounds of the loose collective of musicians that included Flying Saucer Attack, The. -1/A very good entry in the 33-1/3 series I've read quite a few of the 33-1/3 series, and I think this is one of the best entries. It gives a great insight into the making of the album and also positions its creation within the greater musical trends of the time. My one disappointment is that the book presupposes the instance of a single "Bristol Scene" that existed around the time of this album; but the city is also important as home of two other scenes -- that of iconic indie label Sarah Records, and the more experimental sounds of the loose collective of musicians that included Flying Saucer Attack, The. series. I've read quite a few of the A very good entry in the 33-1/3 series I've read quite a few of the 33-1/3 series, and I think this is one of the best entries. It gives a great insight into the making of the album and also positions its creation within the greater musical trends of the time. My one disappointment is that the book presupposes the instance of a single "Bristol Scene" that existed around the time of this album; but the city is also important as home of two other scenes -- that of iconic indie label Sarah Records, and the more experimental sounds of the loose collective of musicians that included Flying Saucer Attack, The. A very good entry in the 33-1/3 series I've read quite a few of the 33-1/3 series, and I think this is one of the best entries. It gives a great insight into the making of the album and also positions its creation within the greater musical trends of the time. My one disappointment is that the book presupposes the instance of a single "Bristol Scene" that existed around the time of this album; but the city is also important as home of two other scenes -- that of iconic indie label Sarah Records, and the more experimental sounds of the loose collective of musicians that included Flying Saucer Attack, The. -1/A very good entry in the 33-1/3 series I've read quite a few of the 33-1/3 series, and I think this is one of the best entries. It gives a great insight into the making of the album and also positions its creation within the greater musical trends of the time. My one disappointment is that the book presupposes the instance of a single "Bristol Scene" that existed around the time of this album; but the city is also important as home of two other scenes -- that of iconic indie label Sarah Records, and the more experimental sounds of the loose collective of musicians that included Flying Saucer Attack, The. series, and I think this is one of the best entries. It gives a great insight into the making of the album and also positions its creation within the greater musical trends of the time. My one disappointment is that the book presupposes the instance of a single "Bristol Scene" that existed around the time of this album; but the city is also important as home of two other scenes -- that of iconic indie label Sarah Records, and the more experimental sounds of the loose collective of musicians that included Flying Saucer Attack, The. "Probably the best Probably the best 33 1/3 so far Not only that, but twice as long as some! It can be a bit starry-eyed and ponderous from time to time, but the greatest praise I can give it is this: I found Dummy to be my least-favourite Portishead record (so sue me, I just love the other two more). This made me reconsider and see Dummy with new eyes. I'd recommend it if it's your first entry in the series, but it may also set the bar too high - especially when crap like the Fear of Music book found their way into the series.. Probably the best 33 1/3 so far Not only that, but twice as long as some! It can be a bit starry-eyed and ponderous from time to time, but the greatest praise I can give it is this: I found Dummy to be my least-favourite Portishead record (so sue me, I just love the other two more). This made me reconsider and see Dummy with new eyes. I'd recommend it if it's your first entry in the series, but it may also set the bar too high - especially when crap like the Fear of Music book found their way into the series.. 1/Probably the best 33 1/3 so far Not only that, but twice as long as some! It can be a bit starry-eyed and ponderous from time to time, but the greatest praise I can give it is this: I found Dummy to be my least-favourite Portishead record (so sue me, I just love the other two more). This made me reconsider and see Dummy with new eyes. I'd recommend it if it's your first entry in the series, but it may also set the bar too high - especially when crap like the Fear of Music book found their way into the series.. so far" according to Shoop. Not only that, but twice as long as some! It can be a bit starry-eyed and ponderous from time to time, but the greatest praise I can give it is this: I found Dummy to be my least-favourite Portishead record (so sue me, I just love the other two more). This made me reconsider and see Dummy with new eyes. I'd recommend it if it's your first entry in the series, but it may also set the bar too high - especially when crap like the Fear of Music book found their way into the series.. Paul Muller said A deeply thought through, modern yet classical critique and exploration. Wheaton dissects the work of Portishead with the critical eye of eye of a micro-surgeon. No detail, musical nuance is missed and it makes going back to the music so much more enjoyable.Be prepared to have a tablet or laptop handy to follow the many musical references he mentions along the way (it would be great if this were easier from within the Kindle version itself).
RJ Wheaton's writing on music, film, and literature has been published in The Oxford American, DaCapo's Best Music Writing series, and at PopMatters, where he is Senior Producer. He currently lives in Toronto.