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The People's Music

Reviews

Rating: 5 / 5
Date: 2009-10-07
Summary: "Will change the way you listen to music"

MacDonald's book will change the way you listen to music, even the music you know inside-out. He has an incredibly sharp ear and draws on social context, pop context, the musicians' careers, the music business, music theory--you name it! Every single essay in this beautiful and witty book made me think and listen in a new way, even about music I've thought and read a lot about, and even when I disagreed with MacDonald. The individual essays address: Bob Dylan, Marvin Gaye, The Beatles, The Rolling Stones, Cream, Jimi Hendrix, The Band, Bob Marley, Lenny Bruce, John Lennon, Steely Dan, The Beach Boys, Laura Nyro, Miles Davis, David Bowie, Jefferson Airplane, Spirit, Love, Randy Newman, John Fahey, Philip Glass, Pink Floyd, The Supremes, Nick Drake, and more. Varying in length from 3 to 50 pages, they are all fun, smart pieces. If you don't know him already, MacDonald will be a happy discovery for you. And if you like reading about music, just get it--no 260 pages on any kind of music will give you more bang for the buck!

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Rating: 5 / 5
Date: 2009-05-22
Summary: "Brilliant"

Having re-read Ian MacDonald's superb Beatles tome Revolution in the Head practically to the point of memorization, I was giddy with excitement to check out The People's Music, a collection of essays from the same author about various music from the 60s and 70s. And although it quite naturally isn't up to the incredibly high standard set by RitH (forgiveably so, keeping in mind it's a loosely related collection of essays and not a singular writing as that one was), this is still a consistently brilliant piece of work.

The People's Music is bookended by its lengthiest (around 30 pages each) and perhaps greatest contributions: a fascinating examination of the Dylan mythos, and a deeply moving look at the life and music of Nick Drake. The former, without exaggeration, more or less rendered the hundreds-plus page Dylan autobiography I own completely useless. MacDonald's insights are surprising and constantly illuminating; for example, he writes on Dylan's debut album: "[it] remains, in context, a stunning and disturbing piece of work. The sense of a wiry adolescent overshadowed by the dusty spirit of a fifty-year-old is still eerily compelling forty years on." Note the word "context." Context is an integral part of MacDonald's writings on music, always placing the subject in its proper wider sociological place. Hence, what might be but a simple amateurish folk record from the pen of a lesser writer is above transformed into something much deeper by MacDonald.

The other inclusions are not quite as inspired as the ones on Dylan and Drake, but still excellent nonetheless. Some, a piece on Hendrix for example, are tantalizingly brief. Then there's the remarkable title essay placed near the end of the book, serving a similar purpose to the one which ended Revolution in the Head, illustrating the cause of pop music's artistic decline since the 60's. But this one is more fleshed-out and makes a better case, I'd say. Whether or not you agree with MacDonald, there's no denying he was one of the most brilliant pop critics of the 20th century, a fact that The People's Music only confirms.

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Rating: 5 / 5
Date: 2008-03-04
Summary: "More Great Music Writing...Not Just Beatles!"

Like many people I came across Ian MacDonald's writing through _Revolution In The Head_(RITH). My Beatles fervor does not run as high as some(ugh...Bob Spitz...ugh), but I read RITH from cover to cover fairly quickly. I found that the voice MacDonald uses in RITH transfers well to the other types of music MacDonald writes about in _The People's Music_. I picked up a couple records because of the book which is one sign of effective music writing.

The opening piece about Bob Dylan and the closing piece about Nick Drake anchor the book. The Bob Dylan piece was very illuminating dissecting the myth of 'Dylan' without coming off to obsessive. The Nick Drake piece was a little long and was slightly affected by the fact that the author went to university with Nick Drake and knew Drake in passing. At one point, the author was present while Drake performed in a dorm room. The author does not overestimate their relationship, it was just hard for me to be sure his thoughts were not tainted by his experience. There are also several very good short pieces spanning many diverse artists (Miles Davis, Pink Floyd, Laura Nyro)

I recommend anyone who appreciates clear, insightful, adult music writing to pick up this book. It should appeal to a wider audience than RITH. It is sad to know that his voice is silenced, I would like to read more by him and hear what he thinks of current musical trends. I am tempted to pick up _The New Shostakovich_ study but it appears to be out of print.