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)
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").
Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)