Intriguing, slightly impersonal catalog of a soulful mastermind’s accomplishments.
An exploration of a musical polyglot.
Former Chicago Sun-Times music columnist and No Depression senior editor Sachs (American Country: Bluegrass, Honky-Tonk, and Crossover Sounds, 2012) views his subject as a low-profile yet indispensable innovator within a vital American idiom. As he writes, “the title ‘record producer’ can contain [Burnett] no more than ‘film director’ could contain Orson Welles.” The privacy-minded Burnett, while friendly with the author, declined to participate in a project that Sachs describes as a “critical appreciation of his extensive body of work as an artist and producer,” so he relies on research, earlier discussions, and interviews with collaborators. Burnett was born in 1948 in Fort Worth, Texas, raised by “happy-go-lucky types” who encouraged his passions. Upon graduating high school, he purchased a crude recording studio and helped make a “lost classic” LP of underground rock, confirming his “ambition and restless creativity.” After moving to Los Angeles, he was soon drafted into Bob Dylan’s Rolling Thunder Revue; though he disliked the spotlight, the touring experience “instilled deep community values in Burnett.” He also became devoted to countercultural Christianity, explored in three 1970s albums with the Alpha Band, which won acclaim but not sales. Simultaneously, Burnett developed a reputation among aspiring musicians as a bold, exacting producer, which led to success in the 1980s for artists like Los Lobos, Peter Case, and the BoDeans. Burnett pursued collaborative relationships with iconoclasts like Sam Shepard and Elvis Costello, but periodic solo efforts underperformed. As he told Sachs about one acclaimed effort, “I was writing about self-deception and deceiving myself while I was doing it.” Burnett then transformed the popularity of film soundtracks through his work with the Coen Brothers, adding depth (and profitability) to their “surrealistic vision.” Sachs writes clearly and confidently about music production and the industry, and he ably captures the personalities and sometimes-contentious viewpoints of Burnett and his circle. However, the focus on Burnett’s role as a top-shelf producer makes the perspective feel slightly narrow.
Intriguing, slightly impersonal catalog of a soulful mastermind’s accomplishments.Pub Date: Oct. 4, 2016
ISBN: 978-1-4773-0377-1
Page Count: 240
Publisher: Univ. of Texas
Review Posted Online: July 30, 2016
Kirkus Reviews Issue: Aug. 15, 2016
There are many universal, compelling issues left unexplored, but Aquan-Assee’s recovery and construction of the narrative...
A slightly out-of-focus, harrowing account of recovery from what a doctor called “horrific” injuries sustained in a 1997 Toronto motorcycle wreck.
Describing in the third person the days of his long coma, he notes the efforts of his family and friends to remain with him 24/7, attempting to keep him mentally and physically stimulated. Aquan-Assee then downshifts into a slow-motion first person account of his own frustrating efforts to regain physical and mental focus, fighting back memory loss and struggling to remember people’s names from one second to the next. Neither angle is entirely satisfactory to particularize what surely was a long and arduous battle by the 29-year-old to pull himself back, often by the fingernails, into a world in which he felt increasingly out of touch. For instance, he slides past crucial moments when doctors encouraged his family to “pull the plug,” and their subsequent refusal to do so, even when his life signs were little more than flickers. It would have been helpful to know the thoughts and emotions of his parents and siblings at those precious turning points, as well as the doctors’ reactions to his subsequent recovery–a feat admirably accomplished in spite of their negative proclamations regarding the prospects for his “quality of life.” These are the hot-button issues crying out for greater attention throughout. But Aquan-Assee’s focus remains narrow, limiting the potential audience.
There are many universal, compelling issues left unexplored, but Aquan-Assee’s recovery and construction of the narrative are triumph enough.Pub Date: N/A
ISBN: 0-973-2782-0-X
Page Count: -
Publisher: N/A
Review Posted Online: May 23, 2010
Review Program: Kirkus Indie
With poetic prose and vivid watercolors, Yang has created a rich portrait of life in China during the 1930s and '40s. Yang chronicles her Baba's (or Daddy's) boyhood and adolescence in 20 tales, each preceded by a watercolor. Baba was the fourth son in the eighth generation of the wealthy House of Yang, and his landscape teems with physical and spiritual dangers. He's threatened by torrential rains, ravenous wolves, red-bearded bandits, famines, demons, Japanese bombs, Russian troops, Communists, Nationalists, even an arranged marriage. When Baba is six, his family is forced out of their Manchurian homeland after the Japanese invasion. They move to China proper, then return five years later when Baba's father loses his job with a mining company. They live under the protective patronage of the family Patriarch until a bloody tug-of-war between followers of Mao and Chiang Kai- shek rends the family and country apart. Ancient legends, political upheavals, and religious ceremonies define Baba's youth. Storytellers teach him about gods and demons, prodigal sons, and the ghosts of the improperly buried. Their wisdom then plays out in his own life as Baba witnesses the goddess of Mercy protect his mother from marauding invaders; the troubled ways of one of his older brothers; and a 49-day funeral ceremony ensuring his great- great-grandfather safe passage to Heaven. Yang's prose feels ancient and foreign; for instance, she describes the effects of the first Japanese bombs: ``The glass windowpanes inhaled and exhaled, but the paper panes heaved a sigh and suddenly gave way, cracking like white porcelain.'' The tension between ancient rituals and modern reality elevates these tales from the merely beautiful into an astonishing personal vision, and a unique portrait emerges of a culture straddling thousands of years. Yang's work is like a lovely painted scroll swimming with wild souls, beasts, birds, flowers, day and night sky, tragedy, and hope.
Pub Date: Oct. 1, 1994
ISBN: 0-15-100063-8
Page Count: 224
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: July 15, 1994
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