Excellent from start to finish, demanding a soundtrack of Stax hits as background listening.




Intellectually complex life of Otis Redding (1941-1967), the doomed King of Soul.

It’s a supreme irony, at least of a kind, that Redding never lived to see his “Dock of the Bay” hit the mainstream pop charts, as it did just after he died in an icy plane crash. “Redding seemed primed to carry some sort of soul mantle,” writes Ribowsky (The Last Cowboy: The Life of Tom Landry, 2013, etc.) of the period when Redding’s star was just rising. Though it lasted just a couple of years, that period irrevocably changed the face of American pop, when AM radio played black and white music side by side, Creedence next to James Brown next to the Beatles. Redding was a slightly more countrified progeny of Brown’s who, like so many other soul singers, defied expectations and sometimes confounded fans. As Ribowsky remembers, Redding was friendly with a white supremacist sheriff who would later issue shoot-to-kill orders on blacks suspected of looting. Was that Uncle Tom–ism? Redding was so smart that there must have been a method to that particular madness, something that went along with his pointed habit of counting box office receipts after a show, pistol in waistband. Ribowsky serves up some tantalizing what-if scenarios: if Redding had not been in that plane crash, would he have drifted into jazz or soft pop—or even country? Might he have found common cause with Jimi Hendrix, who seemed so much his opposite at Monterey Pop, Redding sweaty and masterful, Hendrix “soldering generational nihilism with undefined sexual rage,” both blowing the collective minds of the audience. Ribowsky considers Redding in the context of racial justice and injustice, the civil rights movement, and, most important, popular music as it spread through a nation hungry for the message brought by the preacher’s son who “had precious little time to enjoy the air up there.”

Excellent from start to finish, demanding a soundtrack of Stax hits as background listening.

Pub Date: June 1, 2015

ISBN: 978-0-87140-873-0

Page Count: 380

Publisher: Liveright/Norton

Review Posted Online: March 20, 2015

Kirkus Reviews Issue: April 1, 2015

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This early reader is an excellent introduction to the March on Washington in 1963 and the important role in the march played by Martin Luther King Jr. Ruffin gives the book a good, dramatic start: “August 28, 1963. It is a hot summer day in Washington, D.C. More than 250,00 people are pouring into the city.” They have come to protest the treatment of African-Americans here in the US. With stirring original artwork mixed with photographs of the events (and the segregationist policies in the South, such as separate drinking fountains and entrances to public buildings), Ruffin writes of how an end to slavery didn’t mark true equality and that these rights had to be fought for—through marches and sit-ins and words, particularly those of Dr. King, and particularly on that fateful day in Washington. Within a year the Civil Rights Act of 1964 had been passed: “It does not change everything. But it is a beginning.” Lots of visual cues will help new readers through the fairly simple text, but it is the power of the story that will keep them turning the pages. (Easy reader. 6-8)

Pub Date: Jan. 1, 2001

ISBN: 0-448-42421-5

Page Count: 48

Publisher: Grosset & Dunlap

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: Dec. 1, 2000

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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)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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