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Chargement... Blondie's Parallel Lines (33 1/3)par Kembrew McLeod
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Inscrivez-vous à LibraryThing pour découvrir si vous aimerez ce livre Actuellement, il n'y a pas de discussions au sujet de ce livre. Part of Bloomsbury's "33 & 1/3" series, which looks at the making of iconic albums, mostly of the 70's-90's. Looking at this smallish book I expected it to be a song by song discussion of how each song on "Parallel Lines" was written, performed, recorded...maybe some interviews of band members. What I didn't expected was the inclusion of the history of 60's girl groups, the emergence of punk and disco, drag queens and gay rights, and the ups and downs of CBGB's, Max's Kansas City and handfuls of lesser known NYC clubs of the 70's. All these sidetracks come back around to form a picture of Blondie's formation and struggles, their early days playing with the Ramones, Television and The Heartbreakers, and the influences that went into the band's weird lyrics and campy style. The only thing missing were photos. There isn't a single one, which for a band as visual as this one, with Debbie's unique fashion and Chris Stein's art school background, was odd. ( ) aucune critique | ajouter une critique
Appartient à la série33 1/3 (111)
Blondie's Parallel Lines mixed punk, disco and radio-friendly FM rock with nostalgic influences from 1960s pop and girl group hits. This 1978 album kept one foot planted firmly in the past while remaining quite forward-looking, an impulse that can be heard in its electronic dance music hit "Heart of Glass." Bubblegum music maven Mike Chapman produced Parallel Lines, which was the first massive hit by a group from the CBGB punk underworld. By embracing the diversity of New York City's varied music scenes, Blondie embodied many of the tensions that played out at the time between fans of disco, punk, pop and mainstream rock. Debbie Harry's campy glamor and sassy snarl shook up the rock'n'roll boy's club during a growing backlash against the women's and gay liberation movements, which helped fuel the "disco sucks" battle cry in the late 1970s. Despite disco's roots in a queer, black and Latino underground scene that began in downtown New York, punk is usually celebrated by critics and scholars as the quintessential subculture. This book challenges the conventional wisdom that dismissed disco as fluffy prefab schlock while also recuperating punk's unhip pop influences, revealing how these two genres were more closely connected than most people assume. Even Blondie's album title, Parallel Lines, evokes the parallel development of punk and disco-along with their eventual crossover into the mainstream. Aucune description trouvée dans une bibliothèque |
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Google Books — Chargement... GenresClassification décimale de Melvil (CDD)782.42166092The arts Music Vocal music Secular Forms of vocal music Secular songs General principles and musical forms Song genres Rock songs History, geographic treatment, biography BiographyClassification de la Bibliothèque du CongrèsÉvaluationMoyenne:
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