Night Beat is a look at the disruption of culture as viewed through the history of rock music, its activists, its politics, the lives lived and lives grieved for during an epoch of upheaval. The author's personal touchstones (Bob Dlan, John Lydon, Lou Reed and others) are mixed with his interviews and encounters as a Rolling Stone journalist (such ...
Night Beat is a look at the disruption of culture as viewed through the history of rock music, its activists, its politics, the lives lived and lives grieved for during an epoch of upheaval. The author's personal touchstones (Bob Dlan, John Lydon, Lou Reed and others) are mixed with his interviews and encounters as a Rolling Stone journalist (such as The Clash, Sinead O'Connor, Miles Davis and Keith Jarrett) and a sampling of critical indulgences. This book is a mix of the best of Mikal Gilmore's writing and new and re-fashioned pieces which together tell the story of the people who made rock music, and who will carry rock & roll into the twenty-first century.
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Very Good+ in Very Good+ dust jacket. Used in boards and dust jacket. A bright, clean copy. "...this collection gathers his cultural criticism, interviews, reviews, and assorted musings in one essential and illuminating book. Beginning with Elvis and the birth of rock & roll, Gilmore traces the seismic changes in America as its youth responded to the postwar economic and political climate. He hears in the lyrics of Bob Dylan and Jim Morrison the voices of unrest and fervor. He charts the rise and fall of punk rock in brilliant essays on Lou Reed, The Sex Pistols, and The Clash and observes its manic impact twenty years later, resurfacing in the music of a Seattle, Washington, trio called Nirvana. Mikal Gilmore describes Bruce Springsteen's America and the problem of Michael Jackson. And like no one else, Gilmore listens to the lone voices: Al Green, Marianne Faithfull, Sin╚ad ad O'Connor, Frank Sinatra. "-from the front flap.; 8vo 8"-9" tall; 461 pages.
Publishers Weekly, 1997-12-01 Arranged in rough chronological order by subject, this collection of a career's worth of rock, pop and jazz writing for venues like Rolling Stone and the L.A. Times shows Gilmore (Shot in the Heart, 1994) at his best when championing underappreciated iconsŠsuch as the Beach Boys' Dennis Wilson and singer-songwriter Tim HardinŠand seizing opportunities to point out what even ardent fans may have missed. But Gilmore has little to add to the general consensus regarding Elvis, the Beatles and the Rolling Stones, and his chapters about Jerry Garcia and Timothy Leary amount to not much more than brief biography and tender reminiscence. Gilmore's seemingly left-wing politics prove tedious when used to interpret such kindred spirits as Bruce Springsteen and Allen Ginsberg, but emerge as refreshing when he suggests that disco and David Lee Roth-era Van Halen may owe something to the ideals of the '60s. Less than revelatory discussions with Bob Dylan and Lou Reed are made fascinating by Gilmore's talent for invoking a mood and describing a sceneŠone can almost smell the white wine in Dylan's styrofoam cup and see Reed's weathered face in the dim light of a bar at sundown. All in all, the superlative-wielding sprawl of Gilmore's book may come as close as one can to a one-volume overview of the musical mainstream. (Jan.)
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