The History of Rock 'n' Roll in Ten Songs
by Greil Marcus
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Pub Date Sep 02 2014 | Archive Date Sep 21 2014
Description
Unlike all previous versions of rock ’n’ roll history, this book omits almost every iconic performer and ignores the storied events and turning points that everyone knows. Instead, in a daring stroke, Greil Marcus selects ten songs recorded between 1956 and 2008, then proceeds to dramatize how each embodies rock ’n’ roll as a thing in itself, in the story it tells, inhabits, and acts out—a new language, something new under the sun.
“Transmission” by Joy Division. “All I Could Do Was Cry” by Etta James and then Beyoncé. “To Know Him Is to Love Him,” first by the Teddy Bears and almost half a century later by Amy Winehouse. In Marcus’s hands these and other songs tell the story of the music, which is, at bottom, the story of the desire for freedom in all its unruly and liberating glory. Slipping the constraints of chronology, Marcus braids together past and present, holding up to the light the ways that these striking songs fall through time and circumstance, gaining momentum and meaning, astonishing us by upending our presumptions and prejudices. This book, by a founder of contemporary rock criticism—and its most gifted and incisive practitioner—is destined to become an enduring classic.
“Transmission” by Joy Division. “All I Could Do Was Cry” by Etta James and then Beyoncé. “To Know Him Is to Love Him,” first by the Teddy Bears and almost half a century later by Amy Winehouse. In Marcus’s hands these and other songs tell the story of the music, which is, at bottom, the story of the desire for freedom in all its unruly and liberating glory. Slipping the constraints of chronology, Marcus braids together past and present, holding up to the light the ways that these striking songs fall through time and circumstance, gaining momentum and meaning, astonishing us by upending our presumptions and prejudices. This book, by a founder of contemporary rock criticism—and its most gifted and incisive practitioner—is destined to become an enduring classic.
A Note From the Publisher
Greil Marcus lives in Oakland, CA. His books include "Mystery Train: Images of America in Rock ’n’ Roll Music" and "Lipstick Traces: A Secret History of the Twentieth Century." With Werner Sollors he is co-editor of "A New Literary History of America."
Advance Praise
“A great essay begins with a theme and then makes it fly. Greil Marcus can make it soar. In The History of Rock ‘n’Roll in Ten Songs he does just that. He says of Amy Winehouse that she could unlock a song. Marcus unlocks rock ‘n’ roll history to find more than you ever thought might be there."—JENNY DISKI
“I first heard Elvis in early 1956 in a school corridor in Norfolk, England. I knew something profound had happened. Where was Greil Marcus back in those Dark Ages to explain to me what was going on? He knows everything and tells an electrifying story.”—STEPHEN FREARS
“Another allusive, entertaining inquiry by veteran musicologist Marcus. . . . [He] does what he does best: make us feel smarter about what we’re putting into our ears—Kirkus, starred review
“I first heard Elvis in early 1956 in a school corridor in Norfolk, England. I knew something profound had happened. Where was Greil Marcus back in those Dark Ages to explain to me what was going on? He knows everything and tells an electrifying story.”—STEPHEN FREARS
“Another allusive, entertaining inquiry by veteran musicologist Marcus. . . . [He] does what he does best: make us feel smarter about what we’re putting into our ears—Kirkus, starred review
Marketing Plan
A conversation with Greil Marcus:Q: How did the idea for the book come about?
A: My editor Steve Wasserman wondered if I’d write a history of rock ’n’ roll. I thought it was a terrible idea, that it had been done to death, well and poorly, that there was a finished and accepted narrative that rendered any retelling of the story redundant and pointless. But, then I thought: What if the book was nonchronological, discontinuous, and left out almost everyone who couldn’t be left out (Elvis Presley, Chuck Berry, James Brown, Bob Dylan, the Rolling Stones, Aretha Franklin, the Sex Pistols, Michael Jackson)? What if it neglected the well-known, iconic moments (the Beatles on the Ed Sullivan Show, Bob Dylan going electric), and centered instead on a small number of songs, each of which in its own unique way embodied rock ’n’ roll? That interested me—and the idea became this book.
Q: Isn’t this a ridiculous conceit?
A: Sure. The premise of the book—trying to ascribe the entire history of a form containing hundreds of thousands of exemplars into ten—is fundamentally absurd. That’s what makes it fun. Maybe we could hold a contest to see what ten songs readers would choose to sum up this history. The prize would be a copy of this book for the winner to tear up.
Praise for Lipstick Traces:
"Lipstick Traces has the energy of its obsessions, and it snares you in the manner of those intense, questing and often stoned sessions of intellectual debate you may have experienced in your college years. It was destined, in other words, to achieve cult status."—Ben Brantley, New York Times
Praise for Mystery Train:
"A classic. . . . Full of passion and intellectual fervor."—Michiko Kakutani, New York Times
A: My editor Steve Wasserman wondered if I’d write a history of rock ’n’ roll. I thought it was a terrible idea, that it had been done to death, well and poorly, that there was a finished and accepted narrative that rendered any retelling of the story redundant and pointless. But, then I thought: What if the book was nonchronological, discontinuous, and left out almost everyone who couldn’t be left out (Elvis Presley, Chuck Berry, James Brown, Bob Dylan, the Rolling Stones, Aretha Franklin, the Sex Pistols, Michael Jackson)? What if it neglected the well-known, iconic moments (the Beatles on the Ed Sullivan Show, Bob Dylan going electric), and centered instead on a small number of songs, each of which in its own unique way embodied rock ’n’ roll? That interested me—and the idea became this book.
Q: Isn’t this a ridiculous conceit?
A: Sure. The premise of the book—trying to ascribe the entire history of a form containing hundreds of thousands of exemplars into ten—is fundamentally absurd. That’s what makes it fun. Maybe we could hold a contest to see what ten songs readers would choose to sum up this history. The prize would be a copy of this book for the winner to tear up.
Praise for Lipstick Traces:
"Lipstick Traces has the energy of its obsessions, and it snares you in the manner of those intense, questing and often stoned sessions of intellectual debate you may have experienced in your college years. It was destined, in other words, to achieve cult status."—Ben Brantley, New York Times
Praise for Mystery Train:
"A classic. . . . Full of passion and intellectual fervor."—Michiko Kakutani, New York Times
Available Editions
| EDITION | Hardcover |
| ISBN | 9780300187373 |
| PRICE | $28.00 (USD) |
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