Scribd Logo
Загрузить

Добро пожаловать в Scribd!

  • Beyond Bubblegum: Harry Nilsson and Randy Newman

    Загружено:

    Steve Kemple
    48 просмотров10 страниц
    from American Quarterly volume 22 issue 3, Autumn 1970.

    Авторское право

    © Attribution Non-Commercial (BY-NC)

    Доступные форматы

    PDF или читайте онлайн в Scribd

    Этот документ был вам полезен?

    Это неприемлемый материал?

    Пожаловаться на этот документ
    from American Quarterly volume 22 issue 3, Autumn 1970.

    Авторское право:

    Attribution Non-Commercial (BY-NC)
    Скачайте в формате PDF или читайте онлайн в Scribd
    Отметить как неприемлемый контент
    48 просмотров10 страниц

    Beyond Bubblegum: Harry Nilsson and Randy Newman

    Загружено:

    Steve Kemple
    from American Quarterly volume 22 issue 3, Autumn 1970.

    Авторское право:

    Attribution Non-Commercial (BY-NC)
    Скачайте в формате PDF или читайте онлайн в Scribd
    Отметить как неприемлемый контент
    из 10
    Reviews Conducted by Robert F. Lucid Beyond Bubblegum: Randy Newman and Harry Nilsson 2 the combination of leaders and sidensn {cr an ephemeral instant into a “new” band destined to change the cone Of rock music etc, et, Rock fans are statisticians, and journals ike Ron Grindhip hs le The Monkey Ranh to go wth Elcoosene Ieee while Heironimo Madigan, bassist for Neolight Soul i ‘ ‘ld groups, nee anarchy. Ge The sew hype ges Ian Lae enema tod sl bins i al pean var of You Deine et, Jnkebon sive: We hae esched the pt whe see ‘ei fr young neopterin kets o Rian enon th vichedon promo ae ut Kyat (aga eet the kes an ung the ies tte sea se Wat ia Tony, when thes conjure up eee el Uncle Pag oe see Rete a Jollay camp dicector and fun-and-games leader cajoling the deaf, dumb aad blind to their private pinball machines. (The answer to Uncle Ernie, Iythe way, is “We Aren't Gonna Take It.") Any serious (i... interested) listener is deluged under tons of garbage (by big names as often as not), with little or no guidance from reviewers, stites or other would-be interpreters. One nationally read rock critic is to alminate into irrelevant Women's Lib tirades in the midst of her columns, climbing onto the kitchen soapbox and abandoning her usually inense and accurate reviewing for meandering polemic; another goes all soft and mushy at the thought ofall that young togetherness out there in the beyond and praises any effort that comes along, if itis concocted by awful People. ‘Yet under the Putney Swope superhype and floundering neolftst com- Imeoiary, there are things going on worth hearing. [tis clear that we are in the midst of a musical revolution (which és the beating heart of a social revaution) and that serious musical work is pouring out ofthe slick studios slong with the steady flow of exr pollution. We must tunnel under the un- {erground and burrow around like one of Kafka’s shapeless and disoriented tales to find out where i’s at afterall. Who, exactly, is free under this ‘hetorc of revolution? In the center ofthe electronic holocaust are a num- ‘er of musicians working away quietly and directly at making a new music somewhere beyond rock-'a'-rll, beyond the rhythme'n'-blues revival, be- ond soul, beyond hype rock, beyond Moog-zak, beyond the trendy and Pricey moments of instant supergroups and the’ new prodigies of stage sexuality and media-massaged exhibitionism. While 14-year-old Rodd Stiff 's playing frottage with the mike (and any available groupie), while the lusy studio engineers splice up those miles of worthless last-year’s tape | io new and bigger “supersessions,” a handful of musicians are learning | their business and their minds and recording their sounds for a corres- | | rowing handel of Ustners who are ted of vinyl-weapped poyhedtic Two tonewiter-voclins have catty worked themselves through he varius phases of the pop revolution, have ntened and scavenged. the tose dump and used the materials around them witout suambing to media pressures Randy Newman and Harry Nilsson. They have tumed to mass-produced roti, to sch tothe boring andthe bored fr their materi, Rolling Stone has caied Newnan the “King ot Saran Ble," and the paradon i perfect. Beth mon (oho ls work incolboration) attack th new ature from away dow nt ate er ‘oving in and upward, pling the body af New Leviathan loan ie | otsliving orunic matter: Not that the parse mage fei some. am American Quarterly thing more like a symbiotic union: the songs Newman and Nilsson wee and sing come out of the giant's mouth, but they (merciful) Bypass the ‘minuscule brain, Gremlins inside a papier-miché diplodocis,seee Lil, Putian in the pocket of a brain-damaged Gulliver, electric wisers the private parts of Fortune, Newman and Nilsson exploit the pop rer lution to fasion their own individual responses to the World, A ‘moment of groups and masts, they work alone, quietly, persistent Both composers avoid the billboard /Vina Che! rock-guertilla pose of the blues groups. They are anachronisms; loners, soloists, sudie mat ‘cians, eloatered Hollywood songwsters. Nilson has eat four albums for Victor in the past three years, moving from a frankly adulatory and int tive Beatles syle to a completely personal mode about hall bis recorded ‘material is his own, Newman has released to albums for Reprise isthe Past two years, consisting almost totally of his own songs. Both men ave ‘sidestepped into fame—Nitsson through soundtrack singing for Midnight Cowboy (the song was nor his) and Newman through recordings of hs songs by other musicians and theough his studio arranging. Both sen are Pushing intensely personal and quiet music, both turn to the mater of Pop culture and to the vision of pop America for resources and both are able to transmate the rubbish around them into intellect and emotional satements of great force and interest! ‘The constant threat in pop musi, since Elvis and Fats end Lite Richa liberated it from the morass of big-recordingstudio sweetness and igh hs been that the veins of feelings and ideas will run out, thatthe mut,

    Вам также может понравиться