From Publishers Weekly
When Williams was 17 years old he created a stir in the record industry with the first American rock magazine, Crawdaddy!, published in 1966 almost two years before Rolling Stone. In 15 books that followed, he moved to other topics, such as his profile of science-fiction author Philip K. Dick (Only Apparently Real). Now, at age 40, he returns to his rock roots. He views the music as a "releaser of dark forces: sexuality, anger, God-intoxication, tribalism, hunger, and fear" and "my shortcut to the unknowable inside me," and his approach is, therefore, an introspective memoir, a personal quest into rock's mystique. The Map reads like a series of intimate letters from a close friend, and the reader joins the "journey" as Williams explores new forums (MTV), technologies (CDs) and performers (Violent Femmes, Tears for Fears), often presented in contrast to his 1960s experiences: "Hanging out with Translator while they mixed down their album Evening of the Harvest was more fun and more exciting for me than hanging out with the Who and Cream backstage during their first American shows." He tosses in insights, speculations, rock lore and interviews (Springsteen, producer Ed Stasium, Grateful Dead's Phil Lesh) and occasionally waxes nostalgic, but more space is devoted to the current rock scene. The detours of this magical mystery tour often transcend the confines of pop-culture commentary, and the keen pages crackle with power, passion and fire like a flare signaling the author's reemergence as a major talent.
Copyright 1988 Reed Business Information, Inc.
Copyright 1988 Reed Business Information, Inc.
From Library Journal
Williams is one of the architects of serious rock criticism, having founded Crawdaddy! magazine in 1966 and written 14 books and numerous articles since. But during the 1970s rock and roll became less central to him; this book chronicles his enthusiastic rediscovery of the music in 1985-86. Though written in conversational style, this is more than a diary; contemporary recordings and live performances trigger discussions of central aesthetic issues of rock: social vs. personal meanings; the significance of the Top 40; recordings vs. live concerts vs. videos; etc. The book is interesting because Williams is interestingalert, thoughtful, and ever-questioning (even with regard to his own tastes and beliefs). Recommended for popular music collections. Mark H. Sullivan, Univ. of North Carolina at Charlotte Lib.
Copyright 1988 Reed Business Information, Inc.
Copyright 1988 Reed Business Information, Inc.
