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Turn! Turn! Turn!: The '60s Folk-Rock Revolution
 
 
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Turn! Turn! Turn!: The '60s Folk-Rock Revolution [Paperback]

Richie Unterberger (Author)
4.1 out of 5 stars  See all reviews (10 customer reviews)

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Book Description

July 1, 2002
Setting the scene with America's traditional folk of the early '60s, this book describes the sea of change that began in 1964 when the social consciousness of folk met the energy of rock. It concentrates on 1964-66, when the best, most popular, and most controversial folk-rock was created. The book explores the dizzyingly fast cross-fertilization of such giants as The Beatles, The Byrds, and Dylan; the passionate conflicts between folk devotees and folk-rockers; the sudden frenzy of the media; and the unforgettable music that was born. Turn! Turn! Turn! also examines how folk-rock continued to influence late '60s psychedelic rock, country-rock and the British scene, as well as its gradual, partial transformation into the singer-songwriter movement. Based on first-hand interviews with such visionaries as Roger McGuinn, Judy Collins, Donovan, John Sebastian, Arlo Guthrie, Janis Ian and dozens of others.

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Turn! Turn! Turn!: The '60s Folk-Rock Revolution + Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock + Urban Spacemen and Wayfaring Strangers: Overlooked Innovators and Eccentric Visionaries of '60s Rock
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Editorial Reviews

From the Publisher

Turn! Turn! Turn! is devoted to the story of the first groundbreaking generation of folk-rockers, and particularly to the years 1964 to 1966, in which folk-rock originated, flourished, and peaked. It covers not so much folk-rock’s maturity as its birth and first full-force impact, stopping in mid-1966, when a motorcycle accident precipitated Bob Dylan’s withdrawal from the public eye for a year-and-a-half, leaving other folk-rock originators and newcomers to forge new directions all over the folk-rock map.

Richie Unterberger takes readers on the rest of folk-rock’s remarkable journey in this book’s forthcoming sequel, Eight Miles High: Folk-Rock’s Flight from Haight-Ashbury to Woodstock, also published by Backbeat Books, in 2003. Detailing the period from mid-1966 to the end of the 1960s, Eight Miles High portrays the mutation of folk-rock into psychedelia via California bands like the Byrds and Jefferson Airplane; the maturation of folk-rock composers in the birth of the singer-songwriter movement; the re-emergence of Bob Dylan and the inception of country-rock; the rise of folk-rock’s first supergroup from the ashes of the Byrds and Buffalo Springfield; the origination of a truly British form of folk-rock; and the growth of the live folk-to-rock music festival, from Newport to Woodstock.

About the Author

Richie Unterberger is one of today's most prolific and respected writers on 20th century American popular music. Author of Unknown Legends of Rock 'n' Roll, he is a senior editor for allmusic.com, the Internet's largest database of artist bios and album reviews. Former editor of Option, Unterberger has written numerous CD reissue liner notes and contributes to rollingstone.com, Pulse!, and others.

Product Details

  • Paperback: 320 pages
  • Publisher: Backbeat Books (July 1, 2002)
  • Language: English
  • ISBN-10: 087930703X
  • ISBN-13: 978-0879307035
  • Product Dimensions: 9.2 x 6.3 x 0.8 inches
  • Shipping Weight: 1.2 pounds (View shipping rates and policies)
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (10 customer reviews)
  • Amazon Best Sellers Rank: #486,411 in Books (See Top 100 in Books)

More About the Author

Richie Unterberger has been writing about little-known and well-known rock and popular music of all kinds for more than 25 years. Of his eleven books, the most recent "Won't Get Fooled Again: The Who from Lifehouse to Quadrophenia,"" published by Jawbone Press in March 2011. It details the Who's amazing and peculiar journey in the years during the early 1970s in which they struggled to follow up "Tommy" with a yet bigger and better rock opera. Drawing on material from several dozen interviews and mountains of rare archival coverage and recordings, it's the definitive account of this fascinating period in the Who's career.

Also recently published is "White Light/White Heat: The Velvet Underground Day-By-Day." Issued by Jawbone Press in 2009, this is the most comprehensive book ever written about this legendary and innovative group. The 368-page volume details the group's recording sessions, record releases, concerts, press reviews, and other major events shaping their career with both thorough detail and critical insight. Drawing on about 100 interviews and exhaustive research through documents and recordings rarely or never accessed, it unearths stories that have seldom been told, and eyewitness accounts that have seldom seen print, from figures ranging from band members to managers, producers, record executives, journalists, concert promoters, and fans. The July 2009 issue of MOJO magazine hails it as "an impressive menas to reflect on the conundrum of what could be the ultimate cult band...detailed and anecdote-packed." Uncut magazine chose it as #4 in its list of the ten best music books of 2009.

In 2006, Backbeat Books published his seventh book, "The Unreleased Beatles: Music and Film," a mammoth 400-page, 300,000-word guide to the incredible wealth of music the Beatles recorded that they did not release, as well as musical footage of the group that hasn't been made commercially available. The book won a 2007 Association for Recorded Sound Collections Award for Excellence in Historical Recorded Sound Research in the "Best Discography" division of the "Best Research in Recorded Rock Music" category.

His sixth book, "Eight Miles High: Folk-Rock's Flight from Haight-Ashbury to Woodstock" (Backbeat, 2003) , is the second book in a two-volume history of the 1960s folk-rock movement. "Eight Miles High" covers folk-rock from mid-1966 to the end of the 1960s, drawing on more than 100 first-hand interviews, as did its predecessor, "Turn! Turn! Turn!: The '60s Folk-Rock Revolution," which covers the history of folk-rock through mid-1966.

His book "Unknown Legends of Rock'n'Roll," published by Backbeat in 1998, profiled 60 underappreciated cult rock artists of all styles and eras. Its sequel, "Urban Spacemen & Wayfaring Strangers: Overlooked Innovators and Eccentric Visionaries of '60s Rock," was published by Backbeat in the fall of 2000. Both of these books draw extensively upon first-hand interviews with the musicians profiled, as well as interviews with many of their close associates. These volumes cover important artists that have rarely been covered in depth in print, and have often rarely had the opportunity to tell their stories and put forth their perspectives.

He is also author of "The Rough Guide to Music USA," a guidebook to the evolution of regional popular music styles throughout America in the twentieth century; "The Rough Guide to Jimi Hendrix"; and the first two editions of the travel guidebook "The Rough Guide to Seattle." Since 1993, he has been a prolific contributor to the All Music Guide, the largest on-line database of music biographies and album reviews, for which he has written thousands of entries. He is the co-author of "The Rough Guide to Shopping with a Conscience," published by the Rough Guides in early 2007.

He regularly presents events featuring rare rock films in the San Francisco Bay area and elsewhere, at public libraries and other venues. These include the main public libraries of San Francisco, Seattle, Portland Oregon, and San Jose, as well as the Library of Congress in Washington, DC. Organizations interested in having him present such events can contact him through his website, www.richieunterberger.com. In summer 2011, he taught a course on the Beatles for the College of Marin's community education program, and will be teaching it again for the September 6-October 11 fall session.

He has also contributed travel and music pieces to various publications, including MOJO, Record Collector, Pulse, rollingstone.com, the San Francisco Bay Guardian, the Rough Guide to Rock, The Rough Guide Book of Playlists, the East Bay Express, 100 Albums That Changed Music, the Oxford American, the Daily Telegraph, No Depression, Ugly Things, American Songwriter, and Perfect Sound Forever. He has written liner notes to several hundred CD reissues for the Collectors' Choice Music, Sundazed, Rhino, Shout Factory, Water, 4 Men With Beards, Sunbeam, Raven, Stax, Beatball, and Top Sail labels. He is among the journalists interviewed for recent film documentaries on the Byrds, Tim Buckley, Frank Zappa & the Mothers of Invention, the Doors, Neil Young, and the genesis of New York underground rock in the 1960s and 1970s. He has traveled to more than thirty countries, and is a passionate advocate of independent travel and alternative culture in general. He lives in San Francisco.

There is more information about Richie Unterberger and his books on his website, www.richieunterberger.com.

 

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Average Customer Review
4.1 out of 5 stars (10 customer reviews)
 
 
 
 
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16 of 18 people found the following review helpful:
5.0 out of 5 stars A Page Turn, Turn, Turner, October 16, 2002
This review is from: Turn! Turn! Turn!: The '60s Folk-Rock Revolution (Paperback)
I love music but some books about music are better left unread. Some pop music aficinados are best advised to go back and just listen to the music as a few attempts to give a literary voice to the spirit of the sound can strike a dull and pedantic note. Not so with this book. I found myself often unable to put it away as the author packed each chapter with so many historical notes that I was not aware of; clearly he did his homework. Much of his information came straight from the source, the writers, musicians, producers, and other insiders who were the leading lights and inspiration of that musical genre known as folk-rock. Of course, if one is not a fan of this type of music (and I am)you may not be engaged by Joe Unterberger's writing. However, as someone who was entranced by the Lovin' Spoonful and the Byrds, I consumed Mr. Unterberger's book with great zeal. I think musicians will find his work especially appealing as Unterberger gives careful attention to the creative side of the artists featured in his book. But if you are like me, someone who merely loves to sing along with the marvelous tunes of the gifted artists who gave voice to folk-rock, you may enjoy reading about the historical aspects of the music that, to paraphrase John Sebastian, is magical and can set you free.
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21 of 25 people found the following review helpful:
4.0 out of 5 stars Take a dip in the well-weather'd waters of folk-rock, September 3, 2002
By 
Phil Rogers (Ann Arbor, Michigan) - See all my reviews
This review is from: Turn! Turn! Turn!: The '60s Folk-Rock Revolution (Paperback)
An amazing amount of research and organization went into this, including gazillions of interviews. Mr. Untermeyer, who at the outset adopts a healthy reverential attitude towards his subject, didn't actually live through the period (he was only around three years old when "Mr. Tambourine" hit). I think that this helps to explain why sometimes his sympathies aren't as glowing as they otherwise might be. Here and there his aesthetic judgements and character assessments fall somewhat flat; in some spots his prose (temporarily) gets thin and ragged. But in his defense, he had to backtrack to 'learn' this music, and in the process discovered how to genuinely love a good deal of it. What we end up with here is a serious and useful piece of journalism, almost a 'biography' of the period.

Here's one example of the kind of minor gaffs we encounter here: even at 15 years old, I sort of knew that Sonny and Cher weren't the profound artists that some of the others seemed to be, and neither was I ape[] crazy about them. But hey, they sounded really good anyway. And when DJ's Boots Bell ("your bearded buddy Bootsy"), Al Knight and others from WHOT radio ("the Hot Spot") in Youngstown, Ohio said that they were folk rock, none of my age group had any problem with the idea; in fact it seemed perfectly obvious to us. Having bassoons rather than 12-string Rickenbackers playing those staccato'd ostinados made no difference to us . . . it was all part of the new sound, which was [and it still does sound so] fresh, brilliant, and above all beautifully arranged. Most of all, it felt really right at the time. It really was aimed at us, not at the critics, and we didn't know nor would we probably have cared what they thought/wrote about "our" music.

Here's another minor one: Mr. Unterberger seemed [am I wrong here?] to make light of McGuinn's remark that the Beau Brummels sang out of tune. Well, the Beau Brummels had maybe a better overall sound even than [McGuinn's] Byrds, but they also really did sing out of tune. Not far out of tune, but enough that might have kept them from greater success, their four [or so] brilliant singles notwithstanding (the author missed citing "You Tell Me Why" and "Don't Talk to Strangers"). With a better engineer and/or producer, they might have been able to get past this (or even fix it in some way); but Autumn records was a small outfit, and its personnel were probably relatively inexperienced as compared with the guys from the big studios.

The author's treatment of Simon and Garfunkle is particularly weak, seeming almost like a brush-off. Have a good listen to the albums 'Sounds of Silence' and 'Parsley Sage Rosemary and Thyme' (their two folk-rock albums) on a good set of headphones. Take your time. You'll be amazed (stunned?) at the depth of sound in the arrangements, the melodies and lyrics . . . everything. I myself didn't notice the genius that went into their work, way back when. But it's there for us all to hear, to rejoice in, and to learn from. Even "A Simple Desultory Philippic" doesn't at all deserve the negative criticism Unterberger directs its way. It's pretty hilarious, especially Paul Simon's Dylan imitation. Mr. Zimmerman in all likelihood found it extremely amusing himself. Would he have actually fallen off his chair laughing? Heck, I don't know! But it's known that S&G and Dylan dug each other quite a bit.

I'd say that for anyone else (like me) who was in their teens (or thereabouts) when "Tambourine" and "Like a Rolling Stone" hit, and still really loves the period . . . take it slow reading this book. That way, the relatively few jaded pronouncements won't come at you quickly enough to be much annoying. For there is an abundance of very good writing here - and some of it is poetic. To his credit, Mr. Unterberger doesn't become nearly so harsh as does another (otherwise brilliant) rock journalist (Mark Brend) working under the aegis of the same publisher.

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11 of 12 people found the following review helpful:
4.0 out of 5 stars take a sanity break, September 4, 2003
By 
Eric (Louisiana) - See all my reviews
This review is from: Turn! Turn! Turn!: The '60s Folk-Rock Revolution (Paperback)
This is exactly the kind of book you want to own, not the kind you want to borrow or get from a library. You will want to go back to it often, when you hear a song and want to remember who played what and if someone else recorded it first or after.

It is very entertaining and informative. Unterberger is a great storyteller and he tells the reader story after story. Like how Neil Young and Bruce Palmer teamed up with Rickey James Mathews (a few years later to resurface as Superfreak Rick James) to form a Toronto band, the Mynah Birds, and how their break-up lead to the formation of Buffalo Springfield due to a chance meeting on a congested Los Angeles freeway. A lot of funny stuff in the details of just this story.

Unterberger connects the dots on scores of 60s bands. He tells you who played with who before and after they were famous. Who played what brand of instrument. He tells the reader who came from a folk background, or a jazz background, or a country background.

For those of us who lived through the era, he reminds us of the zeitgeist that drove the music. But keeps us grounded by also reminding us that Steve Stills tried out for the Monkees and Sonny Bono was a star. It is true that Unterberger's book mentions maybe hundreds of musicians and songs, some we remember, some we have forgot, some we wish we had forgot and some we never heard of. But that is not boring. It's fun.

I love this book. It's not a long read, 282 pages including discography. It is full of information that will probably not help you save the world, lose weight or cook a better soufflé; but will make you smile (and might save your sanity at least for a little while). And that my friend is what the music was about. My only caution, it will cause you to jump to the CD section of Amazon.com and want to buy a whole lot of CDs.

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Inside This Book (learn more)
First Sentence:
Walking around the intersection of Bleecker and Macdougal Streets in Greenwich Village on a hot summer night in 2000, you might not suspect this area was the launching pad for the folk music boom of the early '60s. Read the first page
Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Bob Dylan, Tambourine Man, Los Angeles, Sing Out, Pete Seeger, Joan Baez, Woody Guthrie, Judy Collins, Eve of Destruction, Kingston Trio, Buddy Holly, Fred Neil, San Francisco, Melody Maker, Rolling Stone, Buffalo Springfield, House of the Rising Sun, Phil Ochs, Paul Simon, Greenwich Village, John Sebastian, David Crosby, Everly Brothers, Ash Grove
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