33 1/3 Greatest Hits, Volume 1: v. 1

Product Information

Many writers manage to wrangle interviews with their subjects for these books, but few make as much of the opportunity as Bruce Eaton, who got unprecedented access to the “individuals who were actually ‘in the room’ and had a direct and tangible input into the sound and development” of Big Star’s sophomore album. This direct insight from the band members and engineer John Fry steer the book away from the cult mythology that still clings to the Memphis group and creates something much more even-handed and humane. Eaton conducted the interviews in 2007 and 2008, and his book was published in 2009, just a year before frontman Alex Chilton and bassist Andy Hummel both died unexpectedly. Those immense losses, combined with Fry’s passing in 2014, adds poignancy to a powerful story of thwarted dreams. a b https://web.archive.org/web/20151106232635/https://333sound.com/2015/11/04/open-call-2015-results-the-16-new-books-in-the-33-13-series/

The most unlikely album made the best 33 1/3: Celine Dion isn’t usually afforded the same respect as a Bob Dylan or a Joni Mitchell, but Carl Wilson uses her populist art and personal history to ask questions about class, taste, and race in an effort to figure out how one of the most popular singers in the world could be loved and hated in equal measure. The answers he finds aren’t always comfortable, but that only makes them more important and crucial to criticism in the 21st century. a b c Yoder, Anne K. (April 2, 2006). "Introduction and Interview with Series Editor David Barker". PopMatters. Archived from the original on May 22, 2018. Have an album in mind that you think we should cover? Let us know what you’d like to see in the series in the comments below. Kraftwerk's Computer World:: 33 1/3 Steve Tupai Francis Bloomsbury Academic". Bloomsbury Publishing. The original Smile album remains unfinished; not to be confused with The Smile Sessions (2011) box set

Reviews

Have you read any of the titles? Will you? What are your thoughts on either the individual titles so far, or what great New Zealand album would you most like to read about? In 2010, Continuum was bought out by Bloomsbury Publishing, which continues to publish the series. [3] Following a leave, Barker was replaced by Grossan in January 2013. [2] Leah Babb-Rosenfeld has been the editor of the series since 2016. [4] I mostly really liked this. I like Matthew Bannister as a writer. I think his original memoir Positively George Street is absolutely one of the best NZ music books; it’s written with a delightful honesty – so much so that some of the Flying Nun stalwarts took offence. And now we have all these gushy Flying Nun books clogging the shelves, trying to tell “the real story” as a result. Bannister, a musician (Sneaky Feelings, The Changing Same, Dribbling Darts of Love, solo) was also briefly connected to The Mutton Birds, playing with them in their final iteration before the band imploded. So, he’s very close to the subject. But not too close. He compiles fresh interviews with Don McGlashan, Harry Sinclair and Jennifer Ward-Lealand and gives a great cultural context for The Front Lawn’s multimedia weirdness popping up like a pimple on the unexpectant face of late-80s New Zealand. He walks us through the album song by song, as you’d hope in this case (and often expect across the series) and he doesn’t drip too heavy in academia. Though there’s also not a whole lot to learn here, it’s more a survey. That said, it's pretty enjoyable. And I love this album so much that I wanted to cling to anything written about it. I wish he’d gone slightly deeper into his own love of the album, his own discovery. We are so excited to finally be able to announce our selections from the 2022 33 1/3 open call. We know that it feels like a long time since the submission window closed, but we’ve been hard at work reading through proposals, sending them on to external advisors*, discussing internally, getting in touch with authors, and making the projects official. So without further delay, here is the list of new titles: I wanted a tiny bit more from the Front Lawn book but was still happy, I didn’t realise how much I would love the Space Waltz book, so that pleased me a great deal, and this is the most I’m ever going to think about the Bic Runga book.

I still buy the occasional one. I still read them online or from the library. I haven’t kept up with the series in the way I once did, and it’s unlikely I’ll now cover that lost ground. But I’m still in the race, somewhat. The last one from the main series I read was Sequioa L. Maner’s excellent assessment of Kendric Lamar’s To Pimp A Butterfly (166). The last one I bought (and will soon read) is Steve Tupai Francis’ look at Kraftwerk’s 1981 gem, Computer World (163). I’d like to read the book about George Michael’s Faith (165), Madvillain Madvillainy (171), Wendy Carlos’ Switched-On Bach (141), and, well, there are of course heaps of others. Here you’ll find the full list of albums already covered in the 33 1/3 series, from the very first book published in 2003 to today. A big thanks to our external advisors, who were integral in our selection process: Samantha Bennett, Sean Maloney, boice Terrel-Allen, Sarah Piña, and Ryan Pinkard.New to this submission round*: A one-line description of the book summing up its scope and content. New series announcement: 33 1/3 Global". 333Sound. August 9, 2017. Archived from the original on March 20, 2018. If you would like to submit a proposal for a 33 1/3 volume, please submit all of the following to [email protected]. The submission window to submit is currently closed.

As U.S. planes deployed with nukes flew around the world and John F. Kennedy assessed the Bay of Pigs, James Brown was playing a week of shows at Harlem’s legendary Apollo Theater. According to Pitchfork contributor Douglas Wolk’s careful reconstruction of the making of Live at the Apollo, nuclear annihilation may have been averted by sheer force of Brown’s will. Of course, the hardest-working man in show business had nothing to do with foreign relations, but Wolk shows how those fears of mass obliteration stoked Brown’s showcase, pushing him to give even more to his crowd and prodding his audience to scream and shout as though their lives depended on it. Fortunately, humanity not only survived a nuclear standoff, but we got one of the greatest live albums ever. A: This time around we’re asking that you do not re-submit proposals. However, feel free to submit one on a different album. We also wanted to give a big heartfelt thanks to each and every person who took the time to submit a proposal. There were many brilliant submissions and many, many proposals that we very nearly included in this list. Q: I would really like some advice on which album to write on, or constructive criticism on my proposal. Can I write to you about this?

About the contributors

Writing about an album like R.E.M.’s debut can be treacherous. More than 30 years after its release signaled the rise of alternative music, Murmur somehow retains its playful sense of evasion, as though purposefully obscuring its meaning in an attempt to make you listen more closely. Explaining each lyric and riff risks deflating its mystery, yet J. Niimi proceeds with caution. Perhaps his greatest accomplishment is finding the right distance from his subject, so that he can explain how the music works without telling us what it’s about. That is, after all, the whole point: “Murmur is a record that needs to be completed by the listener.” If given another chance to write for the series, which albums would 33 1/3 authors focus on the second time around? This anthology features compact essays from past 33 1/3 authors on albums that consume them, but about which they did not write. It explores often overlooked and underrated albums that may not have inspired their 33 1/3 books, but have played a large part in their own musical cultivation. By far the biggest name in the 33 1/3 roster of writers, Jonathan Lethem is no music critic, but an award-winning fiction writer whose novels Motherless Brooklyn and The Fortress of Solitude indulge long passages about pop music. His take on Talking Heads’ 1979 album forgoes fiction for first-person criticism, in which Lethem’s teenage self acts as a sympathetic protagonist. Even as he plumbs each song on Fear of Music for meaning and significance, he uses the album as a point against which he can measure his own growth as a listener, becoming older and wiser and hungrier for connection with each year and with each listen. We received many outstanding proposals, which we delighted in reading and discussing. As always, it was difficult to select just 12. We are continually impressed by your dedication to music and honored by your support of this series. Originally published by Continuum, [3] the series was founded by editor David Barker in 2003. [1] At the time, Continuum published a series of short books on literature called Continuum Contemporaries. One-time series editor Ally-Jane Grossan mentioned that Barker was "an obsessive music fan who thought, 'This is a really cool idea, why don't we apply this to albums'. [3] PopMatters wrote that the range consists of "obscure classics to more usual suspects by the Beach Boys, the Beatles, and the Rolling Stones". [1]