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あらすじ・解説

That Thin, Wild Mercury Sound is the definitive treatment of Bob Dylan's magnum opus, Blonde on Blonde, not only providing the most extensive account of the sessions that produced the trailblazing album but also setting the record straight on much of the misinformation that has surrounded the story of how the masterpiece came to be made. Including many new details and eyewitness accounts, as well as keen insight into the Nashville cats who helped Dylan reach rare artistic heights, it explores the lasting impact of rock's first double album.

Based on exhaustive research and in-depth interviews with the producer, the session musicians, studio personnel, management personnel, and others, Daryl Sanders chronicles the road that took Dylan from New York to Nashville in search of "that thin, wild mercury sound." As Dylan told Playboy in 1978, the closest he ever came to capturing that sound was during the Blonde on Blonde sessions, where the voice of a generation was backed by musicians of the highest order.

©2019 Daryl Sanders (P)2018 Tantor

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絞り込み:
  • 総合評価
    5 out of 5 stars
  • ナレーション
    5 out of 5 stars
  • ストーリー
    5 out of 5 stars
  • S. Mullins
  • 2019/02/02

It was great!

I bought the book before I started using audible. I hadn’t read the book yet, but I found it on here and loved it! Some reviewers didn’t like the narrator, but he was good I thought. I don’t regret this purchase and would listen again!

  • 総合評価
    5 out of 5 stars
  • ナレーション
    5 out of 5 stars
  • ストーリー
    5 out of 5 stars
  • Buretto
  • 2018/12/12

Sometimes I forget how great Blonde on Blonde is

I'll admit like most Dylan fans, that my opinion of a favorite Dylan album changes constantly. Street Legal, sentimentally, as the first album that I ever purchased, Blood on the Tracks for its heartbreaking brilliance, Time Out of Mind, for the amazing resurrection of the master storyteller. Not to mention, periods when I feel nothing other than listening to John Wesley Harding on a loop, or Desire, or Infidels. So, it's easy to forget how genius an album Blonde on Blonde is. It's almost too perfect musically, and historically, so I guess I kind of put it aside thoughtlessly. This book chronicles the Nashville sessions creating Blonde on Blonde, and it's thoroughly enjoyable. I feared an overly technical account of the times (to be fair, it does go a bit Wikipedia in moments). But digressions into speculation on the origins of the songs are kept reasonably limited. A few references are made to Sara, Edie Sedgwick or Nico, and to whom a particular song is directed. But thankfully, not a lot of time is spent on that, more on the music and the musicians.

  • 総合評価
    5 out of 5 stars
  • ナレーション
    1 out of 5 stars
  • ストーリー
    5 out of 5 stars
  • Jeff Levy
  • 2018/12/02

Great Book...But the Narrator?

Daryl Sanders' book is amazing. He puts you in the moment, a ringside seat at Dylan's mercurial decisions about personnel, lyrics, rhythm, and venues. But why wasn't he hired to narrate his own book? I've heard him talk--he is informed, engaged, with a voice that's authentic. Who is Graham Halstead? Every time he pronounces Johanna as Jo-Anna it's like fingernails across a blackboard. Dude, have you not listened to this song ONCE??? This is an entire book about Blonde on Blonde and I get the distinct impression that you've never listened to the album, that the cuts have no history for you at all. Please, Audible. Let more authors read their own work.

  • 総合評価
    5 out of 5 stars
  • ナレーション
    3 out of 5 stars
  • ストーリー
    5 out of 5 stars
  • Patrick King
  • 2019/06/04

Loved it with reservations

I loved thinking again about one of my top five all-time favorite albums and learning about the process Dylan used to bring it off. I do have a few criticisms however. First for Mr. Halstead, Darryl Zan-NOOK? Really? You never heard of Darryl Zanuck? You're about to read a 300 page book on the making of a record album and with few exceptions EVERYONE who is going to buy this is nearly obsessed with this record. Would it be too much to expect you to LISTEN to the record? The name of the song, as Dylan makes VERY clear throughout the performance, is Visions of JoHanna, not Visions of Joanna. Every time you called this song Visions of Joanna, and you did it many many times, it was like fingernails on a chalk board. I don't blame you. I blame Audible for not making your criteria for reading this book more explicit. For Mr. Sanders, you really think that by using the words 'whispering' and 'muttering' Dylan made Visions of Johanna a 'tribute' to T.S. Eliot? Come on! Also on Sad Eyed Lady of the Lowlands, In the chorus: "My warehouse eyes my Arabian Drums. Should I leave them by your gate, or Sad Eyed Lady, should I wait." The singer's eyes are not like warehouses. In this case the word 'eyes' is a verb. He's considering putting his Arabian drums in his storage unit but he'd rather leave them with his girlfriend and while he's over there he's hoping she'll fix him a meal and let him spend the night. Not so obscure after all. The history of the musicians tapped to be Dylan's band on these sessions, how the songs were composed and why they were recorded in Nashville and the involvement of Al Cooper and Robbie Robertson on these sessions is fascinating info not available anywhere else as far as I know. The impact of the album on Nashville as well as the rest of the world was something I hadn't previously considered. The transition from producer Tom Wilson to Bob Johnston and Johnston's influence on Dylan and his management to record in Nashville was information about this classic album I never heard before. If, like me, you've been listening to Dylan's outtake album, Cutting Edge, for months, this book offers a lot of insight on the various takes and who plays what. The two products, That Thin Wild Mercury Sound and Cutting Edge, really should be marketed together. That would be a high-priced CD and book package well worth purchasing in hard copy.

  • 総合評価
    2 out of 5 stars
  • ナレーション
    1 out of 5 stars
  • ストーリー
    3 out of 5 stars
  • Bozobob
  • 2019/03/28

Some good moments overall

Right now, I'm probably 75% finished with this. Overall, if you're a Dylanphile you'll find some interesting stuff I'm sure. However, the choice of reader is questionable. It is clear that he has probably never heard any of the songs he's discussing. Also, the editing in terms of mispronouncing of names and song titles is very substandard. Two quick examples: the author spends a great deal of time discussing the importance of "Visions Of Johanna" to the album. I agree, but the reader says "Joanna" approximately 1000 times I think. Somebody should have caught that. Also, the author says that "Can You Please Crawl Out Your Window" was mistakenly released as the B-side to "Positively 4th Street." That's incorrect - it was released AS "Positively 4th Street." I know because I actually have that record. The B-side was "From A Buick 6." That makes me wonder about other "facts" reported in the book. I've certainly read worse books, but in general, I'm kind of disappointed.

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絞り込み:
  • 総合評価
    5 out of 5 stars
  • ナレーション
    3 out of 5 stars
  • ストーリー
    5 out of 5 stars
  • Jesse
  • 2018/11/18

Good book, highly detailed and new facts. Poor narrator.

Good read, even for the amateur dylanologist - a lot of details about each and every blonde on blonde session. One gripe is with the narration, as the orator doesn’t know how to pronounce many key terms, including Dylan song names (e.g, Visions of Johanna becomes “Joe-anna”). Makes one wonder about the editing or quality control.