Turn! Turn! Turn!: The '60s Folk-Rock Revolution Paperback – Jul 1 2002
Frequently Bought Together
Customers Who Bought This Item Also Bought
No Kindle device required. Download one of the Free Kindle apps to start reading Kindle books on your smartphone, tablet, and computer.
To get the free app, enter your e-mail address or mobile phone number.
"Comprehensive and engaging
. Clearly, Unterberger has done his research." -- Billboard, on Unterberger's Unknown Legends of Rock 'n' Roll
"Incisive appreciations of scores of cult artists." -- MOJO, on Unterberger's Unknown Legends of Rock 'n' Roll
"These fascinating tales make you want to rush out to the record store--a hallmark of all great music writing." -- Chicago Sun-Times, on Unterberger's Urban Spacemen and Wayfaring Strangers
"Thorough research yielding fascinating mini-biographies of hipster heroes." -- Los Angeles New Times, on Unterberger's Unknown Legends of Rock 'n' Roll
"Unterberger uncovers the kind of tiny details that imbue his subjects with life and sound." -- San Francisco Weekly, on Unterberger's Unknown Legends of Rock 'n' Roll
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-rocks maturity as its birth and first full-force impact, stopping in mid-1966, when a motorcycle accident precipitated Bob Dylans 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-rocks remarkable journey in this books forthcoming sequel, Eight Miles High: Folk-Rocks 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-rocks 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.See all Product Description
Inside This Book(Learn More)
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
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
Top Customer Reviews
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.
I've been an Unterberger fan for years and have bought several recordings based upon Richie's reviews. As far as this book is concerned, I'd say it is certainly the definitive work on the roots and evolution of folk-rock. However it's not for everyone. The casual fan may find it somewhat drawn out, with references to producers, session men and various minor players. Unless one has at least some vague familiarity with these folks, or has an genuine interest in learning about them, I think one might become bored and skip ahead to more familiar territory. But if you've got a fairly good handle on the 60s music scene and love the music I'm sure that you'll find this book a delight.
A lot of time is spent on Bob Dylan & the Byrds; but this is certainly appropriate since these are the quintessential performers that are most identified with the genre. Richie also includes more obscure artists like the Daily Flash, Bob Lind and P.F. Sloan and details their relatively unsung contributions to the music. The interviews are plentiful and insightful, whether you take some with a grain of salt or not. All in all this is a very enjoyable romp through a period that needed to be written about. Thanks to Richie's efforts it now has been!
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.Read more ›
Most recent customer reviews
The best single book about the popular folk to rock period. Well written in terms of information and style, with many artists contributing first-hand accounts directly to the... Read morePublished on March 23 2013 by beccabear
As a rule, folk rock records are crummy generic ditties with nothing to recommend them. The formulaic jangling guitars and meaningless lyrics have a lame, dated feel. Read morePublished on June 13 2003
As a huge Byrds fan, I was really looking forward to this book. I wanted to read about the excitement of 1965, when the opening jingle jangle of Roger McGuinn's twelve string... Read morePublished on Dec 21 2002 by Tom
Fan of Dylan, The Byrds, Fred Neil, the Farinas? It's all here. Well written, keeps your attention, and makes you want to go out and buy some vinyl! Nice job Ritchie!Published on Oct. 2 2002
. . . . take it slow reading this book. That way, the relatively few jaded pronouncements won't come at you quickly enough to be (much) annoying. Read morePublished on Aug. 29 2002 by Phil Rogers
Look for similar items by category
- Books > Humour & Entertainment > Music > History & Criticism
- Books > Humour & Entertainment > Music > Musical Genres > Classical > Scores > Forms & Genres > Popular
- Books > Humour & Entertainment > Music > Musical Genres > Folk & Traditional
- Books > Humour & Entertainment > Music > Musical Genres > Popular
- Books > Humour & Entertainment > Music > Musical Genres > Rock
- Books > Humour & Entertainment > Pop Culture > Music