if there's a better compiler than Bob Stanley out there, I'd sure like to know...

ok, so you have skimmed it, and it seems not to have much depth, right?

Advice: start at page one and read it properly and don't skip chunks, then you should find it more rewarding.

For all that books that attempt to encapsulate the history of pop either tell me little I didn't know, or end up opaque to the point of being impossible to read, this book manages to be entertaining and informative.

The guy's got a problem with Neil Young, that's for sure.

i'm just getting into it -- obviously a very british perspective happening here. seems to be hitting its stride in the mid 60s.

i'm about halfway through and enjoying it. he wears his enthusiasms on his sleeve and he's most useful when describing things he really likes. he's funniest when describing things he doesn't. his chapters are skillful encapsulations and like mark g says it acquires depth as the stories accumulate.

note the u.s. edition is trimmed down by more than 100 pages but gains exclamation points in its title. i'm reading the u.k. version.

He's quite pro-Neil Young isn't he (y'know, having covered Only Love Can Break Your Heart and all that)? Patti Smith and Joe Strummer and David Crosby come in for quite a bit of stick if I remember correctly.

Best thing about the book are the little anecdotes he drops in about various artists, plus the chapters where he covers scenes I don't know much about. Any book with such scope is only going to scratch the surface but it's an excellent overview and he does a good job at joining the lines between scenes - like how disco developed for example. And there are always more obscure records in there as well as the obvious stuff.

There's very little attention given to much post-Crazy In Love but you have to draw the line somewhere, even if I don't really agree with his drawing of the end of the Modern Pop era (I'm not sure I agree much with the concept in the first place).

Oh great, you made me go and get the book. Alright then: "Neil Young [...] had a definitive line in self-pity [...]: 'I went down to the radio interview, found myself at the microphone.' Poor lamb."

The stuff I knew about felt largely like potted music history, which made me suspicious of the rest. He seems to make the same point over and over--when rock and pop parted ways, it was bad. I guess the Abba chapter was good, but again, is any of that new?

Shifting gears back to the particular subject of the thread, his Croydon Municipal label he started last year has been consistently good fun. Emphasis on public domain pop and jazz from the fifties and sixties, various compilations with an emphasis on female singers. He's got a related blog site for it:

http://croydonmunicipal.blogspot.com/

But there's no official site for the label itself as far as I can tell. It's a Cherry Red sublabel and pretty easy to find through their site and other spots.

x-post

Christgau weighs in. I think there's also talk of the book on the ilm good books about music thread.

http://www.barnesandnoble.com/review/anti-rockisms-hall-of-fame/

Discussing Bob Stanley's book. From July 2014

It took me hours just to get through the first chapter of this because I kept having to stop and cross-reference things on YouTube / Wikipedia. Really enjoyable though. I saw him do a talk last year (interviewed by old-ILX's own JtN) and he seemed incredibly charming and humble, and didn't seem too annoyed when the first question from the audience was about what he thought about jazz music.

this book is awesome for making spotify playlists. the one i pulled from the pre-beatles english rock and roll chapter is great.

If you search Spotify for Bob Stanley playlists, you'll find the crowdsourced playlists for Yeah, Yeah, Yeah.

Much I love Bob Stanley and his work, I found the book tough going. His style too condensed and telegraphic to comfortably read at length. There's no-one more qualified to summarize the last forty years of Phil Spector's career in a single sentence (and btw he's great at this kind of thing) or the solo careers of the Beatles in a paragraph, but it's just too exhausting to go through page after page of such condensed history.

I read it on the bus for about a month. It works very well in 20-30 minute intervals.

Yes, every chapter is like an article in Mojo or whatever. Also it's too personal in terms of what he thinks is important. He is a true music nerd's music nerd and he's a master on historical details, influences, product minutiae, anecdotes, industry movers and shakers, who-did-it-first type claims etc. But to him every single scene is centered around the music. Fashion, economics, class and so on are given short shrift. So it's clear he sees a difference between "skeletal" and "spindly" guitar sounds but for fashion it's not more like "trousers got wider". eg. he sees no significance whatsoever in Dexys' coming out in Brooks Brothers suits (he's amazed it WAS a huge deal at the time), but vast significance in their lyrics. Or he quotes Joe Strummer "like trousers like brain" without attempting to put it in context or explain it.

Not that I think he really understands the Clash anyway - another complaint I have is that his likes and dislikes (particularly his quick disposal of so many US bands) are petty and personal and detract from the overall theme of the book which I think is supposed to be a comprehensive overview of how the history of popular music is currently dissected, pigeonholed and defined. Ultimately I think it tells us a lot of details about stuff that Bob appreciates (which, don't get me wrong, is very broad) but there's not really an overall point to it.

FInally got around to reading this, seems pretty fantastic so far. Read through the 80s chapters then went back to start from the beginning. Been buried in it for the past 48 hours, avoiding the Christmas relatives. Wonderful to read through alongside the Spotify playlists -- don't think I've been so engrossed in a music book since Revolution in the Head. There's lots of information here, but it never reads info-dumpy. And even when he gets it wrong (only a third of a page on Madness, dissing Langer & Winstanley), he writes without arrogance or Maconie-esque mateyness.

I got this book for Christmas. Stoked.

Finishing "Yeah Yeah Yeah". It reminded me of Nick Cohn more than anything else - this sort of conversational style, with a pinch of "hey others like it tho so I might be wrong!", more like talking to a friend than an attempt at canon building. This is the kind of music criticism I find easiest to take, these days, though it has its limitations.

So is Bob Stanley still doing his compiler work? I would've thought CD compilations (always one of my fav mediums) would've been totally slaughtered by streaming now, but Ace records for example still seems to be chugging along...

So is Bob Stanley still doing his compiler work?
Yep, his label Croydon Municipal is churning compilations out on a regular basis; the quality is consistently high.

http://croydonmunicipal.com

hmm, that website hasn't been updated for over a year (RIP websites) but there have been 2016 releases

i'm about 100 pages in. the bit about The Everly Brothers is incredibly exciting, shaping up to be the best music book i've read since Rip It Up And Start Again.

This one's up to date I think: http://www.cherryred.co.uk/label/croydon-municipal/

i liked yeah yeah yeah a lot - it's insanely ambitious but it's a really easy read and it pointed me in the direction of lots of stuff i'd never heard before

Thanks, definitley getting that "Songs For A London Winter" thing!

http://acerecords.co.uk/bob-stanley-and-pete-wiggs-present-english-weather

The autumnal sound of Britain at the turn of the 70s, looking out through wet window panes to a new decade with a mixture of melancholy and optimism for what might come next. With the Beatles gone and the pound sinking, a new and distinctive sound emerges, led by flutes and mellotrons. Available in 18-track CD and 19-track double LP formats. The LP version is pressed on 180g clear vinyl in heavy-duty gatefold sleeve.

http://acerecords.co.uk/cache/images/EnglishWeatherCD_72d_1_383_383.jpg

Nice. I spent a lot of last year getting a slew of his/their old comps so great to see a new one surface.

English Weather comp is so great, that moment right at the beginning of the 70s, the tipping point just before psychedelia turned into prog, is probably my favourite era of music I know very little about.

got the vinyl of that coming this week

For me, the timing of this comp is extraordinary. I'm currently selling a large collection of 45s, mostly from 1970 to 1974, and featuring a lot of this kind of stuff. In fact, a friend, when looking through the list a couple of months ago, commented that parts of it read like a shortlist for a Bob Stanley compilation. And now, here it is! Four of my collection are on there - Belle Gonzalez, Offspring, Camel, Prelude - and I'm already familiar with the Daevid Allen and Matching Mole tracks, too. (Shame he faded out the Allen just as it got to the three-minute Gilli Smyth "space whisper" outro, though!)

The T2 vocalist sounds a lot like Ray Davies.

Van Der Graaf Generator's "Refugees" is gorgeous. Also "Caroline" by Matching Mole, been a long time since a love song touched me that deeply.

The Daevid Allen track could work in a Balearic set I reckogn.

https://about.sainsburys.co.uk/news/latest-news/2017/01-11-2017-vinyl

I was totally ready to roll my eyes at this, but these compilations are great - as they would be, being Stanley compilations. Got the only copies I found in Camden Sainsburys - I gather they're selling pretty fast. I find it appealingly mad that Sainsburys' debut record release includes Sequent C by Tangerine Dream.

Tracklistings:
https://www.discogs.com/Various-Coming-Into-Los-Angeles-A-Taste-Of-West-Coast/release/11098234
https://www.discogs.com/Various-Hi-Fidelity-A-Taste-Of-Stereo-Sound/release/11098310

I asked Sainsbury's themselves where to find the stores that have these in stocks, they didn't know.

I asked a grain of sand where to find the beach; she didn't know.

Well, I've seen them in Heyford Hill (Oxford). I realise that might not help much.

Xpost that's beautiful man.

Nonxpost more useful than the message before yours..

Corporations are people, my friend.

Yes. I asked if there were 'vinyl stockists' (shud) in my locality, the person who replied said no. But if I was to try further afield, I should ring the particular store.

If you're really desperate message me.

Thanks, but I'm not too worried.

I'm a bit confused about these. I figure Stanley's usual target audience will already own, say, Forever Changes, let alone "Dedicated To The One I Love" or "What A Fool Believes", but a more casual type would be lost at sea with some of these other selections?

isn't the point that they'll be listening to similar sounding artists in the context of ones they know and like

Yeah, I guess that makes sense, and is good.

i'm guessing a 15 year old gifted with these by an uncle wouldn't know any of it? or not much at least.

i wish he'd do 80s and 90s comps as i find the 60s and pre punk 70s dull as owt. a Bob Stanley 80s synth-pop/indie-pop comp would rock.

How many 15-year olds do you know with a turntable to play them on?

those crosley portable turntables were all tha rage a couple of years ago

I don't know many 15 year olds but I'd guess half the teenagers I do know (NB: not many) have access to a turntable. Sample size: my friends' children. Other consideration: such children also have access to my friends' record collections, poor blighters.

yeah these are nice comps but i'm also wondering how 'useful' they are and who would want them, especially in the age of Spotify recommended playlists etc

These look like v. good compilations full of stuff that will sound great on vinyl and a good balance of familiar and unfamiliar stuff. Obviously the really familar stuff will be in lots of people's collections (probably on CD) and virtually all of it will be available on streaming services but that's not really the point is it?

i guess it's a bigger question of what purpose compilations serve in the age of streaming. I like having things on vinyl for all the usual reasons, so that's one thing. The familiar stuff has obvs been included to hook shoppers in with the hope of introducing them to the other stuff, but still it's an interesting thing to market through a grocery supermarket. I hope it works.

As a once-prolific buyer of physical-format music, I find that compilations are mainly what I look for these days, in the record store. (And lavishly-packaged box sets/reissues too, of course.) If I want to hear the latest album by, whoever, I can probably find it on Spotify, but the tracks on the more obscure comps (esp. the Stanley/Wiggs ones like English Weather, Tea & Symphony, Songs for Mario's Cafe, etc.), I'd be hard-pressed to find them all on any streaming service.