"Alan Lomax", the Folksong Hunter

Alan Lomax: The Man Who Recorded the World. A Biography- John Szwed

My interest on Alan Lomax's figure comes from one of this rare cinematographic experiences were one enters to a theatre with little-to-zero expectations and then leaves the venue almost in tears, deeply moved by what has seen. The film, better said documentary, was "Lomax , the Songhunter" written and directed by Rogier Kappiers. What an impact. Since then I've been looking for something to read about the man and his work. Now, after reading this biography, I can say I'm still impressed and amazed by his story, but also a bit confused, dubious to some extent, about his motivations. Damn, I have to find the film and watch it again...

"The Man Who Recorded the World" is an immaculate, scrupulous and fine biography, at least on its surface. Informative and argumentative, rich in statistics, facts, figures and complete, even to the point of saturation sometimes, in what regards to explain with detail every book, play, recording and field work Alan Lomax did (add letters too). And he did many (and I mean MANY). His task was so gigantic that becomes scary. That's not a relentless passion but probably also a worrying obsession. A feeling I was confirming while reading John Szwed's book.

The depth of the biography in Lomax's activities provides a rich account of a work life that really escapes from just one categorization and had several sides. Lomax was a musicologist, folklorist, filmmaker, music producer, television & radio host, writer, actor, singer, lecturer, ethnomusicologist (he's recognised as the father of the discipline by many), anthropologist, political activist (among the most interesting for me is the People's Song platform or being accused and surveyed for being a communist)... He tried everything for folk music, to restore its legacy, to make it known and popular... but in his very own terms, something that also  involved him in several controversies. Was he a purist or a popularizer? The book doesn't hide the contradictions and the heated debate around his figure and role in music's history, although Szwed take a clear side at the end.  

But unfortunately, and despite being very informative, "The Man Who Recorded the World" has some regrettable misses. Lomax's family is neglected from the book. Wives, daughter and sentimental partners are getting in and out at Szwed's will, while the extremely peculiar relation with his father and mentor John Lomax is almost left behind after Alan's goes on his own. Even worse is the lack of interest of Szwed in providing some space to the artists that Lomax recorded, and in several cases, discovered. Legendary musicians like Lead Belly, Woody Guthrie, Pete Seeger or Muddy Waters (or the thousands of unknown performers) don't anything to say in Lomax's story? That's a serious flaw.

In that sense, I certainly believe that Kappiers film pays a better tribute to Lomax's figure going to the places he visited to meet the folk singers he recorded and how they remember that peculiar song collector. I'm sorry but I don't care that much about cantometrics (to be honest, that will to measure and categorize folk music is as ambitious as questionable, to be polite, music doesn't need to be constrained by artificial definitions) or the dollars he received from every foundation or government institution he reached for his music investigations. The man and the music he discovered should have been more than enough for a fascinating biography. But we have an incomplete picture of the first, and even way less about the second. Interesting, but rather flat.

SCORE: 6,25/10

"Mainlines, Blood Feasts, and Bad Taste", gonzo music journalism

Mainlines, Blood Feasts, and Bad Taste. A Lester Bangs Reader- Lester Bangs (compilation edited by John Morthland)

Hunter S. Thompson writing about music. That's what's has been going in my mind while reading Lester Bangs for the first time. A long-time pending must-read in my agenda, I was more than curious to get myself into the writings of one of the most (if not the most)  recognised music journalists ever. After finishing "Mainlines...", now I can say I understand the myth. Reading Bangs is letting yourself go into a unique, several times pretty wild ride, about music. And much more.

This compilation of Bangs writings selected and edited by his friend and colleague in Creem Magazine (he was the editor in 1974-75), John Morthland, is divided in five chapters, with the clear goal of offering not only the widest possible selection of Bangs works, but also a general scope of the journalist's prose. There's sarcasm, rage, pure vitriol (haven't read a book with so many insults and expletive words), as well as an unparalleled passion on the topics he wrote about. Unmatched. And there's also an ambitious, without boundaries, aim to cover almost everything in his articles. It all reveals, in my opinion, a stunningly lucid, although quite suffering, thirsty and relentless mind. I think the quote "The pencil is mightier than the sword" is attributed to Shakespeare. But it fits much better to Lester Bangs. With him, the pencil looks like a complete arsenal.

That acid, uncontrolled, pulsating and extreme way of writing is incredibly addictive in the stand-out chapters of "Mainlines..": "Hypes and Heroics" and "Pantheon", the ones that are devoted to music. What a hallucinated, surreal, edgy music feast! I always considered myself a very though critic (maybe even more with films and books), but compared with Bangs, I'm as soft as Bambi. There are several articles where you can feel Bangs is so close to lose himself in the midst of chaos and continuously linking ideas... but somehow he always manages to make his point, loud, clear... and poignantly. Dylan, Stones (what a bitter, merciless compendium of essays he devotes to them), Fleetwood Mac, ELO... proceed with care if you are fan of any of these... 

Unfortunately, I think the remaining three chapters (minority of pages compared with the previous two) are way less interesting. With the exception of a couple of articles/essays on the "Travelogues" section, the one describing his trip to Jamaica searching Bob Marley, pure Gonzo, and his impossible conversation with Hendrix, and the moments of brilliance in "Raving, Raging and Rebops" accounting the roots of punk and the endless discussion of the current state of music (compared with the past), these chapters look a hodgepodge to me. Sure, it serves well the purpose (also with the teenager passages of initial section "Drug Punk") of showing Bangs "views of the world", as there's a bit of everything there: relationships, drugs, fame, politics, culture, future, sex... But the articles are more eloquent in revealing Bangs frustrations and pessimistic vision on almost everything surrounding him than getting really anywhere in terms of writing. I believe the last article of the compilation, "Trapped by the Mormons", summarizes it all very well. 

In any case, don't miss the chance of reading Lester Bangs pieces on music. Like the best records and/or songs, I want more!

SCORE: 7/10

"Morrissey & Marr", The Smiths' obsessions & miseries

Morrissey & Marr: the Severed Alliance- Johnny Rogan

It's my fault. I read almost everything that is related with music. I have all sort of lists of "best books about music", and when I see over one of them, I always end grabbing the book. "The Severed Alliance" was labelled as one of the most insightful and powerful music books ever written. Add the (as usual) vitriolic comments from Morrissey towards Johnny Rogan, and my perennial love/hate story with The Smiths, and the conclusion was obvious: it was about time I was going to get my hands over the book.

Someone should had warned me. First, because this book ends in 1992. More than 20 years have passed now since Rogan's work was published, so it now looks like a very concrete but also very incomplete account of the lives of Morrissey and Johnny Marr. Yes, The Smiths period is related with careful, extreme detail. But the fundamental pillars of the band were this two pop icons, who have had, better said are having, long careers after the seminal band called a day. Simply said, this book need and updated version (I believe there's one?). And second, and even more important, because "The Severed Alliance" is a book for obsessive Smiths fans, done by someone who is, no doubt about it, obsessed with The Smiths. Unfortunately, that's not my case, particularly not about Morrissey, a rockstar whom I have very mixed feelings, as an artist and person.

There's no better example than the first half of the book to prove my point. The Spanish version of this book has more than 330 pages. But the first 150 are wasted on the most detailed account on the childhood, teenage years and adulthood of Morrissey, with a little bit of Marr too. The research done by Rogan is impressive, but what's the point of it? Do we need to know what the yet-to-be singer and composer dreamt, thought or wore when he was 16? It is necessary to resume the history of Ireland's independence and political turmoils in such detail just to have a historical background? The answer is no. And I hate to say this, but what I will recommend you is to mostly skip this first part. It can only bore you (almost to death). If not, congratulations, you are the quintessential Morrissey's fan.

It all turns much better once The Smiths story arise. Then all the detail, opinions gathered and author's point of view converge, providing a seriously complete picture of the beginnings, evolution, triumphs, miseries and death of the band. There's also space and time to analyse every song, and Morrissey's lyrics. A clinical dissection of the band. As much as I criticised the previous part, the rest of the book make me eager to go back checking the band's albums, which in my opinion is one of the best compliments you can say of a book on a music group. And all this praise comes from someone who has never been a fan of The Smiths, and has never been affected for their myth.

And yes, as I expected, Morrissey is scary. A really scary character.  

SCORE: 5,75/10

"Just Kids", the bipolar memories of Patti Smith

Just Kids- Patti Smith

I had really high expectation with this one. The spectacular reviews, (National Book Award included) and my appreciation for the author (she's Michael Stipe's muse and close friend, and although I'm just an occasional fan of her music, she's a legend that I would love to see live). Guess I was hoping for a memorable book, something in between Dylan's "Chronicles" and Mark Oliver Everett's "Things the Grandchildren Should Now". Unfortunately, all I can say is that "Just Kids" has been a disappointment.

There's a bipolarity on "Just Kids". As an autobiography of the beginnings of a rock icon might not be ground shaking, but it does has a lot of strength and points of interests. Mainly because it reveals a young, vulnerable Patti Smith coming to New York to fight for her dreams, but really looking to find herself, on a time when she didn't know what she wanted to be. That, together with the incredibly intense and really intimate depiction of her relationship with Robert Mapplethorpe, would made the book a must read without a doubt. Friend, shelter, colleague, artist partner, lover... Patti Smith allows the reader to adventure into her most intimate feelings, not afraid of showing none of them were yet fully formed as individuals when they met, needing each other to grew up together, as artists and persons. That honesty goes beyond any labelling, its pure, like Smith and Mapplethorpe's relation. That's really rare to find.  Impossible to have a better title than "Just Kids".

Judging by the previous paragraph, I realise "Just Kids" had the potential of being one of the best music biographies I've ever read. But it is not. And sadly, the only responsible is Patti Smith alone. I'm afraid to write that, but I believe this is a case of... seriously flat, poor writing. Unending name dropping, with anecdotes that doesn't add much to the story except showing how many "important people" she met back then, and a constant self-laudatory "artistry" that becomes seriously annoying because is never connected with the real, flesh and bones world. She transforms her reality, a starving young, confused but ambitious couple in a cliche: the starving, tortured artists.

That's why I wrote before the book seems to be bipolar. All the insight, honesty and interest on the Mapplethorpe-Smith relation, with some other few moments (mostly when she recalls or goes back home) disappears or are seriously ruined by the cliches among which she builds her image (and Mapplethorpe) of unique artists. The fact I consider Patti Smith a genuine, remarkable artist only makes it more painful. To make it more clear: repeating endlessly how much you love Rimbaud doesn't make you an artist. Or describing with full detail every single piece of clothing you wore. That's superficial and, at least for me, irritating.

Intense and remarkable at times, but also frustrating and shallow. A two-sided, failed memories as a whole.

SCORE: 5,5/10

"Killing Yourself To Live", Myth America?

Killing Yourself To Live: 85% of a True Story- Chuck Klosterman

Misleading advertising on a book again. After enjoying "Fargo Rock City", a work where auto-biography and music are blended with pleasant results (yet also some concerns) it was a matter of time I was going to read another Klosterman's. "Killing Yourself To Live" seemed the ideal choice, being built around the premise of Spin's magazine feature on death rock icons. A road trip through "Myth America" by a passionate music commentator looked great. But that's not what the book exactly offers.

Unfortunately, America's most famous rock and roll death places, from where the plane with Big Bopper, Ritchie Valens and Buddy Holly crashed to where Kurt Cobain's shot himself, is a mere excuse to talk, primarily, about something else.

That something else is, of course, Chuck Klosterman. "Killing Yourself..." is in reality a not very subtle dose of the writer's obsessions, in particular his troubled relationships and the confusion provoked by them. This might sound like Nick Hornby's "High Fidelity", this time on a car through the States, but believe me, it doesn't have the British's book charms. And no, I won't say this can be compared to gonzo journalism either, even if there's some booze and drug situation involved. No way.

Don't get me wrong, the book is very enjoyable and, thanks to his recognisable prose and what he is talking about, meaningful to many. But Klosterman has a serious issue with digression. "Fargo Rock City" suffered from that. But this one has several parts where its practically ruined because of that. The reader will quickly have the feeling there's no focus.
 
And damn it (sorry) but Klosterman can really be engaging when he talks about music. The best parts on "Killing Yourself..." to me are about Radiohead's Kid A (spectacular), the Chelsea Hotel or the brave (and so true) comment on Nirvana's end and the creation of Kurt Cobain's myth. But he shifts, better said hides, these sorts of opinions in between an overwhelming amount of pages that go back and forth through his three most significant relationships by then.... and the music becomes just the background of the book, sadly.

Why the death of a rock star is the "smartest" move any musician can do? Why do they matter that much to us? I'm afraid we didn't know. Klosterman wasn't that interested in his own premise.

SCORE: 5,75/10

"New Wave & Post-Punk", well-known pleasures

New Wave & Post-Punk (1978-1984). From Depeche Mode to Franz Ferdinand (de Depeche Mode a Franz Ferdinand, Spanish original title)- Juan M. Corral (editor)

Here comes a very interesting and needed book. Well, music books are desperately needed in general in Spain, as the production is so small. So "New Wave & Post-Punk" has to be praised even if just as an attempt of covering such a music period. So thanks Juan Manuel Corral and the rest of music specialists (six different writers trying to dissect those times in several individual chapters) for the work.

Having said that, the book has many attractions, from just being informed about those years, who were the leading bands and artists of the different "movements" or "scenes" (whether the real existence or non-existence of the scenes are one of these perennial debates), their connections and relations, and maybe discover some of them, to bringing to the table, or at least explore, the origins and direct influences of many bands that are referential today. As the book clearly exposes, and I don't think its arguable, 80s are "on fashion" today.

To present such a vast and complex (it evolved very quickly) music panorama is not an easy task, so for sure, the scope of the book has limitations and the list of groups/artists included is, by no means (that's almost impossible) exhaustive, but the overall feeling after reading it is that the most relevant scenes have been covered and documented. Therefore, prepare yourself to embark on a quite challenging ride: from "England's Dreaming" to Joy Division fatalism, from American Hardcore to Gary Numan, from German industrial sounds to The Specials, from Morrisey & Marr to Diamanda Galas. 

As I said before, the book tries to analyse the most relevant bands and milestones of the different music scenes (plus a chapter on music labels, not that usual and highly absorbing, another positive point). I like the fact the writers doesn't hide their criticisms and opinions on albums and attitudes and that the focus is not reproducing what the chroniclers from USA and United Kingdom have vastly documented: the perspective is a more local one, about what and how we received these bands and styles here in Spain, and how we can value them. In that sense, the final chapters of "New Wave & Post-Punk" are particularly relevant despite its length constraints. One is dedicated to the "legacy", where music specialist Daniel Cabezas tries to summarize the influences of some of the most celebrated artists of the new millennium. A titanic, incomplete, but great chapter. The second is a brief (too short) but valuable view of how new wave and post-punk arrived and influenced national music, in a pivotal moment of change in Spain, after the dictatorship regime.

But there's a big, and a bit surprising, "issue" with this book: the unacceptable number of misspellings and typos. There's virtually no page without it. Just the back cover has half a dozen of them. Don't know which has been the problem (edition, lack of correction) but it makes the work look bad, not very professional. Sad, because despite its limitations, this book should be quite recommendable.

SCORE: 6,5/10

"Everyone Loves You When You're Dead", inside celebrities' mind

Everyone Loves You When You're Dead:  Journeys into Fame and Madness- Neil Strauss

Can you imagine? Having the chance of interviewing every major star of the music industry, among many other celebrities. Writing articles/critics/reviews on music and being read by milions and respected by thousands. I would love to have Neil Strauss' job. I would kill for it. That was my thought... until I read this book.

"Everyone Loves You..." is a collection of snippets from Strauss' most significant interviews (up to 228), to an impressive amount of music superstars from all times, other icons of popular culture and some other people, in one way or another related with them. This book might be then, although heavily deconstructed (again, this are just parts of interviews) one of the most amazing works of modern journalism. It is.

But even despite the numbers of surreal conversations, unbeliavable situations, unexpected adventures or grotesque, absurd moments Strauss' witnessees or takes part on it justifies the reading,  as it is amusing and immensely entertaining book, that wouldn't do complete justice to "Everyone Loves You...". This work offers a lot more.

Strauss' work is even more significant as an outstanding, gigantic task, on deconstructing the minds of celebrities. In his interviews, the author is not behaving just as a journalist, but more like a psychologist. And what he shows is basically, that fame and happiness are not synonymous. At all. As a matter of fact, the majority of celebrities on the book are suffering the consequences of their fame. Some (many) are "spoiled brats", pretentious and, quite frankly, unbearable. A few are directly stupid (look among the younger stars, wannabe celebrities or gangstas). Some built themselves an "Ivory Tower" from where nobody can disturb them (sometimes seems to work). But many are heavily traumatised people, with huge inner conflicts derived from a difficult past, familiar troubles, drugs, alcohol, etc. In a vast amount of these situations, fame didn't help a bit to deal with their issues. With the few exceptions of musicians that were capable to deal with their demons and now are looking fine, I would say the regular trend is the contrary: troubled person + fame= utter chaos. Among this "madness parade", the few "sane" celebrities interviewed on the book, happy people at control of their life, are wonderful and interesting counterpoints. Leonard Cohen, David Bowie, Springsteen, Bono, Sacha Baron Cohen or Jay Leno were among this "category".

Several interviews were just amazing (hilarious, compelling, moving, deep, shocking...). The level of intimacy that Strauss' achieves with his counterpart, or just the genuine interest of the conversation will blow your mind. The ones with Trent Reznor from Nine Inch Nails, Dave Pirner from Soul Asylum (desperate loneliness of the two), Marilyn Manson, Bo Diddley, Chuck Berry, John Hartford, the aforementioned Baron Cohen, Slipknot, Curtis Mayfield, Herny Grimes. I could go on and on... If I had to make a little complaint, is that there were too many hip-hop/artists (the gangstas) and a couple of weird coverages, the one about the wax figures in particular, that could have been dropped from the compilation, so the reading would have been even more vivid with less pages. But I do understand why are they included and that this is just my opinion.

In the other hand, there's the end of the book. I'm still mesmerized by the story of Paul Nelson (looking for his biography right away). That and the epilogue summarizes the brilliance of this book. Must-read, for music lovers, celebrity lovers, celebrities and wannabes. For anyone.

SCORE: 8,75/10

"I Was Bono's Doppelgänger", music, pain and U2

I Was Bono's Doppelgänger- Neil McCormick

After the amusing and very original "Killing Bono" it was a matter of time I would put my hands over the book on which the film is based, "I Was Bono's Doppelgänger". And as the topic says: the book is more satisfying than the film. Or better said, is even more rewarding.

The thing that has surprised me is the amount of differences with the screen adaptation and the book. Director Nick Hamm took some less relevant/secondary or anecdotal facts and built several scenes on their own, allowing the film to flow as a surreal comedy with a few dark twists and a crazy plot, in which U2 are the recurring element of frustration, as their worlds are more and more extreme: U2 achieving stardom, while his school pal only a series of let-downs in their attempt to music success.

But the book is very different. Essentially, this is Neil McCormick's biography, covering an incredibly intense period of his life, in which he will struggle, again and again, to achieve his desire/obsession of being a rock star. Its a personal ride towards Dublin and London, in a cruel clash trying to make it in the music industry, in which the writer cannot help but add an increasingly excruciating note of comparison with his friend Paul Hewson, commonly known around the world as Bono, leader of U2.

I loved McCormick's writing skills. He's clear, direct, funny and extraordinarily frank in his narration, even when that honesty doesn't show the best portrait of himself. He makes the reader feels very close to his frustrations and stubborn behaviour, even despite his, sometimes pretty huge, ego. The failures of his bands, in particular Shook Up! are revealed with rage and pain in this pages, and offers a quite depressing look of the music business. From someone who has made his living on this industry nevertheless, not as musician, but as well-known pop-rock journalist and writer, its refreshing to read such open comments.

But don't get me wrong, this is not a rant against music industry. McCormick balances his tone with hilarious situations and anecdotes, and a witty, self-deprecating humour, so when the climax almost approaches and he lets his envy on U2's worldwide success explode in front of his friend Bono, it is clear this is written from the perspective of a mature person, who has grown and learnt from that experience.

"I Was Bono's Doppelgänger" also offers a much more insightful look to U2's evolution, that will please fans of the Irish band (as myself), as the band has a more active role in the book. In particular Bono becomes a very important character. The connection with the author is very intense, providing the reader with several amusing (some late parties too!) and intimate moments of friendship between the two, as well as pretty interesting conversations on music, religion and fame, revealing the good spirit of the Irish singer and political activist.

I assume I was particularly engaged with the book for personal reasons. As a person who dreams having McCormick's job, but has always been incapable of playing any instrument due to a sort of reverential fear to kill the magic of music, but also as someone with a brother pretty gifted that is striving against the difficulties of having a music career on his own but refusing to give up, I felt close to the story. I guess that by now you'll imagine I would highly recommend this reading. Without a doubt.

SCORE: 7,5/10

"Fargo Rock City", did 80s heavy metal's matter?

Fargo Rock City: A Heavy Metal Odyssey in Rural Nörth Daköta 
Chuck Klosterman

The things we do for love... like reading this book. Just kidding. I'm too obsessed with music not to admit I was really curious about Klosterman's attempt to defend the indefensible (in my opinion). Hair metal, heavy metal, 80's hard rock: did it matter? So when my girlfriend (confessed fan of this style) bought the book and vividly encouraged me to read it... well, I had to.

Don't tell anyone, but for the majority of this "wild ride" I was seriously amused. That has to be credited entirely to the author's brilliant writing skills. I was utterly entertained and laughing at the mixture of personal anecdotes, detailed account on bands, records, tunes, and the elaborated music theories on the importance of the 80s metal. I will definitely seek out more of his writings.

But not everything works. Or maybe, the problem is Klosterman's level of exposure here. Occasionally, but more times than it would be recommendable, you will find his reasoning attempts truncated by unnecessary, even silly anecdotes, making you miss the point of the argument. In other few cases, the book gets just boring, like the never-ending account of his favourite metal albums (didn't get the "value thing" anyway), the chapter about the "band issue", or directly dubious, like the chapter about sexism on heavy metal.

One can easily feel related to the book and understand Klosterman's fierce opinions. I did. He bursts with passion on a subject that vividly matters to him. Just like a would do with regards to alternative music. Arrogance is just around the corner, or is just a matter of interpretation or interest on the topic. At the end, nobody can argue his reasoning. Did 80s metal matter? Its obvious that it did for many many people. Like him. But he (in my opinion, of course) cannot defend the "quality argument".

Like Klosterman's, I do have my own "teenager stories" with heavy metal. On the book, he makes himself look like the "victim", as fans of 80s heavy metal now seem obliged to constantly justify themselves for what they like (or liked). But I do remember the musical isolation (heavy metal fans have a strong sense of community) during high school, as I was the one saying Metallica's "Nothing Else Matters" was simply boring, or that Axl Rose's voice was extremely annoying, or that I didn't need an everlasting Slash solo in every single song. Yes, I have always been a hater of heavy metal. My guitar hero will always be The Edge. I will always prefer "Country Feedback" outro than, let's say, "Stairway to Heaven". Lyrics will always matter to me (and that makes metal look reaaaally bad, at least as bad and/or ridiculous as Tolkien). I will never get how someone who is mentally healthy can take Van Halen's "Jump" seriously. Or that playing faster or louder means playing better (I had this sort of reasoning with bands like Manowar). Or that can consider Bon Jovi's metal (or simply worth listening).

To me, hair metal was plain silly, and therefore could only be taken as (a silly) amusement, one that was recreated and I would add, tributed, by "This Is Spinal Tap". But I cannot consider it seriously now, as the majority of people do. Klosterman arguments end saying that the music you loved when you were a teenager is the music that matters. I see the point, but I can't agree with him. "My teenage music" was britpop. I still love some few bands and many tunes from that period. But I evolved, and probably only Pulp would be included now among my favourite bands. And there's nothing wrong with evolving. One band brings you to another, then to the next. That's one of the greatness of music. The amount of possibilities, new discoveries and passions while your favourites remain no matter how much times passes. Luckily, it is not a static thing. Music cannot be static.

I would love to read a "Fargo Rock City 2", to see if his opinions have changed over the years. As a matter of fact, did anyone really listened to "Chinese Democracy"? 

SCORE: 6,5/10

"A Thousand Violins", the love for music

A Thousand Violins (Mil Violines, Spanish original title)- Kiko Amat

A novel? A biography? A compilation of essays? Yes, yes, and yes. But "A Thousand Violins" is much more than that. It is one of the most engaging love letters music has ever received. If, like me, your passion (obsession, an important part of your life) is music, this book is for you. This should be the last line of my review, but I can resist it. Thanks for the book, Kiko Amat.

This is an emotional work, because music is made of emotions, seeks and produces emotions in everyone of us. And because is the most powerful mean of human expression, it helps to define us. It define us. I agree with Amat, beware of the people who are "not interested in music", or the people that are ok with any "kind of music", able to listen everything".

Therefore, "A Thousand Violins" is a romantic book too, as Amat gives music such an important role in life. I completely agree with him, but it is really? The patronised, manufactured, advertised products that the industry sells as "the-next-big-thing", the standardisation of music styles, the importance of image and trends (indie being exploited as well), the pathetic behaviour of the industry in front of the technological changes, only interested in maintaining the bigger piece of the pie... There are too many issues that contradict Amat's wonderful vision of music today. But I repeat, I do agree with him. Music has that potential, and despite all the obstacles it faces, it keeps resisting, and being able of meaning so much for many many people.

Of course, as it is structured and developed, "A Thousand Violins", is also a very personal book. In the vein of Nick Hornby's "31 Songs" but way richer, Amat deconstructs part of his life through music. Through songs and groups. And how they influenced, marked his personal experiences and his memories. It is not a music book, but one of a "writer as a human being in love of his favourite songs". About a "life raised on music". 

And that brings me to the most striking thing of this book. Despite this is Kiko Amat's life and opinions, it profoundly connects with me (and I would dare to bet that he will do also with you). In a way is how it is written, propelled by his immediacy and feeling of proximity. But it is basically a matter of passion. Doesn't matter we don't share the same opinions (male music? uggh) tastes (not a mod fan), or that we strongly (Dylan) disagree in some artists. We are moved (inside, inside) by music. 

I laughed (destroying Queen, Abba, Phil Collins, etc), shed a tear (the R.E.M. chapter), and enjoyed the ride all along for its almost 300 pages. And if that makes sense, I felt encouraged to keep writing about music (this blog, for example). "A Thousand Violins" invites to write your own book. Because we all have one. Inside of us. Thanks again, Kiko Amat. Let's "Talk About the Passion".

SCORE: 8,5/10