Paul Trynka
Författare till Iggy Pop: Open Up and Bleed
Om författaren
Foto taget av: Paul Trynka
Verk av Paul Trynka
Sympathy for the Devil: the birth of the Rolling Stones and the death of Brian Jones (2014) 16 exemplar
Mojo Magazine Limited Edition The Beatles 1000 Days Of Beatlemania - The Early Years (2002) 4 exemplar
Mojo - The Music Magazine, July 2002 (104) — Redaktör — 3 exemplar
Mojo - The Music Magazine, December 2000 (85) — Redaktör — 1 exemplar
Mojo - The Music Magazine, August 2000 (81) — Redaktör — 1 exemplar
Mojo - The Music Magazine, September 2001 (94) — Redaktör — 1 exemplar
Mojo - The Music Magazine, January 2000 (74) 1 exemplar
Taggad
Allmänna fakta
- Vedertaget namn
- Trynka, Paul
- Kön
- male
- Nationalitet
- UK
- Bostadsorter
- Greenwich, London, England, UK
- Yrken
- editor
music historian
writer
biographer
guitarist - Organisationer
- Mojo Magazine
Q Magazine
International Musician Magazine
The Guitar Magazine
Nyam Nyam
Medlemmar
Recensioner
Priser
Du skulle kanske också gilla
Associerade författare
Statistik
- Verk
- 51
- Medlemmar
- 706
- Popularitet
- #35,871
- Betyg
- 3.8
- Recensioner
- 21
- ISBN
- 54
- Språk
- 8
Bowie started in the sixties, a decade when the group dominated pop music, but he was always essentially a solo performer. His determination to succeed left little room for loyalty to colleagues. By the time of his first solo album he had belonged to and abandoned no less than five groups. Curiously enough, at the end of the eighties, having exhausted his repertoire of characters and, temporarily at least, his inspiration, Bowie attempted to reinvent himself as a band - Tin Machine. It was not a success. He was simply too large a performer to fit comfortably within a group format.
Bowie’s late sixties manger Ken Pitt, traditionally derided by Bowieologists as the man who wanted to turn Ziggy Stardust into Tommy Steele, but not by Trynka, realised what he was dealing with - a highly charismatic star performer who had the ability to transcend mere rock ‘n’ roll. This is very much how Bowie developed. In an entirely modern sense of an old fashioned term he was an all-round entertainer. The sheer range of his work is quite staggering. I can’t think of many artists who have been global pop stars, made groundbreaking experimental music, acted with Jim Henson puppets and in an Bertolt Brecht play, collaborated with Bing Crosby and Iggy Pop and… well, I could go on.
The book contains a discography of Bowie’s albums with overviews of each one. These struck me as at once scrupulously fair-minded and perceptive. What emerged from them, and indeed the book in general, is that Bowie produced his best work when he surrounded himself with equally talented collaborators - Tony Visconti, Mick Ronson, Carlos Alomar, Brian Eno, Nile Rodgers. They brought the best out of him and vice versa. When he chose to work with lesser lights, or took complete control, the results tended towards the unexceptional.
Entirely sympathetic, yet mercifully free of the hagiographic tone that has infected discussion of Bowie since his death, Trynka’s book is an illuminating guide to one of the most charismatic performers who has ever lived. Bowie emerges as a highly unusual combination of showman, businessman and shaman. A true original indeed.… (mer)