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In 1968, the New Yorker hired Ellen Willis as its first popular music critic. Her column, Rock, Etc., ran for seven years and established Willis as a leader in cultural commentary and a pioneer in the nascent and otherwise male-dominated field of rock criticism. As a writer for a magazine with a circulation of nearly half a million, Willis was also the country’s most widely read rock critic. With a voice at once sharp, thoughtful, and ecstatic, she covered a wide range of artists—Bob Dylan, The Who, Van Morrison, Elvis Presley, David Bowie, the Rolling Stones, Creedence Clearwater Revival, Joni Mitchell, the Velvet Underground, Sam and Dave, Bruce Springsteen, and Stevie Wonder—assessing their albums and performances not only on their originality, musicianship, and cultural impact but also in terms of how they made her feel.
Because Willis stopped writing about music in the early 1980s—when, she felt, rock ’n’ roll had lost its political edge—her significant contribution to the history and reception of rock music has been overshadowed by contemporary music critics like Robert Christgau, Lester Bangs, and Dave Marsh. Out of the Vinyl Deeps collects for the first time Willis’s Rock, Etc. columns and her other writings about popular music from this period (includingliner notes for works by Lou Reed and Janis Joplin) and reasserts her rightful place in rock music criticism.
More than simply setting the record straight, Out of the Vinyl Deeps reintroduces Willis’s singular approach and style—her use of music to comment on broader social and political issues, critical acuity, vivid prose, against-the-grain opinions, and distinctly female (and feminist) perspective—to a new generation of readers. Featuring essays by the New Yorker’s current popular music critic, Sasha Frere-Jones, and cultural critics Daphne Carr and Evie Nagy, this volume also provides a lively and still relevant account of rock music during, arguably, its most innovative period.
- Sales Rank: #514000 in Books
- Brand: Brand:
- Published on: 2011-05-01
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x .70" w x 6.13" l, .86 pounds
- Binding: Paperback
- 272 pages
- Used Book in Good Condition
Review
"Here, [Ellen Willis's] witty, cerebral essays finally get the compilation they deserve. She grapples with voices who inspired her . . . and relates feminism to music in revelatory ways. Vinyl Deeps is the testament of a crucial voice. At a time when rock clichés were still being invented, Willis was already leaving them behind." —Rob Sheffield, Rolling Stone
"Willis's work is crystalline enough that reading each essay takes the reader on a trip back to the era when it originally appeared, but it's a testimony to her intellect and talent that those journeys look completely unlike any hagiography you might stumble across. She cuts through clichés nimbly . . . and the essays vibrate off the page." —Village Voice
"At a time when music was less understood than it is today, Willis appreciated why musicians combined passion and intellect to not only document their time, but also influence movements." —Publishers Weekly, starred review "Out of the Vinyl Deeps should take its place alongside Marcus’s Mystery Train and Bangs’s Psychotic Reactions and Carburetor Dung as one of the canonical documents of early pop music criticism. Even with her tendency to use big words and big ideas, Willis always knew at heart that music was a gas, gas, gas. She celebrated the seriousness of pleasure and relished the pleasure of thinking seriously. She followed in the footsteps of the New Yorker critics Dorothy Parker and Pauline Kael, and elbowed her way into the men’s club of music criticism. Maybe she didn’t even realize it was a men’s club—Willis seemed fiercely independent that way. Ultimately, Out of the Vinyl Deeps makes you want to do what the best music criticism should: pull out a record and listen to it with new ears." —New York Times "I’d call Ellen Willis the Ida Lupino of music writing, but even that wouldn’t say enough about this book's value. Out of the Vinyl Deeps is a time capsule, the publication of which invigorates and illuminates our grasp of the period it covers—but it is also a timeless compendium of clear thinking and fresh, humane, and persuasive prose."—Jonathan Lethem"Finally, Willis’s game-changing music writing is available in one place. It is like unearthing the holy grail of rock criticism!" —Kathleen Hanna
"A pleasure to read and a crucial challenge when truly considered, Willis’s essays on rock, freedom, sex, and dancing in your bedroom continue to teach me every time I return to them." —Ann Powers
About the Author
Ellen Willis (1941–2006) was a groundbreaking radical leftist writer and thinker whose true loves were rock music, feminism, pleasure, and freedom. She was the first pop music critic for the New Yorker and an editor and columnist at the Village Voice. She wrote for numerous publications, including Rolling Stone, the New York Times, the Nation, and Dissent. She was the founder of the Cultural Reporting and Criticism Program at New York University, and she published three books of essays, Beginning to See the Light, No More Nice Girls, and Don’t Think, Smile!Nona Willis Aronowitz has written about women, sex, music, technology, film, and youth culture for publications such as the Nation, the New York Observer, the Village Voice, and Salon. She is coauthor of Girldrive: Criss-crossing America, Redefining Feminism. Sasha Frere-Jones is a musician and writer from New York. He is a staff writer for the New Yorker and a member of the bands Ui and Calvinist. Daphne Carr lives and writes in New York City. She is editor of the Best Music Writing series. Evie Nagy is an associate editor at Billboard Magazine.
Most helpful customer reviews
13 of 13 people found the following review helpful.
AN INSIGHTFUL, INTELLIGENT LOOK AT MUSIC AND THE ERA BETWEEN 1968-1975
By Stuart Jefferson
Trade size soft cover edition-6 page Forward, 6 page Introduction (by her daughter), 223 pages of Willis' work, 8 page Afterword. Also included are 8 pages of b&w photos.
As a music listener I came of age roughly during the same period as most of these essays were published. Ellen Willis' (who died in 2006) views on music were somehow different than the usual critics writing of the day. Under the surface (usually) there lurked an intelligent observer of both music and the era.
She wrote several dozen pieces (under the heading "Rock, Etc.") for The New Yorker magazine-a place where I usually didn't think of, offhand, for an insightful look into current music-for several years, beginning in 1968. This was still the era (which ended in the 70's) when Rolling Stone Magazine was the "go to" periodical for insightful music reviews. Her writing would also turn up occasionally as liner notes for artists she thought had merit. This was in the era when "rock" writing was almost predominantly male dominated. Willis' writing seemed to flow almost without much effort on her part, but in them could be found some intelligent writing from someone who obviously loved the music. Her pieces in that era reached a much larger readership than any other magazine-475,000 as opposed to Rolling Stone's 75,000.
She seemed to actually like (most) of the music she reviewed, and didn't gloss over an artists latest release if it merited chastising. Willis wrote a number of pieces on Dylan, THE ROLLING STONES, THE BEATLES, THE WHO, and several other then major bands (even THE VELVET UNDERGROUND), all with good, honest insight. She also attended concerts, and could sometimes be found dancing, with the music as her only partner, in front of a full length mirror. This was how she "tested" the music, and there's a photo of Willis in the book of her dancing. Being concerned with feminism, Willis has several pieces under the heading of "The Feminist", which looks at rock music, the artist, and the feminist movement of the era.
Willis' style is intelligent, insightful (especially for the times), and it was cloaked under a sheet of a subtle, an almost self-effacing writing style. She was able to hear the music for what it was, and her honest look at the music gave her pieces added depth. Willis also was able to blend the music with the times, and her observations are still fairly pertinent today. These pieces are valuable for Willis' ability to paint a large part of the picture, as things unfolded around her, of the times as they were happening in the moment. If you think otherwise, they're still worthwhile reading as a look into those years when rock music (as opposed to "rock'n'roll") was still vibrant and exciting, just before music seemed to take on a blatant corporate sheen of money. Of interest is Willis' "Top 10" albums for 1974-Dylan/"Planet Waves", Clapton/"461 Ocean Boulevard", Bachman-Turner Overdrive/"Not Fragile", Gram Parsons/"Grievous Angel", etc.
Among other insightful essays are one on the Woodstock Music and Arts Festival-and how Willis sees the connection between money and r'n'r, and on MOBY GRAPE-who released an excellent first album only to fall apart due to negative publicity, and the over zealousness of their record company. In some of these pieces Willis begins reconciling rock music with feminism-a topic she went on the explore more fully in later times. Her insights from the era (when she complains about ticket prices being "to high" at $3-4/person) really capture a time now long since past, no matter if she's writing about Lou Reed, THE NEW YORK DOLLS, or the feminist movement.
If you're a fan (like me) of this era's music and the era itself, you'll like this book. Willis' style is sometimes pithy, yet intelligent, not fawning but rightfully critical. It's written by a fan of the music, and having these pieces together in one book makes this something worthwhile purchasing.
21 of 23 people found the following review helpful.
A much needed antidote
By Booker T.
This book gives a good "you are there" perspective on the phenomenon of Dylan, the Beatles, Stones, the folk scene, the Velvets, Creedence, Woodstock, regional scenes, and the nascent women's music/women in rock scene.
A few random thoughts (and to be honest, I'm a few chapters short of being done with this book):
Willis doesn't offhandedly mention dancing to music - she actually did it, and used it as a critical benchmark. She also has very little use for technical prowess. Too much of it gets in the way of good rock music.
Pre-"classic" rock acts like Elvis and the Everly Bros. aren't square in Willis's eyes.
As far as I can tell, Willis omits mention of the Beach Boys (what, no Pet Sounds!) and Led Zeppelin, which is interesting from my more "Generation X" experience. The former may simply not have interested her, what with her political bent as a writer, and as for the latter she would not have been the only contemporary critic who couldn't stand the Zep.
Willis's dissection of the "acceptable" roles of women in music is fascinating. She also describes the gradual adoption of rock by educated bohemians and political types as well as anyone.
5 of 6 people found the following review helpful.
It's hard for pop criticism to be classic criticism
By B. Mount
Forty or more years after Willis wrote the best of the pieces, time exposes what was adolescent, of the moment, overly hyped. She avoids those traps and transcends them 80 percent of the time, which why I give this collection of often startingly perceptive analysis of Dylan, his contemporaries and his followers 80 percent of perfect. Even when you roll your eyes at some misplaced enthusiasm -- as I imagine Willis would have too in later years -- you're reminded how much passion the music of that era could evoke.
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