Greil Marcus

Explores the avant-garde history of twentieth-century Europe through the lifestyle and music of the Sex Pistols

A Secret History of the Twentieth Century

Lipstick Traces

A study of rock 'n' roll and American culture, focusing on six artists, including Robert Johnson, Harmonica Frank, Randy Newman, the Band, Sly Stone, and Elvis Presley.

Images of America in Rock 'n' Roll Music

Mystery Train

Werner Sollors

Traces the dynamic expression of the American experience and how the nation's sense of identity offers alternate perspectives into history, in an anthology that also explores modern cultural creations in a range of disciplines.

A New Literary History of America

Unlike all previous versions of rock ’n’ roll history, this book omits almost every iconic performer and ignores the storied events and turning points that everyone knows. Instead, in a daring stroke, Greil Marcus selects ten songs recorded between 1956 and 2008, then proceeds to dramatize how each embodies rock ’n’ roll as a thing in itself, in the story it tells, inhabits, and acts out—a new language, something new under the sun. “Transmission” by Joy Division. “All I Could Do Was Cry” by Etta James and then Beyoncé. “To Know Him Is to Love Him,” first by the Teddy Bears and almost half a century later by Amy Winehouse. In Marcus’s hands these and other songs tell the story of the music, which is, at bottom, the story of the desire for freedom in all its unruly and liberating glory. Slipping the constraints of chronology, Marcus braids together past and present, holding up to the light the ways that these striking songs fall through time and circumstance, gaining momentum and meaning, astonishing us by upending our presumptions and prejudices. This book, by a founder of contemporary rock criticism—and its most gifted and incisive practitioner—is destined to become an enduring classic.

The History of Rock 'n' Roll in Ten Songs

Bob Dylan

A study of the Basement tapes, recordings made by Bob Dylan and the Band in Woodstock, New York, in 1967, analyzes this secret music never intended for release in terms of its place in contemporary music and in Dylan's career. Originally published as Invisible Republic. Reprint.

The World of Bob Dylan's Basement Tapes

The Old, Weird America

Acclaimed cultural critic Greil Marcus tells the story of Bob Dylan through the lens of seven penetrating songs "Marcus delivers yet another essential work of music journalism."--Kirkus Reviews (starred review) "Further elevates Marcus to what he has always been: a supreme artist-critic."--Hilton Als "Greil Marcus is already the most important chronicler of Dylan. But here he outdoes himself."--Rachel Kushner Across seven decades, Bob Dylan has been the first singer of American song. As a writer and performer, he has rewritten the national songbook in a way that comes from his own vision and yet can feel as if it belongs to anyone who might listen. In Folk Music, Greil Marcus tells Dylan's story through seven of his most transformative songs. Marcus's point of departure is Dylan's ability to "see myself in others." Like Dylan's songs, this book is a work of implicit patriotism and creative skepticism. It illuminates Dylan's continuing presence and relevance through his empathy--his imaginative identification with other people. This is not only a deeply felt telling of the life and times of Bob Dylan, but a rich history of American folk songs and the new life they were given as Dylan sat down to write his own.

A Bob Dylan Biography in Seven Songs

Folk Music

Out of a house called Big Pink came music that remains as seductive and baffling today as it was over thirty years ago. âe~Marcusâe(tm)s contention is that there can be found in American folk a community as deep, as electric, as perverse and as conflicted as all America, and that the songs Dylan recorded out of the public eye, in a basement in Woodstock with the group who would later become The Band, are where that community as a whole gets to speak . . . Books this good should be burntâe(tm) Mark Sinker, Wire âe~We owe God a death, and Greil Marcus owed all Godâe(tm)s children a lifework on Bob Dylan. And here it is, one heaven of a book . . . what Marcus brings to these songs is a variety of good things: fierce fervour, social convictions, a loving discrimination, never a touch of envy and an extraordinary ability to evoke in words the very feel (throaty, threatening, thorough, thick with thought) of a manâe(tm)s voice, of this manâe(tm)s voiceâe(tm) Christopher Ricks, Guardian âe~You will want to read its most provoking parts over and over and chances are, twenty years from now, it will stand as one of the classics of American criticismâe(tm) Mikal Gilmore, Observer âe~A rare ability to describe the genesis of a song and make it sound better than any song you have ever heardâe(tm) Tim Adams, Times Literary Supplement

Bob Dylan's Basement Tapes

Invisible Republic

The Washington Post hails Greil Marcus as our greatest cultural critic. Writing in the London Review of Books, D. D. Guttenplan calls him probably the most astute critic of American popular culture since Edmund Wilson. For nearly thirty years, he has written a remarkable column that has migrated from the Village Voice to Artforum, Salon, City Pages, Interview, and The Believer and currently appears in the Barnes & Noble Review. It has been a laboratory where Marcus has fearlessly explored and wittily dissected an enormous variety of cultural artifacts, from songs to books to movies to advertisements, teasing out from the welter of everyday objects what amounts to a de facto theory of cultural transmission. Published to complement the paperback edition of The History of Rock & Roll in Ten Songs, Real Life Rock reveals the critic in full: direct, erudite, funny, fierce, vivid, astute, uninhibited, and possessing an unerring instinct for art and fraud. The result is an indispensable volume packed with startling arguments and casual brilliance.

The Complete Top Ten Columns, 1986-2014

Real Life Rock

Stanley Booth

True Adventures of the Rolling Stones

Acclaimed cultural critic Greil Marcus tells the story of Bob Dylan through the lens of seven penetrating songs “Marcus delivers yet another essential work of music journalism.”—Kirkus Reviews (starred review) “Further elevates Marcus to what he has always been: a supreme artist-critic.”—Hilton Als “Greil Marcus is already the most important chronicler of Dylan. But here he outdoes himself.”—Rachel Kushner Across seven decades, Bob Dylan has been the first singer of American song. As a writer and performer, he has rewritten the national songbook in a way that comes from his own vision and yet can feel as if it belongs to anyone who might listen. In Folk Music, Greil Marcus tells Dylan’s story through seven of his most transformative songs. Marcus’s point of departure is Dylan’s ability to “see myself in others.” Like Dylan’s songs, this book is a work of implicit patriotism and creative skepticism. It illuminates Dylan’s continuing presence and relevance through his empathy—his imaginative identification with other people. This is not only a deeply felt telling of the life and times of Bob Dylan, but a rich history of American folk songs and the new life they were given as Dylan sat down to write his own.

Erika Doss

Neil Harris

Yi-fu Tuan

The Architecture of Reassurance

Designing Disney's Theme Parks

the world of Bob Dylan's basement tapes

The old, weird America

una historia secreta del siglo XX

Rastros de carmín

Greil Marcus saw Bob Dylan for the first time in a New Jersey field in 1963. He didn't know the name of the scruffy singer who had a bit part in a Joan Baez concert, but he knew his performance was unique. So began a dedicated and enduring relationship between America's finest critic of popular music— "simply peerless," in Nick Hornby's words, "not only as a rock writer but as a cultural historian"— and Bob Dylan, who in 2016 won the Nobel Prize for Literature. In Like A Rolling Stone Marcus locates Dylan's six-minute masterwork in its richest, fullest context, capturing the heady atmosphere of the recording studio in 1965 as musicians and technicians clustered around the mercurial genius from Minnesota, the young Bob Dylan at the height of his powers. But Marcus shows how, far from being a song only of 1965, "Like a Rolling Stone" is rooted in faraway American places and times, drawing on timeless cultural impulses that make the song as challenging, disruptive, and restless today as it ever was, capable of reinvention by artists as disparate as the comedian Richard Belzer and the Italian hip-hop duo Articolo 31. "Like a Rolling Stone" never loses its essential quality, which is directly to challenge the listener: it remains a call to arms and a demand for a better world. Forty years later it is still revolutionary as will and idea, as an attack and an embrace. How Does it Feel? In this unique, burningly intense book, Marcus tells you, and much more besides.

Bob Dylan at the Crossroads

Like a Rolling Stone

His foremost interpreter revisits more than forty years of listening to Dylan - weaving individual moods and moments into a brilliant history of their changing times. The book begins in Berkeley in 1968, and ends with a piece on Dylan's show at the University of Minnesota on election night 2008. In between are moments of euphoric discovery: from Marcus' sleeve notes for the 1967 Basement Tapes to his exploration of Dylan's reimagining of the American experience in 1997's Time Out of Mind. And rejection; Marcus's Rolling Stone piece on Dylan's album Self Portrait -- often referred to as the most famous record review ever written -- began with 'What is this shit?' and led to his departure from the magazine for five years. Marcus follows not only recordings but performances. books, movies, and all manner of highways and byways in which Bob Dylan has made himself felt in our culture. Together, the dozens of pieces collected here comprise a portrait of how, throughout his career, Bob Dylan has drawn upon and reinvented the landscape of American song, its myths and choruses, heroes and villains. They are the result of more than forty years' engagement between an unparalleled artist and a uniquely acute listener.

Writings 1968-2010

In 1978, Greil Marcus asked twenty writers on rock-including Dave Marsh, Lester Bangs, Nick Tosches, Ellen Willis, and Robert Christgau-a question: What one rock-and-roll album would you take to a desert island? The resulting essays were collected in Stranded, twenty passionate declarations to such albums as The Rolling Stones' Beggars Banquet, the Ramones' Rocket to Russia, Something Else by the Kinks, and more. Universally revered as the ur-text of rock journalism, Stranded is an indispensable classic.

Rock and Roll for a Desert Island

Stranded

A fan from the moment the Doors' first album arrived, Greil Marcus saw the band many times at the legendary Filmore Auditorium and the Avalon Ballroom in 1967. Five years later it was all over. Forty years after the singer Jim Morrison was found dead in Paris and the group disbanded, Greil Marcus muses on how one could drive from here to there, changing fom one FM pop station to another, and be all but guaranteed to hear two, three, four Doors songs in an hour. Whatever the demands in the music, they remained unsatisfied, in the largest sense unfinished and absolutely alive. There have been many books on the Doors. This is the first to bypass their myth, their mystique, and the death cult both of Jim Morrison and the era he was made to personify, and focus solely on the music. It is a story untold; all these years later it is a new story.

The Doors

A panoramic study of the American identity examines the nation's fable of self-invention, from the colonial period to the present day, arguing that the promise of America lies less and less in the political realm but more in the work of individual artists, writers, musicians, and others who strikingly dramatize the challenge the U.S. poses to each of its citizens. Reprint. 25,000 first printing.

Prophecy and the American Voice

The Shape of Things to Come

A deep dive into how F. Scott Fitzgerald’s vision of the American Dream has been understood, portrayed, distorted, misused, and kept alive Renowned critic Greil Marcus takes on the fascinating legacy of F. Scott Fitzgerald’s The Great Gatsby. An enthralling parable (or a cheap metaphor) of the American Dream as a beckoning finger toward a con game, a kind of virus infecting artists of all sorts over nearly a century, Fitzgerald’s story has become a key to American culture and American life itself. Marcus follows the arc of The Great Gatsby from 1925 into the ways it has insinuated itself into works by writers such as Philip Roth and Raymond Chandler; found echoes in the work of performers from Jelly Roll Morton to Lana Del Rey; and continued to rewrite both its own story and that of the country at large in the hands of dramatists and filmmakers from the 1920s to John Collins’s 2006 Gatz and Baz Luhrmann’s critically reviled (here celebrated) 2013 movie version—the fourth, so far.

Greil Marcus

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