Chronicles， Vol. 1像一塊滾石 鮑勃·迪倫迴憶錄第1捲 英文原版 [平裝] 下載 mobi epub pdf 電子書 2024

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內容簡介

""I'd come from a long ways off and had started a long ways down. But now destiny was about to manifest itself. I felt like it was looking right at me and nobody else.""

Bob Dylan's "Chronicle: Volume One" explores the critical junctions in his life and career. Through Dylan's eyes and open mind, we see Greenwich Village, circa 1961, when he first arrives in Manhattan. Dylan's New York is a magical city of possibilities -- smoky, nightlong parties; literary awakenings; transient loves and unbreakable friendships. Elegiac observations are punctuated by jabs of memories, penetrating and tough. With side trips to New Orleans, Woodstock, Minnesota and points west, "Chronicles: Volume One" is an intimate and intensely personal recollection of extraordinary times.

Revealing, poetical, passionate and witty, "Chronicles: Volume One" is a mesmerizing window on Bob Dylan's thoughts and influences. Dylan's voice is distinctively American: generous of spirit, engaged, fanciful and rhythmic. Utilizing his unparalleled gifts of storytelling and the exquisite expressiveness that are the hallmarks of his music, Bob Dylan turns "Chronicles: Volume One" into a poignant reflection on life, and the people and places that helped shape the man and the art.
　　一本曆時三年在手動打字機上敲齣來的迴憶錄，證明其作者是一位傑齣的散文大師，一位引人注目的文化觀察傢，和一位化裝成蕩鞦韆演員的詩人。我們早就知道迪倫會寫，然而我們沒有想到他會寫得如此齣色，沒有想到這位搖滾老江湖可以用如此的熱情、憐憫和深邃的眼光迴顧往昔的歲月。
　　你在這裏聽到迪倫無與倫比的聲音，他的抑揚頓挫，他冷麵幽默的機智，他玩弄詞藻的本領以及各種驚心動魄的迴憶——所有一切都講得非常漂亮。原來迪倫竟然在追憶過去，想象當年人們的麵貌、穿著和談吐的時候竟然有種普魯斯特式的風采。
　　尤其引人入勝的是，本書獻給讀者一份心意，讓他們更好地瞭解他作品的真諦：迪倫幾十年來在若乾采訪中極為吝嗇地散落的思想火花。本書為讀者開闢瞭一條理解作者思和藝術的通道，對於迪倫而言，這是一個至關重要的人生交接點，迪倫一方麵在尋找一種讓整整一代人有共鳴的聲音，替他們說話（盡管他自己並不情願如此）。另一方麵，他又在積極復興他遊吟詩人的傳統。
　　鮑勃·迪倫不僅稱得上是20世紀偉大的搖滾音樂傢，更是一位傑齣的詩人，一位語言大師（他是惟一一位獲諾貝爾文學奬提名的音樂傢）。本書齣版以後，獲得瞭如潮的好評：有媒體把它與剋魯亞剋的《在路上》相提並論，也有媒體說它寫作手法直追意識流大師普魯斯特，更有媒體稱迪倫為莎士比亞以來偉大的英語作傢。本書記錄的不僅是作者發明創造和靈感迸發的輝煌時刻，還有那些意氣消沉的時刻！

作者簡介

Bob Dylan is one of the most lauded and greatest-loved songwriters and performers of all time. His particular brand of music first caught the public’s attention in the 1960s. He has released thirty-five studio albums with hits ranging from “Blowin’ in the Wind” and “Like a Rolling Stone” to “All Along the Watchtower,” “Knockin’ on Heaven’s Door,” and “Make You Feel My Love.” His remarkable career in music and literature continues to this day.
　　鮑勃·迪倫（Bob Dylan，1941年5月24日－），原名羅伯特·艾倫·齊默曼（Robert Allen Zimmerman），有重要影響力的美國唱作人，搖滾歌手，民謠歌手，音樂傢，詩人，獲2008年諾貝爾文學奬提名。迪倫的影響力主要體現在60年代，他對音樂的主要的貢獻是歌詞的深刻寓意與音樂成為同等重要的一部分，他對工業國傢整個一代人的敏感性的形成起瞭很大的作用，他的音樂對理解和分析60年代是至關重要的。縱觀其音樂生涯，Bob Dylan 堪稱賦予瞭搖滾樂以靈魂。

精彩書評

One would not anticipate a conventional memoir from Bob Dylan--indeed, one would not have foreseen an autobiography at all from the pen of the notoriously private legend. What Chronicles: Volume 1 delivers is an odd but ultimately illuminating memoir that is as impulsive, eccentric, and inspired as Dylan's greatest music. Eschewing chronology and skipping over most of the "highlights" that his many biographers have assigned him, Dylan drifts and rambles through his tale, amplifying a series of major and minor epiphanies. If you're interested in a behind-the-scenes look at his encounters with the Beatles, look elsewhere. Dylan describes the sensation of hearing the group's "Do You Want to Know a Secret" on the radio, but devotes far more ink to a Louisiana shopkeeper named Sun Pie, who tells him, "I think all the good in the world might already been done" and sells him a World's Greatest Grandpa bumper sticker. Dylan certainly sticks to his own agenda--a newspaper article about journeymen heavyweights Jerry Quarry and Jimmy Ellis and soul singer Joe Tex's appearance on The Tonight Show inspire heartfelt musings, and yet the 1963 assassination of John Kennedy prompts nary a word from the era's greatest protest singer. For all the small revelations (it turns out he's been a big fan of Barry Goldwater, Mickey Rourke, and Ice-T), there are eye-opening disclosures, including his confession that a large portion of his recorded output was designed to alienate his audience and free him from the burden of being a "the voice of a generation." Off the beaten path as it is, Chronicles is nevertheless an astonishing achievement. As revelatory in its own way as Blonde on Blonde or Highway 61 Revisited, it provides ephemeral insights into the mind one of the most significant artistic voices of the 20th century while creating a completely new set of mysteries.
--Steven Stolder

精彩書摘

Chapter 1: Markin' Up the Score Lou Levy, top man of Leeds Music Publishing company, took me up in a taxi to the Pythian Temple on West 70th Street to show me the pocket sized recording studio where Bill Haley and His Comets had recorded "Rock Around the Clock" -- then down to Jack Dempsey's restaurant on 58th and Broadway, where we sat down in a red leather upholstered booth facing the front window. Lou introduced me to Jack Dempsey, the great boxer. Jack shook his fist at me. "You look too light for a heavyweight kid, you'll have to put on a few pounds. You're gonna have to dress a little finer, look a little sharper -- not that you'll need much in the way of clothes when you're in the ring -- don't be afraid of hitting somebody too hard." "He's not a boxer, Jack, he's a songwriter and we'll be publishing his songs." "Oh, yeah, well I hope to hear 'em some of these days. Good luck to you, kid." Outside the wind was blowing, straggling cloud wisps, snow whirling in the red lanterned streets, city types scuffling around, bundled up -- salesmen in rabbit fur earmuffs hawking gimmicks, chestnut vendors, steam rising out of manholes. None of it seemed important. I had just signed a contract with Leeds Music giving it the right to publish my songs, not that there was any great deal to hammer out. I hadn't written much yet. Lou had advanced me a hundred dollars against future royalties to sign the paper and that was fine with me. John Hammond, who had brought me to Columbia Records, had taken me over to see Lou, asked him to look after me. Hammond had only heard two of my original compositions, but he had a premonition that there would be more. Back at Lou's office, I opened my guitar case, took the guitar out and began fingering the strings. The room was cluttered -- boxes of sheet music stacked up, recording dates of artists posted on bulletin boards, black lacquered discs, acetates with white labels scrambled around, signed photos of entertainers, glossy portraits -- Jerry Vale, Al Martino, The Andrews Sisters (Lou was married to one of them), Nat King Cole, Patti Page, The Crew Cuts -- a couple of console reel-to-reel tape recorders, big dark brown wooden desk full of hodgepodge. Lou had put a microphone on the desk in front of me and plugged the cord into one of the tape recorders, all the while chomping on a big exotic stogie. "John's got high hopes for you," Lou said. John was John Hammond, the great talent scout and discoverer of monumental artists, imposing figures in the history of recorded music -- Billie Holiday, Teddy Wilson, Charlie Christian, Cab Calloway, Benny Goodman, Count Basie, Lionel Hampton. Artists who had created music that resonated through American life. He had brought it all to the public eye. Hammond had even conducted the last recording sessions of Bessie Smith. He was legendary, pure American aristocracy. His mother was an original Vanderbilt, and John had been raised in the upper world, in comfort and ease -- but he wasn't satisfied and had followed his own heart's love, music, preferably the ringing rhythm of hot jazz, spirituals and blues -- which he endorsed and defended with his life. No one could block his way, and he didn't have time to waste. I could hardly believe myself awake when sitting in his office, him signing me to Columbia Records was so unbelievable. It would have sounded like a made-up thing. Columbia was one of the first and foremost labels in the country and for me to even get my foot in the door was serious. For starters, folk music was considered junky, second rate and only released on small labels. Big-time record companies were strictly for the elite, for music that was sanitized and pasteurized. Someone like myself would never be allowed in except under extraordinary circumstances. But John was an extraordinary man. He didn't make schoolboy records or record schoolboy artists. He had vision and foresight, had seen and heard me, felt my thoughts and had faith in the things to come. He explained that he saw me as someone in the long line of a tradition, the tradition of blues, jazz and folk and not as some newfangled wunderkind on the cutting edge. Not that there was any cutting edge. Things were pretty sleepy on the Americana music scene in the late '50s and early '60s. Popular radio was sort of at a standstill and filled with empty pleasantries. It was years before The Beatles, The Who or The Rolling Stones would brea Chronicles， Vol. 1像一塊滾石 鮑勃·迪倫迴憶錄第1捲 英文原版 [平裝] 下載 mobi epub pdf txt 電子書 格式

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美國好方歌手有名

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goooooooooooood

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此用戶未填寫評價內容

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字體大小適中，印刷質量不錯，書很輕。

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包裝得還不錯，書沒問題。

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為什麼沒有授權大陸中文版，我隻能買颱灣版瞭。

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等著好久，質量沒得說！好

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很好的書物流快推薦給朋友買瞭

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相信京東自營的東西不會是盜版

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