Funny, informative, different - know what you're getting..., 19 Nov 2008
I wonder what some people expect from this book. When I bought it I expected a light hearted trip through the history of classical music. That is what I got.
The book may not be exclusively written by Stephen Fry, (as is clearly stated on the cover), but it certainly has his voice and humour running throughout. The humour can at times be silly, but then that the is the style of the Stephen Fry. On one or two occasions it has made me laugh out loud!
I like the short 'sound-bite' sections the book is divided up into. It is informative. I now know quite a few things about composers and classical music I didn't before. There is not a great depth of information, but enough that if a certain period or composer is of interest, more scholarly books can be sought out.
All in all I think this is a very entertaining read and a great introduction to classical music - if you are engaged by the style of Stephen Fry!!!

Amusing, refreshing and genuinely interesting read, 12 Jul 2008
I first borrowed this book a while ago from the library. I haven't read any other books by Stephen Fry, only seen and enjoyed him on the small and big screen. While the book is indeed written "As told to Tim Lihoreau", its content is still Frysian, and evnthough I couldn't possibly argue whether it is typical, I definitely found it highly enjoyable.
The book reads like a charm, from cover to cover, and back again for reference. The humour is cheeky and silly at times, but never offensively so, in fact it is this light and playful style that packed more information into my memory than reading an entirely serious text ever could. Never patronising to the reader, this book will appeal to many people who may be scared off Classical Music as being "posh" (which is crying shame!), and if you are too precious to have fun with a wonderful subject, such as music, and an often frustrating and saddening subject, such as history, then what is wit good for?! :)
Personally, I extended this book so much at the library, I decided to just buy it. It's a friend :)

unreadable, 10 Mar 2008
I felt as though I was being arched and punned and whimsied to death. An insult to any reader any age any amount of previous knowledge. Just awful.

Does what it says on the tin, 27 Oct 2007
The thing to understand about this book, apart from the fact that it isn't really written by Fry himself, is that it is indeed incomplete, as it says in the title. I approached this with high hopes after reading his excellent book on poetry, and found myself somewhat disappointed. If I had read it first I suspect I may not have been so underwhelmed. As it is, there are very few books available which offer a readable, albeit necessarily potted history of classical music, and when approaching the subject as a rank amateur, desperately in need of a way into the genre one takes what one can get. It isn't technical, it doesn't have all the answers, it doesn't cover everything and there are some terrible jokes in it, but it does offer a glimpse into and reasonable overview of the world of classical music without either being 12 billion pages long, or so technical you haven't a hope in hell. This, in my opinion, is a good thing.

Oh deary me..., 12 Jul 2007
I was so excited when I bought this book. I love classical music, I love Stephen Fry's wit and so I thought this happy union would have me wetting my pants with some Bach playing in the background.

As the title suggests, it is very very incomplete, but far from utter. I'm not a huge fan of Mozart, but I found it slightly unfair that he was given a total of around 6 pages of the book, whereas Fry's favourite composer, Wagner (given a larger font throughout he book - somewhat annoying) gets a whopping 30 pages. Which is not very respective of the two composer's works.

Fry's wit is in there, alright. But reading his wit just isn't the same as hearing it. I found it frustrating that I had to keep thinking how Fry would have said this or that line, to have even the faintest dribblings in my seat. Even then, Fry uses the same jokes over and over again. Tedium sets in after a while.

Perhaps the most annoying thing, though, is that this book is NOT a history of music. It is a very incomplete narrative of historical events interspersed with the odd musical reference. If I'm reading a book concerning the history of classical music, am I likely to care about the population of China in the 18th century? I think not.

In short, those who want to have a little chuckle would do better with either the Liar, Moab or the Tennis Star's Balls. Those who want a little background to music would be better off buying the Groves Encyclopoedia. It may cost a lot more than the Incomplete and Utter History, but you get what you pay for.

On the back cover, R Schumann gives "his" views on this book. "I threw it in the Rhine". I know the feeling, and will be quite happy to throw it in the Danube.

Funny, informative, different - know what you're getting..., 19 Nov 2008
I wonder what some people expect from this book. When I bought it I expected a light hearted trip through the history of classical music. That is what I got.
The book may not be exclusively written by Stephen Fry, (as is clearly stated on the cover), but it certainly has his voice and humour running throughout. The humour can at times be silly, but then that the is the style of the Stephen Fry. On one or two occasions it has made me laugh out loud!
I like the short 'sound-bite' sections the book is divided up into. It is informative. I now know quite a few things about composers and classical music I didn't before. There is not a great depth of information, but enough that if a certain period or composer is of interest, more scholarly books can be sought out.
All in all I think this is a very entertaining read and a great introduction to classical music - if you are engaged by the style of Stephen Fry!!!

Amusing, refreshing and genuinely interesting read, 12 Jul 2008
I first borrowed this book a while ago from the library. I haven't read any other books by Stephen Fry, only seen and enjoyed him on the small and big screen. While the book is indeed written "As told to Tim Lihoreau", its content is still Frysian, and evnthough I couldn't possibly argue whether it is typical, I definitely found it highly enjoyable.
The book reads like a charm, from cover to cover, and back again for reference. The humour is cheeky and silly at times, but never offensively so, in fact it is this light and playful style that packed more information into my memory than reading an entirely serious text ever could. Never patronising to the reader, this book will appeal to many people who may be scared off Classical Music as being "posh" (which is crying shame!), and if you are too precious to have fun with a wonderful subject, such as music, and an often frustrating and saddening subject, such as history, then what is wit good for?! :)
Personally, I extended this book so much at the library, I decided to just buy it. It's a friend :)

unreadable, 10 Mar 2008
I felt as though I was being arched and punned and whimsied to death. An insult to any reader any age any amount of previous knowledge. Just awful.

Does what it says on the tin, 27 Oct 2007
The thing to understand about this book, apart from the fact that it isn't really written by Fry himself, is that it is indeed incomplete, as it says in the title. I approached this with high hopes after reading his excellent book on poetry, and found myself somewhat disappointed. If I had read it first I suspect I may not have been so underwhelmed. As it is, there are very few books available which offer a readable, albeit necessarily potted history of classical music, and when approaching the subject as a rank amateur, desperately in need of a way into the genre one takes what one can get. It isn't technical, it doesn't have all the answers, it doesn't cover everything and there are some terrible jokes in it, but it does offer a glimpse into and reasonable overview of the world of classical music without either being 12 billion pages long, or so technical you haven't a hope in hell. This, in my opinion, is a good thing.

Oh deary me..., 12 Jul 2007
I was so excited when I bought this book. I love classical music, I love Stephen Fry's wit and so I thought this happy union would have me wetting my pants with some Bach playing in the background.

As the title suggests, it is very very incomplete, but far from utter. I'm not a huge fan of Mozart, but I found it slightly unfair that he was given a total of around 6 pages of the book, whereas Fry's favourite composer, Wagner (given a larger font throughout he book - somewhat annoying) gets a whopping 30 pages. Which is not very respective of the two composer's works.

Fry's wit is in there, alright. But reading his wit just isn't the same as hearing it. I found it frustrating that I had to keep thinking how Fry would have said this or that line, to have even the faintest dribblings in my seat. Even then, Fry uses the same jokes over and over again. Tedium sets in after a while.

Perhaps the most annoying thing, though, is that this book is NOT a history of music. It is a very incomplete narrative of historical events interspersed with the odd musical reference. If I'm reading a book concerning the history of classical music, am I likely to care about the population of China in the 18th century? I think not.

In short, those who want to have a little chuckle would do better with either the Liar, Moab or the Tennis Star's Balls. Those who want a little background to music would be better off buying the Groves Encyclopoedia. It may cost a lot more than the Incomplete and Utter History, but you get what you pay for.

On the back cover, R Schumann gives "his" views on this book. "I threw it in the Rhine". I know the feeling, and will be quite happy to throw it in the Danube.

Clearly written and beautifully illustrated, 05 Aug 2008
Browsing through this book when I found it in Borders, I lost all track of time and found I'd copped a parking fine when I got back to the multi-storey where I'd left my wheels. That says something for how absorbing a read it is.

The authors' approach is to set the history of music in the religious, political and social milieux that have influenced its development. They trace the history of music from ancient times to the present day. The text is exceptionally clearly written, superbly illustrated and has notated examples throughout. As well as the main text there is an excellent glossary and extensive suggestions for further reading.

I found its analysis of form and texture a little difficult to follow but that in no way spoiled my enjoyment. Since buying it I've read it, browsed it and dipped into again and again. IMO It would be good value at twice the price.

Funny, informative, different - know what you're getting..., 19 Nov 2008
I wonder what some people expect from this book. When I bought it I expected a light hearted trip through the history of classical music. That is what I got.
The book may not be exclusively written by Stephen Fry, (as is clearly stated on the cover), but it certainly has his voice and humour running throughout. The humour can at times be silly, but then that the is the style of the Stephen Fry. On one or two occasions it has made me laugh out loud!
I like the short 'sound-bite' sections the book is divided up into. It is informative. I now know quite a few things about composers and classical music I didn't before. There is not a great depth of information, but enough that if a certain period or composer is of interest, more scholarly books can be sought out.
All in all I think this is a very entertaining read and a great introduction to classical music - if you are engaged by the style of Stephen Fry!!!

Amusing, refreshing and genuinely interesting read, 12 Jul 2008
I first borrowed this book a while ago from the library. I haven't read any other books by Stephen Fry, only seen and enjoyed him on the small and big screen. While the book is indeed written "As told to Tim Lihoreau", its content is still Frysian, and evnthough I couldn't possibly argue whether it is typical, I definitely found it highly enjoyable.
The book reads like a charm, from cover to cover, and back again for reference. The humour is cheeky and silly at times, but never offensively so, in fact it is this light and playful style that packed more information into my memory than reading an entirely serious text ever could. Never patronising to the reader, this book will appeal to many people who may be scared off Classical Music as being "posh" (which is crying shame!), and if you are too precious to have fun with a wonderful subject, such as music, and an often frustrating and saddening subject, such as history, then what is wit good for?! :)
Personally, I extended this book so much at the library, I decided to just buy it. It's a friend :)

unreadable, 10 Mar 2008
I felt as though I was being arched and punned and whimsied to death. An insult to any reader any age any amount of previous knowledge. Just awful.

Does what it says on the tin, 27 Oct 2007
The thing to understand about this book, apart from the fact that it isn't really written by Fry himself, is that it is indeed incomplete, as it says in the title. I approached this with high hopes after reading his excellent book on poetry, and found myself somewhat disappointed. If I had read it first I suspect I may not have been so underwhelmed. As it is, there are very few books available which offer a readable, albeit necessarily potted history of classical music, and when approaching the subject as a rank amateur, desperately in need of a way into the genre one takes what one can get. It isn't technical, it doesn't have all the answers, it doesn't cover everything and there are some terrible jokes in it, but it does offer a glimpse into and reasonable overview of the world of classical music without either being 12 billion pages long, or so technical you haven't a hope in hell. This, in my opinion, is a good thing.

Oh deary me..., 12 Jul 2007
I was so excited when I bought this book. I love classical music, I love Stephen Fry's wit and so I thought this happy union would have me wetting my pants with some Bach playing in the background.

As the title suggests, it is very very incomplete, but far from utter. I'm not a huge fan of Mozart, but I found it slightly unfair that he was given a total of around 6 pages of the book, whereas Fry's favourite composer, Wagner (given a larger font throughout he book - somewhat annoying) gets a whopping 30 pages. Which is not very respective of the two composer's works.

Fry's wit is in there, alright. But reading his wit just isn't the same as hearing it. I found it frustrating that I had to keep thinking how Fry would have said this or that line, to have even the faintest dribblings in my seat. Even then, Fry uses the same jokes over and over again. Tedium sets in after a while.

Perhaps the most annoying thing, though, is that this book is NOT a history of music. It is a very incomplete narrative of historical events interspersed with the odd musical reference. If I'm reading a book concerning the history of classical music, am I likely to care about the population of China in the 18th century? I think not.

In short, those who want to have a little chuckle would do better with either the Liar, Moab or the Tennis Star's Balls. Those who want a little background to music would be better off buying the Groves Encyclopoedia. It may cost a lot more than the Incomplete and Utter History, but you get what you pay for.

On the back cover, R Schumann gives "his" views on this book. "I threw it in the Rhine". I know the feeling, and will be quite happy to throw it in the Danube.

Clearly written and beautifully illustrated, 05 Aug 2008
Browsing through this book when I found it in Borders, I lost all track of time and found I'd copped a parking fine when I got back to the multi-storey where I'd left my wheels. That says something for how absorbing a read it is.

The authors' approach is to set the history of music in the religious, political and social milieux that have influenced its development. They trace the history of music from ancient times to the present day. The text is exceptionally clearly written, superbly illustrated and has notated examples throughout. As well as the main text there is an excellent glossary and extensive suggestions for further reading.

I found its analysis of form and texture a little difficult to follow but that in no way spoiled my enjoyment. Since buying it I've read it, browsed it and dipped into again and again. IMO It would be good value at twice the price.



Dance Culture and the 70-80's : love is the message, 14 Nov 2004
Love Saves The Day - A REVIEW

Love Saves The Day is a fully comprehensive (including enough charts and photos) well-composed analysis of dance cultures most crucial subliminal times.
An expert, dynamic approach delivered with a delightful intimate style: it can be enjoyed at all levels for being so open minded, so embellished with amusing little stories as well as being authentic and knowledgeable.
Tim Lawrence deeply and meaningfully penetrates via the eyes of the dancer, through all their moves and steps into the heart and soul of the New York dance scene of the 70's and more...
This book will most definitely reveal to the reader the captivating, enlightening and continuous link between the most significant 'disco' themes, the greatest parties which made an 'era' and the never-ending journey-quest into the true spirit of dance culture. It is a key book and not-to-be missed if anyone likes to combine knowledge with entertainment.

Roberta Cutolo

A Review of Love Saves the Day, 10 Jul 2004
Loves Saves the Day (LSD) is a very timely book, opening out a thorough and weighty cruise through the 1970's disco scene in America. Key to the history are the most significant DJs of the era who spin their music to a back drop of a wide and varied cross-section of urban Americans who change in type and character with the evolution of the cultural phenomenon that is disco. Breathing life into the pages are the caringly drawn people politics, sexual antics, drug habits, amusing quotes and vividly expressed opinions within the sounds and movements of these events.

No apologies for the depth and detail of this lively and informative read. It is a surprising gaze into the origins of this art form, which at its musical best has deep rooted energy, soul and passion - as experienced streaming from David Mancuso's reach for the most sublime auditory experience, and Nicky Siano's search for the most exciting... This book reveals the substance behind the Italian American led disco culture, the loft music spaces, venues and clubs into which the sounds poured and the people filled en masse.

The silver thread woven through LSD is the starry role of the DJ. The truly great figures set musical standards that shape and became one in communion with the crowd. Standards are expressed in choice of track, by quality of rapport between DJ and punters, and the musical splice. Dancers are taken on a journey into sound, of ecstatic cliff hanging highs, a low with a drug induced crash of equipment, or to the bar for a drink with a profit motive in mind.

LSD tells of an often uneasy relationship with the music industry, the money making machinery, and commercialization. It draws in a shower of contemporaneous divas and explores the creation of some great dance mixes and the origins of the 12". The DJ too has presence in the studio with his deft skills, overlaying and mixing, constructing and inventing new and wild dance beats for the dance floor with technical imagination and flair.

I grew up in the seventies and it is fun to reflect upon the dance sounds of my childhood. Music that colours my early memories: the Noel Edmunds primary school disco playing The Osmonds and Jackson Five; a first teenage disco with sounds like the Hustle, the Bump and It Only Takes a Minute; our unique date out with mum to see Saturday Night Fever at a Gravesend cinema; and the hours that I sat in my girl friend's room listening to Motown, Earth Wind and Fire, and Sister Sledge before my brothers introduced punk into our living room below.

Leafing through LSD I hardly recognise the stringy cheesy disco impression pulled from my youth as the same liberating, flexible, energetic disco scene all grown up in New York. What a discovery! So read with zeal, I have found this book a heartening and enlightening delve into popular dance music culture. Making steps through an alternative and happening way of life entwined by Mancuso's CDs presenting music from The Loft.

For those with a passionate interest in this subject and its reference to a point in time, this inspired book is a must have for your library.

Absorbing and informed account of 70s New York underground, 03 Jun 2004
There's a danger of over-familiarity with the stories of 70s New York disco. The names, the venues and the labels have gone into clubland folklore and, in turn, are in danger of becoming cliche or parody. Lawrence has therefore achieved a remarkable feet in making the story seem brand new, fresh and fascinating all over again. Through intimate and painstaking interviews with seemingly hundreds of players and punters on the scene, Lawrence has come up with the definitive documented history of the, predominantly New York City, disco scene of the 1970s.

Refreshingly Lawrence focusses less on the periphery of celebrities, glitz and dodgy films, concentrating instead on the deejays, downtown club kids, music, record industry and promoters that make up the essence of disco. The scene really comes to life and familiar figures like Mancuso, Levan and many more take on a real, three dimensional character.

My only concerns are that it has a New York-centric emphasis. Manhattan being the epicentre of the scene makes this inevitable perhaps and attempting to cover other scenes in sufficient detail would have led to over a thousand pages, so I'll forgive him that.

Other readers may find the academic nature of some of the text a bit burdensome (the book started out as a Phd thesis) but if you're prepared to engage with the disco movement in a serious way then a bit of intellectual rigour doesn't go amiss. I was happy to along with his sociological theses and they steer largely clear of pretentious waffle, thankfully.

An essential book for anyone with an interest in the beauty of 70s disco and the gay, black & hispanic underground club scene that spawned it.

Funny, informative, different - know what you're getting..., 19 Nov 2008
I wonder what some people expect from this book. When I bought it I expected a light hearted trip through the history of classical music. That is what I got.
The book may not be exclusively written by Stephen Fry, (as is clearly stated on the cover), but it certainly has his voice and humour running throughout. The humour can at times be silly, but then that the is the style of the Stephen Fry. On one or two occasions it has made me laugh out loud!
I like the short 'sound-bite' sections the book is divided up into. It is informative. I now know quite a few things about composers and classical music I didn't before. There is not a great depth of information, but enough that if a certain period or composer is of interest, more scholarly books can be sought out.
All in all I think this is a very entertaining read and a great introduction to classical music - if you are engaged by the style of Stephen Fry!!!

Amusing, refreshing and genuinely interesting read, 12 Jul 2008
I first borrowed this book a while ago from the library. I haven't read any other books by Stephen Fry, only seen and enjoyed him on the small and big screen. While the book is indeed written "As told to Tim Lihoreau", its content is still Frysian, and evnthough I couldn't possibly argue whether it is typical, I definitely found it highly enjoyable.
The book reads like a charm, from cover to cover, and back again for reference. The humour is cheeky and silly at times, but never offensively so, in fact it is this light and playful style that packed more information into my memory than reading an entirely serious text ever could. Never patronising to the reader, this book will appeal to many people who may be scared off Classical Music as being "posh" (which is crying shame!), and if you are too precious to have fun with a wonderful subject, such as music, and an often frustrating and saddening subject, such as history, then what is wit good for?! :)
Personally, I extended this book so much at the library, I decided to just buy it. It's a friend :)

unreadable, 10 Mar 2008
I felt as though I was being arched and punned and whimsied to death. An insult to any reader any age any amount of previous knowledge. Just awful.

Does what it says on the tin, 27 Oct 2007
The thing to understand about this book, apart from the fact that it isn't really written by Fry himself, is that it is indeed incomplete, as it says in the title. I approached this with high hopes after reading his excellent book on poetry, and found myself somewhat disappointed. If I had read it first I suspect I may not have been so underwhelmed. As it is, there are very few books available which offer a readable, albeit necessarily potted history of classical music, and when approaching the subject as a rank amateur, desperately in need of a way into the genre one takes what one can get. It isn't technical, it doesn't have all the answers, it doesn't cover everything and there are some terrible jokes in it, but it does offer a glimpse into and reasonable overview of the world of classical music without either being 12 billion pages long, or so technical you haven't a hope in hell. This, in my opinion, is a good thing.

Oh deary me..., 12 Jul 2007
I was so excited when I bought this book. I love classical music, I love Stephen Fry's wit and so I thought this happy union would have me wetting my pants with some Bach playing in the background.

As the title suggests, it is very very incomplete, but far from utter. I'm not a huge fan of Mozart, but I found it slightly unfair that he was given a total of around 6 pages of the book, whereas Fry's favourite composer, Wagner (given a larger font throughout he book - somewhat annoying) gets a whopping 30 pages. Which is not very respective of the two composer's works.

Fry's wit is in there, alright. But reading his wit just isn't the same as hearing it. I found it frustrating that I had to keep thinking how Fry would have said this or that line, to have even the faintest dribblings in my seat. Even then, Fry uses the same jokes over and over again. Tedium sets in after a while.

Perhaps the most annoying thing, though, is that this book is NOT a history of music. It is a very incomplete narrative of historical events interspersed with the odd musical reference. If I'm reading a book concerning the history of classical music, am I likely to care about the population of China in the 18th century? I think not.

In short, those who want to have a little chuckle would do better with either the Liar, Moab or the Tennis Star's Balls. Those who want a little background to music would be better off buying the Groves Encyclopoedia. It may cost a lot more than the Incomplete and Utter History, but you get what you pay for.

On the back cover, R Schumann gives "his" views on this book. "I threw it in the Rhine". I know the feeling, and will be quite happy to throw it in the Danube.

Clearly written and beautifully illustrated, 05 Aug 2008
Browsing through this book when I found it in Borders, I lost all track of time and found I'd copped a parking fine when I got back to the multi-storey where I'd left my wheels. That says something for how absorbing a read it is.

The authors' approach is to set the history of music in the religious, political and social milieux that have influenced its development. They trace the history of music from ancient times to the present day. The text is exceptionally clearly written, superbly illustrated and has notated examples throughout. As well as the main text there is an excellent glossary and extensive suggestions for further reading.

I found its analysis of form and texture a little difficult to follow but that in no way spoiled my enjoyment. Since buying it I've read it, browsed it and dipped into again and again. IMO It would be good value at twice the price.



Dance Culture and the 70-80's : love is the message, 14 Nov 2004
Love Saves The Day - A REVIEW

Love Saves The Day is a fully comprehensive (including enough charts and photos) well-composed analysis of dance cultures most crucial subliminal times.
An expert, dynamic approach delivered with a delightful intimate style: it can be enjoyed at all levels for being so open minded, so embellished with amusing little stories as well as being authentic and knowledgeable.
Tim Lawrence deeply and meaningfully penetrates via the eyes of the dancer, through all their moves and steps into the heart and soul of the New York dance scene of the 70's and more...
This book will most definitely reveal to the reader the captivating, enlightening and continuous link between the most significant 'disco' themes, the greatest parties which made an 'era' and the never-ending journey-quest into the true spirit of dance culture. It is a key book and not-to-be missed if anyone likes to combine knowledge with entertainment.

Roberta Cutolo

A Review of Love Saves the Day, 10 Jul 2004
Loves Saves the Day (LSD) is a very timely book, opening out a thorough and weighty cruise through the 1970's disco scene in America. Key to the history are the most significant DJs of the era who spin their music to a back drop of a wide and varied cross-section of urban Americans who change in type and character with the evolution of the cultural phenomenon that is disco. Breathing life into the pages are the caringly drawn people politics, sexual antics, drug habits, amusing quotes and vividly expressed opinions within the sounds and movements of these events.

No apologies for the depth and detail of this lively and informative read. It is a surprising gaze into the origins of this art form, which at its musical best has deep rooted energy, soul and passion - as experienced streaming from David Mancuso's reach for the most sublime auditory experience, and Nicky Siano's search for the most exciting... This book reveals the substance behind the Italian American led disco culture, the loft music spaces, venues and clubs into which the sounds poured and the people filled en masse.

The silver thread woven through LSD is the starry role of the DJ. The truly great figures set musical standards that shape and became one in communion with the crowd. Standards are expressed in choice of track, by quality of rapport between DJ and punters, and the musical splice. Dancers are taken on a journey into sound, of ecstatic cliff hanging highs, a low with a drug induced crash of equipment, or to the bar for a drink with a profit motive in mind.

LSD tells of an often uneasy relationship with the music industry, the money making machinery, and commercialization. It draws in a shower of contemporaneous divas and explores the creation of some great dance mixes and the origins of the 12". The DJ too has presence in the studio with his deft skills, overlaying and mixing, constructing and inventing new and wild dance beats for the dance floor with technical imagination and flair.

I grew up in the seventies and it is fun to reflect upon the dance sounds of my childhood. Music that colours my early memories: the Noel Edmunds primary school disco playing The Osmonds and Jackson Five; a first teenage disco with sounds like the Hustle, the Bump and It Only Takes a Minute; our unique date out with mum to see Saturday Night Fever at a Gravesend cinema; and the hours that I sat in my girl friend's room listening to Motown, Earth Wind and Fire, and Sister Sledge before my brothers introduced punk into our living room below.

Leafing through LSD I hardly recognise the stringy cheesy disco impression pulled from my youth as the same liberating, flexible, energetic disco scene all grown up in New York. What a discovery! So read with zeal, I have found this book a heartening and enlightening delve into popular dance music culture. Making steps through an alternative and happening way of life entwined by Mancuso's CDs presenting music from The Loft.

For those with a passionate interest in this subject and its reference to a point in time, this inspired book is a must have for your library.

Absorbing and informed account of 70s New York underground, 03 Jun 2004
There's a danger of over-familiarity with the stories of 70s New York disco. The names, the venues and the labels have gone into clubland folklore and, in turn, are in danger of becoming cliche or parody. Lawrence has therefore achieved a remarkable feet in making the story seem brand new, fresh and fascinating all over again. Through intimate and painstaking interviews with seemingly hundreds of players and punters on the scene, Lawrence has come up with the definitive documented history of the, predominantly New York City, disco scene of the 1970s.

Refreshingly Lawrence focusses less on the periphery of celebrities, glitz and dodgy films, concentrating instead on the deejays, downtown club kids, music, record industry and promoters that make up the essence of disco. The scene really comes to life and familiar figures like Mancuso, Levan and many more take on a real, three dimensional character.

My only concerns are that it has a New York-centric emphasis. Manhattan being the epicentre of the scene makes this inevitable perhaps and attempting to cover other scenes in sufficient detail would have led to over a thousand pages, so I'll forgive him that.

Other readers may find the academic nature of some of the text a bit burdensome (the book started out as a Phd thesis) but if you're prepared to engage with the disco movement in a serious way then a bit of intellectual rigour doesn't go amiss. I was happy to along with his sociological theses and they steer largely clear of pretentious waffle, thankfully.

An essential book for anyone with an interest in the beauty of 70s disco and the gay, black & hispanic underground club scene that spawned it.

A tour de force, 04 Nov 2007
John Purser's revised and updated book is sure to become the seminal work on this subject. Yes, it is written from his own point of view, but Purser has done so much to uncover the huge musical heritage of the Scottish Nation that he must be allowed the occasional foray into that state. Through his untiring advocacy, the works of notable composers such as Carver and Thomson have received a new lease of life. There is no other source book on this subject, and I can wholly recommend it.

Excellent study of the music of Scotland, 09 Sep 2007
This book is both an indispensable textbook for students of music who are studying the music of Scotland and a fascinating, vivid and enjoyable book to dip into. It charts music in Scotland from the earliest musical instruments discovered by archaeologists to present day music, encompassing the traditional, the sacred, the secular and the more 'classical' styles through the ages.

My only reason for witholding a star is that it is written very much from the author's point of view, which is great if you are reading for pleasure but less than ideal if you are using it as a research textbook. Perhaps it was not written with such a use in mind, however, there are not many in texts on this subject and therefore this is often recommended as essential reading for students. It is great to see this book being reprinted as it was difficult to obtain for many years.

Funny, informative, different - know what you're getting..., 19 Nov 2008
I wonder what some people expect from this book. When I bought it I expected a light hearted trip through the history of classical music. That is what I got.
The book may not be exclusively written by Stephen Fry, (as is clearly stated on the cover), but it certainly has his voice and humour running throughout. The humour can at times be silly, but then that the is the style of the Stephen Fry. On one or two occasions it has made me laugh out loud!
I like the short 'sound-bite' sections the book is divided up into. It is informative. I now know quite a few things about composers and classical music I didn't before. There is not a great depth of information, but enough that if a certain period or composer is of interest, more scholarly books can be sought out.
All in all I think this is a very entertaining read and a great introduction to classical music - if you are engaged by the style of Stephen Fry!!!

Amusing, refreshing and genuinely interesting read, 12 Jul 2008
I first borrowed this book a while ago from the library. I haven't read any other books by Stephen Fry, only seen and enjoyed him on the small and big screen. While the book is indeed written "As told to Tim Lihoreau", its content is still Frysian, and evnthough I couldn't possibly argue whether it is typical, I definitely found it highly enjoyable.
The book reads like a charm, from cover to cover, and back again for reference. The humour is cheeky and silly at times, but never offensively so, in fact it is this light and playful style that packed more information into my memory than reading an entirely serious text ever could. Never patronising to the reader, this book will appeal to many people who may be scared off Classical Music as being "posh" (which is crying shame!), and if you are too precious to have fun with a wonderful subject, such as music, and an often frustrating and saddening subject, such as history, then what is wit good for?! :)
Personally, I extended this book so much at the library, I decided to just buy it. It's a friend :)

unreadable, 10 Mar 2008
I felt as though I was being arched and punned and whimsied to death. An insult to any reader any age any amount of previous knowledge. Just awful.

Does what it says on the tin, 27 Oct 2007
The thing to understand about this book, apart from the fact that it isn't really written by Fry himself, is that it is indeed incomplete, as it says in the title. I approached this with high hopes after reading his excellent book on poetry, and found myself somewhat disappointed. If I had read it first I suspect I may not have been so underwhelmed. As it is, there are very few books available which offer a readable, albeit necessarily potted history of classical music, and when approaching the subject as a rank amateur, desperately in need of a way into the genre one takes what one can get. It isn't technical, it doesn't have all the answers, it doesn't cover everything and there are some terrible jokes in it, but it does offer a glimpse into and reasonable overview of the world of classical music without either being 12 billion pages long, or so technical you haven't a hope in hell. This, in my opinion, is a good thing.

Oh deary me..., 12 Jul 2007
I was so excited when I bought this book. I love classical music, I love Stephen Fry's wit and so I thought this happy union would have me wetting my pants with some Bach playing in the background.

As the title suggests, it is very very incomplete, but far from utter. I'm not a huge fan of Mozart, but I found it slightly unfair that he was given a total of around 6 pages of the book, whereas Fry's favourite composer, Wagner (given a larger font throughout he book - somewhat annoying) gets a whopping 30 pages. Which is not very respective of the two composer's works.

Fry's wit is in there, alright. But reading his wit just isn't the same as hearing it. I found it frustrating that I had to keep thinking how Fry would have said this or that line, to have even the faintest dribblings in my seat. Even then, Fry uses the same jokes over and over again. Tedium sets in after a while.

Perhaps the most annoying thing, though, is that this book is NOT a history of music. It is a very incomplete narrative of historical events interspersed with the odd musical reference. If I'm reading a book concerning the history of classical music, am I likely to care about the population of China in the 18th century? I think not.

In short, those who want to have a little chuckle would do better with either the Liar, Moab or the Tennis Star's Balls. Those who want a little background to music would be better off buying the Groves Encyclopoedia. It may cost a lot more than the Incomplete and Utter History, but you get what you pay for.

On the back cover, R Schumann gives "his" views on this book. "I threw it in the Rhine". I know the feeling, and will be quite happy to throw it in the Danube.

Clearly written and beautifully illustrated, 05 Aug 2008
Browsing through this book when I found it in Borders, I lost all track of time and found I'd copped a parking fine when I got back to the multi-storey where I'd left my wheels. That says something for how absorbing a read it is.

The authors' approach is to set the history of music in the religious, political and social milieux that have influenced its development. They trace the history of music from ancient times to the present day. The text is exceptionally clearly written, superbly illustrated and has notated examples throughout. As well as the main text there is an excellent glossary and extensive suggestions for further reading.

I found its analysis of form and texture a little difficult to follow but that in no way spoiled my enjoyment. Since buying it I've read it, browsed it and dipped into again and again. IMO It would be good value at twice the price.



Dance Culture and the 70-80's : love is the message, 14 Nov 2004
Love Saves The Day - A REVIEW

Love Saves The Day is a fully comprehensive (including enough charts and photos) well-composed analysis of dance cultures most crucial subliminal times.
An expert, dynamic approach delivered with a delightful intimate style: it can be enjoyed at all levels for being so open minded, so embellished with amusing little stories as well as being authentic and knowledgeable.
Tim Lawrence deeply and meaningfully penetrates via the eyes of the dancer, through all their moves and steps into the heart and soul of the New York dance scene of the 70's and more...
This book will most definitely reveal to the reader the captivating, enlightening and continuous link between the most significant 'disco' themes, the greatest parties which made an 'era' and the never-ending journey-quest into the true spirit of dance culture. It is a key book and not-to-be missed if anyone likes to combine knowledge with entertainment.

Roberta Cutolo

A Review of Love Saves the Day, 10 Jul 2004
Loves Saves the Day (LSD) is a very timely book, opening out a thorough and weighty cruise through the 1970's disco scene in America. Key to the history are the most significant DJs of the era who spin their music to a back drop of a wide and varied cross-section of urban Americans who change in type and character with the evolution of the cultural phenomenon that is disco. Breathing life into the pages are the caringly drawn people politics, sexual antics, drug habits, amusing quotes and vividly expressed opinions within the sounds and movements of these events.

No apologies for the depth and detail of this lively and informative read. It is a surprising gaze into the origins of this art form, which at its musical best has deep rooted energy, soul and passion - as experienced streaming from David Mancuso's reach for the most sublime auditory experience, and Nicky Siano's search for the most exciting... This book reveals the substance behind the Italian American led disco culture, the loft music spaces, venues and clubs into which the sounds poured and the people filled en masse.

The silver thread woven through LSD is the starry role of the DJ. The truly great figures set musical standards that shape and became one in communion with the crowd. Standards are expressed in choice of track, by quality of rapport between DJ and punters, and the musical splice. Dancers are taken on a journey into sound, of ecstatic cliff hanging highs, a low with a drug induced crash of equipment, or to the bar for a drink with a profit motive in mind.

LSD tells of an often uneasy relationship with the music industry, the money making machinery, and commercialization. It draws in a shower of contemporaneous divas and explores the creation of some great dance mixes and the origins of the 12". The DJ too has presence in the studio with his deft skills, overlaying and mixing, constructing and inventing new and wild dance beats for the dance floor with technical imagination and flair.

I grew up in the seventies and it is fun to reflect upon the dance sounds of my childhood. Music that colours my early memories: the Noel Edmunds primary school disco playing The Osmonds and Jackson Five; a first teenage disco with sounds like the Hustle, the Bump and It Only Takes a Minute; our unique date out with mum to see Saturday Night Fever at a Gravesend cinema; and the hours that I sat in my girl friend's room listening to Motown, Earth Wind and Fire, and Sister Sledge before my brothers introduced punk into our living room below.

Leafing through LSD I hardly recognise the stringy cheesy disco impression pulled from my youth as the same liberating, flexible, energetic disco scene all grown up in New York. What a discovery! So read with zeal, I have found this book a heartening and enlightening delve into popular dance music culture. Making steps through an alternative and happening way of life entwined by Mancuso's CDs presenting music from The Loft.

For those with a passionate interest in this subject and its reference to a point in time, this inspired book is a must have for your library.

Absorbing and informed account of 70s New York underground, 03 Jun 2004
There's a danger of over-familiarity with the stories of 70s New York disco. The names, the venues and the labels have gone into clubland folklore and, in turn, are in danger of becoming cliche or parody. Lawrence has therefore achieved a remarkable feet in making the story seem brand new, fresh and fascinating all over again. Through intimate and painstaking interviews with seemingly hundreds of players and punters on the scene, Lawrence has come up with the definitive documented history of the, predominantly New York City, disco scene of the 1970s.

Refreshingly Lawrence focusses less on the periphery of celebrities, glitz and dodgy films, concentrating instead on the deejays, downtown club kids, music, record industry and promoters that make up the essence of disco. The scene really comes to life and familiar figures like Mancuso, Levan and many more take on a real, three dimensional character.

My only concerns are that it has a New York-centric emphasis. Manhattan being the epicentre of the scene makes this inevitable perhaps and attempting to cover other scenes in sufficient detail would have led to over a thousand pages, so I'll forgive him that.

Other readers may find the academic nature of some of the text a bit burdensome (the book started out as a Phd thesis) but if you're prepared to engage with the disco movement in a serious way then a bit of intellectual rigour doesn't go amiss. I was happy to along with his sociological theses and they steer largely clear of pretentious waffle, thankfully.

An essential book for anyone with an interest in the beauty of 70s disco and the gay, black & hispanic underground club scene that spawned it.

A tour de force, 04 Nov 2007
John Purser's revised and updated book is sure to become the seminal work on this subject. Yes, it is written from his own point of view, but Purser has done so much to uncover the huge musical heritage of the Scottish Nation that he must be allowed the occasional foray into that state. Through his untiring advocacy, the works of notable composers such as Carver and Thomson have received a new lease of life. There is no other source book on this subject, and I can wholly recommend it.

Excellent study of the music of Scotland, 09 Sep 2007
This book is both an indispensable textbook for students of music who are studying the music of Scotland and a fascinating, vivid and enjoyable book to dip into. It charts music in Scotland from the earliest musical instruments discovered by archaeologists to present day music, encompassing the traditional, the sacred, the secular and the more 'classical' styles through the ages.

My only reason for witholding a star is that it is written very much from the author's point of view, which is great if you are reading for pleasure but less than ideal if you are using it as a research textbook. Perhaps it was not written with such a use in mind, however, there are not many in texts on this subject and therefore this is often recommended as essential reading for students. It is great to see this book being reprinted as it was difficult to obtain for many years.

The music is the star, even if he probably is the best rock writer of all time, 21 Jul 2007
Possibly the greatest rock writer of all time, possibly the natural heir to Wittgenstein, possibly the greatest book ever written about Pop music.

Through a car ride with an image of Kylie and a collection of lists Paul Morley, former NME journalist and cultural impresario, charts the progress and connections found in popular music over the last four decades. Paying particular attention to the leftfield and the near unknown, Morley not only directs us to the music we either love or should love, he also shows us how to best appreciate this musical menagerie and goes further than most in depicting the importance and purpose of this music in the listeners life.

Morley is an engrossing and eloquent writer gripping the reader on an unconventional journey through the city of music with an engaging array of lists, footnotes, and details of travels with a Kylie avatar.

Can't get it out of my head, 12 Nov 2003
Gives you a fresh pair of ears in order to see the world with.
If you've ever been transported somewhere else by music then this book will do the literary equivalent.
Read it.

pure passion for music, 12 Sep 2003
Morley's wonderful book is dazzling, infuriating, confusing, obsessional--and spot on about the life-affirming power of music; if you want a tour d'horizon of everything pop music has been and might someday be, this book is for you. Plus it comes with scores of lists, helping the reader put together a 600-record deep collection of great music.

Some kind of wonderful, 09 Sep 2003
There are good books and bad books about music. As a music lover I've bought a lot of them. In my opinion Words and Music is a peerless book. It is in a class of its own. It is Nothing Like Nothing Like the Sun. To Nick Hornby's 31 Songs it is 310,000 Songs. It has quite remarkable ambition, brilliant jokes, Kylie Minogue and an avantgarde artist called Alvin Lucier paired together and bracketing the book, history (past present and future), some very strange bits, too many lists and facts for it's own good, which is quite deliberate on the part of the author who is making a point about lists, but above all it bursts with belief. Words and Music made me want some of what Mr Morley was on when he wrote it. Most probably, on the evidence of this outstanding book, the answer is music.

Let's get ready to ramble..., 03 Sep 2003
There's a thoroughly insightful book lurking in here. It's about a fifth of the size of 'Words And Music' (I'm being generous) but unfortunately you will have to scan through the whole damn thing to find it.

As a work of art one might open at random to admire the torrent of wordplay and nothing more, it serves a purpose - he does have a beguiling way with language after all. As a way of learning the names of albums and artists you've never heard of before, it also serves a purpose - but then so does The Wire in its own earnestly anal cutting edge way. As an ego trip it will be hard to beat even in the crowded field of music journalism, so it could be said to be setting a standard of a kind there. Lucky us.

The basic premise of the book - taking two seemingly contrasting pieces of music as a starting point of a journey through pop/rock/dance/the avant-garde of any description and so on and so forth - is perfectly fine. The problem arises when it becomes clear that Mr Morley, for all his detailed knowledge of the musical firmament, doesn't know how to edit himself effectively. Nor will he let anyone else do it for him, clearly.
Maybe he considers it to be his trademark; it's not a particularly flattering mix.

A couple of examples to illustrate: why take sixteen pages to argue why Kraftwerk are what they are and how they inspired everything of any musical worth to be released in the last twenty-five years (dubious) when it could so easily be done, to more convincing effect I suspect, in a mere two pages? Or maybe even just one. Why make those inevitably selective (and contradictory) lists which come across like 'I'm strange and a little bit wacky, me - just look at this!' junk emails that get trashed after one cursory glance through. Fluff and nonsense.

It's infuriating that in amongst the unnecessary repetition and yawning pretentiousness there are genuine nuggets of inspiration and humour to be found. The comments on Eno, Moby's Play, the Now... compilation series, Merzbow (ridiculous list assertion aside) and Madonna all spring to mind. The overall historic chronology - the one list that is worth a second look - contains genuinely intriguing details when it takes the trouble to explain entries beyond the obligatory one line.

Nevertheless, the title is a grand deceit. Words? If by that he implies lyrics, then we are being sold short. Far too many names of songs and not much else here folks. Singer/songwriter types will find little of interest because Mr Morley evidently finds little of interest in singer/songwriter types.
Nick Drake/Joni Mitchell/Kate Bush/David Byrne/Morrissey/Michael Stipe/PJ Harvey etc? Mostly irrelevant it seems. Jarvis Cocker gets interview space, but that's all. Only the two initial pieces - Kylie's 'Can't Get You Out Of My Head' and Alvin Lucier's 'I Am Sitting In A Room' - plus The Rolling Stones' '...Satisfaction' receive any thoughtful analysis of their lyrical content. (still, I hesitate to include the latter)

And Music? Tricky that. One can rarely, if ever, come close to the experience of listening to it, dancing to it or trying to ignore it, and that enduring fact remains music journalism's biggest stumbling block. This book fails the test magnificently. Once again we are cast adrift in a sea of names with too many tediously fanciful explanations to mention. Only with Kylie and Alvin is a sense of the musical experience conveyed anywhere near adequately. Meanwhile, the incessant bias against acoustic instruments turn the whole proceedings into something approaching farce. Pianos and strings? Dead apparently, unless you're Arvo Part, in which case he'll make an exception. Bless 'im.

So, use it as a heartfelt reference point for future listening if you like (with an appropriately generous pinch of salt), but don't imagine that a new world will be revealed to you. 'Words And Music' is far bigger than it is clever.

Funny, informative, different - know what you're getting..., 19 Nov 2008
I wonder what some people expect from this book. When I bought it I expected a light hearted trip through the history of classical music. That is what I got.
The book may not be exclusively written by Stephen Fry, (as is clearly stated on the cover), but it certainly has his voice and humour running throughout. The humour can at times be silly, but then that the is the style of the Stephen Fry. On one or two occasions it has made me laugh out loud!
I like the short 'sound-bite' sections the book is divided up into. It is informative. I now know quite a few things about composers and classical music I didn't before. There is not a great depth of information, but enough that if a certain period or composer is of interest, more scholarly books can be sought out.
All in all I think this is a very entertaining read and a great introduction to classical music - if you are engaged by the style of Stephen Fry!!!

Amusing, refreshing and genuinely interesting read, 12 Jul 2008
I first borrowed this book a while ago from the library. I haven't read any other books by Stephen Fry, only seen and enjoyed him on the small and big screen. While the book is indeed written "As told to Tim Lihoreau", its content is still Frysian, and evnthough I couldn't possibly argue whether it is typical, I definitely found it highly enjoyable.
The book reads like a charm, from cover to cover, and back again for reference. The humour is cheeky and silly at times, but never offensively so, in fact it is this light and playful style that packed more information into my memory than reading an entirely serious text ever could. Never patronising to the reader, this book will appeal to many people who may be scared off Classical Music as being "posh" (which is crying shame!), and if you are too precious to have fun with a wonderful subject, such as music, and an often frustrating and saddening subject, such as history, then what is wit good for?! :)
Personally, I extended this book so much at the library, I decided to just buy it. It's a friend :)

unreadable, 10 Mar 2008
I felt as though I was being arched and punned and whimsied to death. An insult to any reader any age any amount of previous knowledge. Just awful.

Does what it says on the tin, 27 Oct 2007
The thing to understand about this book, apart from the fact that it isn't really written by Fry himself, is that it is indeed incomplete, as it says in the title. I approached this with high hopes after reading his excellent book on poetry, and found myself somewhat disappointed. If I had read it first I suspect I may not have been so underwhelmed. As it is, there are very few books available which offer a readable, albeit necessarily potted history of classical music, and when approaching the subject as a rank amateur, desperately in need of a way into the genre one takes what one can get. It isn't technical, it doesn't have all the answers, it doesn't cover everything and there are some terrible jokes in it, but it does offer a glimpse into and reasonable overview of the world of classical music without either being 12 billion pages long, or so technical you haven't a hope in hell. This, in my opinion, is a good thing.

Oh deary me..., 12 Jul 2007
I was so excited when I bought this book. I love classical music, I love Stephen Fry's wit and so I thought this happy union would have me wetting my pants with some Bach playing in the background.

As the title suggests, it is very very incomplete, but far from utter. I'm not a huge fan of Mozart, but I found it slightly unfair that he was given a total of around 6 pages of the book, whereas Fry's favourite composer, Wagner (given a larger font throughout he book - somewhat annoying) gets a whopping 30 pages. Which is not very respective of the two composer's works.

Fry's wit is in there, alright. But reading his wit just isn't the same as hearing it. I found it frustrating that I had to keep thinking how Fry would have said this or that line, to have even the faintest dribblings in my seat. Even then, Fry uses the same jokes over and over again. Tedium sets in after a while.

Perhaps the most annoying thing, though, is that this book is NOT a history of music. It is a very incomplete narrative of historical events interspersed with the odd musical reference. If I'm reading a book concerning the history of classical music, am I likely to care about the population of China in the 18th century? I think not.

In short, those who want to have a little chuckle would do better with either the Liar, Moab or the Tennis Star's Balls. Those who want a little background to music would be better off buying the Groves Encyclopoedia. It may cost a lot more than the Incomplete and Utter History, but you get what you pay for.

On the back cover, R Schumann gives "his" views on this book. "I threw it in the Rhine". I know the feeling, and will be quite happy to throw it in the Danube.

Clearly written and beautifully illustrated, 05 Aug 2008
Browsing through this book when I found it in Borders, I lost all track of time and found I'd copped a parking fine when I got back to the multi-storey where I'd left my wheels. That says something for how absorbing a read it is.

The authors' approach is to set the history of music in the religious, political and social milieux that have influenced its development. They trace the history of music from ancient times to the present day. The text is exceptionally clearly written, superbly illustrated and has notated examples throughout. As well as the main text there is an excellent glossary and extensive suggestions for further reading.

I found its analysis of form and texture a little difficult to follow but that in no way spoiled my enjoyment. Since buying it I've read it, browsed it and dipped into again and again. IMO It would be good value at twice the price.



Dance Culture and the 70-80's : love is the message, 14 Nov 2004
Love Saves The Day - A REVIEW

Love Saves The Day is a fully comprehensive (including enough charts and photos) well-composed analysis of dance cultures most crucial subliminal times.
An expert, dynamic approach delivered with a delightful intimate style: it can be enjoyed at all levels for being so open minded, so embellished with amusing little stories as well as being authentic and knowledgeable.
Tim Lawrence deeply and meaningfully penetrates via the eyes of the dancer, through all their moves and steps into the heart and soul of the New York dance scene of the 70's and more...
This book will most definitely reveal to the reader the captivating, enlightening and continuous link between the most significant 'disco' themes, the greatest parties which made an 'era' and the never-ending journey-quest into the true spirit of dance culture. It is a key book and not-to-be missed if anyone likes to combine knowledge with entertainment.

Roberta Cutolo

A Review of Love Saves the Day, 10 Jul 2004
Loves Saves the Day (LSD) is a very timely book, opening out a thorough and weighty cruise through the 1970's disco scene in America. Key to the history are the most significant DJs of the era who spin their music to a back drop of a wide and varied cross-section of urban Americans who change in type and character with the evolution of the cultural phenomenon that is disco. Breathing life into the pages are the caringly drawn people politics, sexual antics, drug habits, amusing quotes and vividly expressed opinions within the sounds and movements of these events.

No apologies for the depth and detail of this lively and informative read. It is a surprising gaze into the origins of this art form, which at its musical best has deep rooted energy, soul and passion - as experienced streaming from David Mancuso's reach for the most sublime auditory experience, and Nicky Siano's search for the most exciting... This book reveals the substance behind the Italian American led disco culture, the loft music spaces, venues and clubs into which the sounds poured and the people filled en masse.

The silver thread woven through LSD is the starry role of the DJ. The truly great figures set musical standards that shape and became one in communion with the crowd. Standards are expressed in choice of track, by quality of rapport between DJ and punters, and the musical splice. Dancers are taken on a journey into sound, of ecstatic cliff hanging highs, a low with a drug induced crash of equipment, or to the bar for a drink with a profit motive in mind.

LSD tells of an often uneasy relationship with the music industry, the money making machinery, and commercialization. It draws in a shower of contemporaneous divas and explores the creation of some great dance mixes and the origins of the 12". The DJ too has presence in the studio with his deft skills, overlaying and mixing, constructing and inventing new and wild dance beats for the dance floor with technical imagination and flair.

I grew up in the seventies and it is fun to reflect upon the dance sounds of my childhood. Music that colours my early memories: the Noel Edmunds primary school disco playing The Osmonds and Jackson Five; a first teenage disco with sounds like the Hustle, the Bump and It Only Takes a Minute; our unique date out with mum to see Saturday Night Fever at a Gravesend cinema; and the hours that I sat in my girl friend's room listening to Motown, Earth Wind and Fire, and Sister Sledge before my brothers introduced punk into our living room below.

Leafing through LSD I hardly recognise the stringy cheesy disco impression pulled from my youth as the same liberating, flexible, energetic disco scene all grown up in New York. What a discovery! So read with zeal, I have found this book a heartening and enlightening delve into popular dance music culture. Making steps through an alternative and happening way of life entwined by Mancuso's CDs presenting music from The Loft.

For those with a passionate interest in this subject and its reference to a point in time, this inspired book is a must have for your library.

Absorbing and informed account of 70s New York underground, 03 Jun 2004
There's a danger of over-familiarity with the stories of 70s New York disco. The names, the venues and the labels have gone into clubland folklore and, in turn, are in danger of becoming cliche or parody. Lawrence has therefore achieved a remarkable feet in making the story seem brand new, fresh and fascinating all over again. Through intimate and painstaking interviews with seemingly hundreds of players and punters on the scene, Lawrence has come up with the definitive documented history of the, predominantly New York City, disco scene of the 1970s.

Refreshingly Lawrence focusses less on the periphery of celebrities, glitz and dodgy films, concentrating instead on the deejays, downtown club kids, music, record industry and promoters that make up the essence of disco. The scene really comes to life and familiar figures like Mancuso, Levan and many more take on a real, three dimensional character.

My only concerns are that it has a New York-centric emphasis. Manhattan being the epicentre of the scene makes this inevitable perhaps and attempting to cover other scenes in sufficient detail would have led to over a thousand pages, so I'll forgive him that.

Other readers may find the academic nature of some of the text a bit burdensome (the book started out as a Phd thesis) but if you're prepared to engage with the disco movement in a serious way then a bit of intellectual rigour doesn't go amiss. I was happy to along with his sociological theses and they steer largely clear of pretentious waffle, thankfully.

An essential book for anyone with an interest in the beauty of 70s disco and the gay, black & hispanic underground club scene that spawned it.

A tour de force, 04 Nov 2007
John Purser's revised and updated book is sure to become the seminal work on this subject. Yes, it is written from his own point of view, but Purser has done so much to uncover the huge musical heritage of the Scottish Nation that he must be allowed the occasional foray into that state. Through his untiring advocacy, the works of notable composers such as Carver and Thomson have received a new lease of life. There is no other source book on this subject, and I can wholly recommend it.

Excellent study of the music of Scotland, 09 Sep 2007
This book is both an indispensable textbook for students of music who are studying the music of Scotland and a fascinating, vivid and enjoyable book to dip into. It charts music in Scotland from the earliest musical instruments discovered by archaeologists to present day music, encompassing the traditional, the sacred, the secular and the more 'classical' styles through the ages.

My only reason for witholding a star is that it is written very much from the author's point of view, which is great if you are reading for pleasure but less than ideal if you are using it as a research textbook. Perhaps it was not written with such a use in mind, however, there are not many in texts on this subject and therefore this is often recommended as essential reading for students. It is great to see this book being reprinted as it was difficult to obtain for many years.

The music is the star, even if he probably is the best rock writer of all time, 21 Jul 2007
Possibly the greatest rock writer of all time, possibly the natural heir to Wittgenstein, possibly the greatest book ever written about Pop music.

Through a car ride with an image of Kylie and a collection of lists Paul Morley, former NME journalist and cultural impresario, charts the progress and connections found in popular music over the last four decades. Paying particular attention to the leftfield and the near unknown, Morley not only directs us to the music we either love or should love, he also shows us how to best appreciate this musical menagerie and goes further than most in depicting the importance and purpose of this music in the listeners life.

Morley is an engrossing and eloquent writer gripping the reader on an unconventional journey through the city of music with an engaging array of lists, footnotes, and details of travels with a Kylie avatar.

Can't get it out of my head, 12 Nov 2003
Gives you a fresh pair of ears in order to see the world with.
If you've ever been transported somewhere else by music then this book will do the literary equivalent.
Read it.

pure passion for music, 12 Sep 2003
Morley's wonderful book is dazzling, infuriating, confusing, obsessional--and spot on about the life-affirming power of music; if you want a tour d'horizon of everything pop music has been and might someday be, this book is for you. Plus it comes with scores of lists, helping the reader put together a 600-record deep collection of great music.

Some kind of wonderful, 09 Sep 2003
There are good books and bad books about music. As a music lover I've bought a lot of them. In my opinion Words and Music is a peerless book. It is in a class of its own. It is Nothing Like Nothing Like the Sun. To Nick Hornby's 31 Songs it is 310,000 Songs. It has quite remarkable ambition, brilliant jokes, Kylie Minogue and an avantgarde artist called Alvin Lucier paired together and bracketing the book, history (past present and future), some very strange bits, too many lists and facts for it's own good, which is quite deliberate on the part of the author who is making a point about lists, but above all it bursts with belief. Words and Music made me want some of what Mr Morley was on when he wrote it. Most probably, on the evidence of this outstanding book, the answer is music.

Let's get ready to ramble..., 03 Sep 2003
There's a thoroughly insightful book lurking in here. It's about a fifth of the size of 'Words And Music' (I'm being generous) but unfortunately you will have to scan through the whole damn thing to find it.

As a work of art one might open at random to admire the torrent of wordplay and nothing more, it serves a purpose - he does have a beguiling way with language after all. As a way of learning the names of albums and artists you've never heard of before, it also serves a purpose - but then so does The Wire in its own earnestly anal cutting edge way. As an ego trip it will be hard to beat even in the crowded field of music journalism, so it could be said to be setting a standard of a kind there. Lucky us.

The basic premise of the book - taking two seemingly contrasting pieces of music as a starting point of a journey through pop/rock/dance/the avant-garde of any description and so on and so forth - is perfectly fine. The problem arises when it becomes clear that Mr Morley, for all his detailed knowledge of the musical firmament, doesn't know how to edit himself effectively. Nor will he let anyone else do it for him, clearly.
Maybe he considers it to be his trademark; it's not a particularly flattering mix.

A couple of examples to illustrate: why take sixteen pages to argue why Kraftwerk are what they are and how they inspired everything of any musical worth to be released in the last twenty-five years (dubious) when it could so easily be done, to more convincing effect I suspect, in a mere two pages? Or maybe even just one. Why make those inevitably selective (and contradictory) lists which come across like 'I'm strange and a little bit wacky, me - just look at this!' junk emails that get trashed after one cursory glance through. Fluff and nonsense.

It's infuriating that in amongst the unnecessary repetition and yawning pretentiousness there are genuine nuggets of inspiration and humour to be found. The comments on Eno, Moby's Play, the Now... compilation series, Merzbow (ridiculous list assertion aside) and Madonna all spring to mind. The overall historic chronology - the one list that is worth a second look - contains genuinely intriguing details when it takes the trouble to explain entries beyond the obligatory one line.

Nevertheless, the title is a grand deceit. Words? If by that he implies lyrics, then we are being sold short. Far too many names of songs and not much else here folks. Singer/songwriter types will find little of interest because Mr Morley evidently finds little of interest in singer/songwriter types.
Nick Drake/Joni Mitchell/Kate Bush/David Byrne/Morrissey/Michael Stipe/PJ Harvey etc? Mostly irrelevant it seems. Jarvis Cocker gets interview space, but that's all. Only the two initial pieces - Kylie's 'Can't Get You Out Of My Head' and Alvin Lucier's 'I Am Sitting In A Room' - plus The Rolling Stones' '...Satisfaction' receive any thoughtful analysis of their lyrical content. (still, I hesitate to include the latter)

And Music? Tricky that. One can rarely, if ever, come close to the experience of listening to it, dancing to it or trying to ignore it, and that enduring fact remains music journalism's biggest stumbling block. This book fails the test magnificently. Once again we are cast adrift in a sea of names with too many tediously fanciful explanations to mention. Only with Kylie and Alvin is a sense of the musical experience conveyed anywhere near adequately. Meanwhile, the incessant bias against acoustic instruments turn the whole proceedings into something approaching farce. Pianos and strings? Dead apparently, unless you're Arvo Part, in which case he'll make an exception. Bless 'im.

So, use it as a heartfelt reference point for future listening if you like (with an appropriately generous pinch of salt), but don't imagine that a new world will be revealed to you. 'Words And Music' is far bigger than it is clever.

Helped if he could identify genres properly, 09 Nov 2007
Foo Fighters - Modern Indie?
Fallout Boy and Slipknot - Modern Rock?

A joke.

Wonderful nostalgic trip down Festival memory Lane-, 18 Sep 2007
I have been going to the Reading Festival most years since the late eighties and have been waiting for a book like this to come along for a long time. The weekends spent at the Festival fly by and sometimes you wonder if it really happended - this book confirms to you IT DID!! Oh yes, IT DID!!

Brilliant accounts from festival goers and band members alike retelling their own personal experiences from visiting and playing the most infamous festival of them all. Massive names have contributed. Just goes to show you how much this Festival means to all.

If you have ever been or want to know what it is like going the the daddy of all festivals - buy it now!

Oooh - i nearly forgot - i appear on one of the photos on page 123, what a coincedence. Oh yes, it did happen all right.

Reading Rocks!, 11 Sep 2007
What a great read!!!! As a regular festival goer this book brought back many memories of past festivals (both good and bad). It accounts events and experiences from each year the festival has been run, through the eyes of band members, regular festival goers and officials alike, with superb photos through out. If you've ever been to the festival or would like a taste, buy it now!

***Great Reading!!!!!!!!!, 10 Sep 2007
Wow.. What a great collection of memories from those who took to the stage over the years. I have not had the pleasure of attending the Reading Rock Festival yet, but this book describes in great detail what I have missed. The book is well presented with very personal quotes from both artists and the crowd. A great present for all those ageing rockers.
Rock On...

Funny, informative, different - know what you're getting..., 19 Nov 2008
I wonder what some people expect from this book. When I bought it I expected a light hearted trip through the history of classical music. That is what I got.
The book may not be exclusively written by Stephen Fry, (as is clearly stated on the cover), but it certainly has his voice and humour running throughout. The humour can at times be silly, but then that the is the style of the Stephen Fry. On one or two occasions it has made me laugh out loud!
I like the short 'sound-bite' sections the book is divided up into. It is informative. I now know quite a few things about composers and classical music I didn't before. There is not a great depth of information, but enough that if a certain period or composer is of interest, more scholarly books can be sought out.
All in all I think this is a very entertaining read and a great introduction to classical music - if you are engaged by the style of Stephen Fry!!!

Amusing, refreshing and genuinely interesting read, 12 Jul 2008
I first borrowed this book a while ago from the library. I haven't read any other books by Stephen Fry, only seen and enjoyed him on the small and big screen. While the book is indeed written "As told to Tim Lihoreau", its content is still Frysian, and evnthough I couldn't possibly argue whether it is typical, I definitely found it highly enjoyable.
The book reads like a charm, from cover to cover, and back again for reference. The humour is cheeky and silly at times, but never offensively so, in fact it is this light and playful style that packed more information into my memory than reading an entirely serious text ever could. Never patronising to the reader, this book will appeal to many people who may be scared off Classical Music as being "posh" (which is crying shame!), and if you are too precious to have fun with a wonderful subject, such as music, and an often frustrating and saddening subject, such as history, then what is wit good for?! :)
Personally, I extended this book so much at the library, I decided to just buy it. It's a friend :)

unreadable, 10 Mar 2008
I felt as though I was being arched and punned and whimsied to death. An insult to any reader any age any amount of previous knowledge. Just awful.

Does what it says on the tin, 27 Oct 2007
The thing to understand about this book, apart from the fact that it isn't really written by Fry himself, is that it is indeed incomplete, as it says in the title. I approached this with high hopes after reading his excellent book on poetry, and found myself somewhat disappointed. If I had read it first I suspect I may not have been so underwhelmed. As it is, there are very few books available which offer a readable, albeit necessarily potted history of classical music, and when approaching the subject as a rank amateur, desperately in need of a way into the genre one takes what one can get. It isn't technical, it doesn't have all the answers, it doesn't cover everything and there are some terrible jokes in it, but it does offer a glimpse into and reasonable overview of the world of classical music without either being 12 billion pages long, or so technical you haven't a hope in hell. This, in my opinion, is a good thing.

Oh deary me..., 12 Jul 2007
I was so excited when I bought this book. I love classical music, I love Stephen Fry's wit and so I thought this happy union would have me wetting my pants with some Bach playing in the background.

As the title suggests, it is very very incomplete, but far from utter. I'm not a huge fan of Mozart, but I found it slightly unfair that he was given a total of around 6 pages of the book, whereas Fry's favourite composer, Wagner (given a larger font throughout he book - somewhat annoying) gets a whopping 30 pages. Which is not very respective of the two composer's works.

Fry's wit is in there, alright. But reading his wit just isn't the same as hearing it. I found it frustrating that I had to keep thinking how Fry would have said this or that line, to have even the faintest dribblings in my seat. Even then, Fry uses the same jokes over and over again. Tedium sets in after a while.

Perhaps the most annoying thing, though, is that this book is NOT a history of music. It is a very incomplete narrative of historical events interspersed with the odd musical reference. If I'm reading a book concerning the history of classical music, am I likely to care about the population of China in the 18th century? I think not.

In short, those who want to have a little chuckle would do better with either the Liar, Moab or the Tennis Star's Balls. Those who want a little background to music would be better off buying the Groves Encyclopoedia. It may cost a lot more than the Incomplete and Utter History, but you get what you pay for.

On the back cover, R Schumann gives "his" views on this book. "I threw it in the Rhine". I know the feeling, and will be quite happy to throw it in the Danube.

Clearly written and beautifully illustrated, 05 Aug 2008
Browsing through this book when I found it in Borders, I lost all track of time and found I'd copped a parking fine when I got back to the multi-storey where I'd left my wheels. That says something for how absorbing a read it is.

The authors' approach is to set the history of music in the religious, political and social milieux that have influenced its development. They trace the history of music from ancient times to the present day. The text is exceptionally clearly written, superbly illustrated and has notated examples throughout. As well as the main text there is an excellent glossary and extensive suggestions for further reading.

I found its analysis of form and texture a little difficult to follow but that in no way spoiled my enjoyment. Since buying it I've read it, browsed it and dipped into again and again. IMO It would be good value at twice the price.



Dance Culture and the 70-80's : love is the message, 14 Nov 2004
Love Saves The Day - A REVIEW

Love Saves The Day is a fully comprehensive (including enough charts and photos) well-composed analysis of dance cultures most crucial subliminal times.
An expert, dynamic approach delivered with a delightful intimate style: it can be enjoyed at all levels for being so open minded, so embellished with amusing little stories as well as being authentic and knowledgeable.
Tim Lawrence deeply and meaningfully penetrates via the eyes of the dancer, through all their moves and steps into the heart and soul of the New York dance scene of the 70's and more...
This book will most definitely reveal to the reader the captivating, enlightening and continuous link between the most significant 'disco' themes, the greatest parties which made an 'era' and the never-ending journey-quest into the true spirit of dance culture. It is a key book and not-to-be missed if anyone likes to combine knowledge with entertainment.

Roberta Cutolo

A Review of Love Saves the Day, 10 Jul 2004
Loves Saves the Day (LSD) is a very timely book, opening out a thorough and weighty cruise through the 1970's disco scene in America. Key to the history are the most significant DJs of the era who spin their music to a back drop of a wide and varied cross-section of urban Americans who change in type and character with the evolution of the cultural phenomenon that is disco. Breathing life into the pages are the caringly drawn people politics, sexual antics, drug habits, amusing quotes and vividly expressed opinions within the sounds and movements of these events.

No apologies for the depth and detail of this lively and informative read. It is a surprising gaze into the origins of this art form, which at its musical best has deep rooted energy, soul and passion - as experienced streaming from David Mancuso's reach for the most sublime auditory experience, and Nicky Siano's search for the most exciting... This book reveals the substance behind the Italian American led disco culture, the loft music spaces, venues and clubs into which the sounds poured and the people filled en masse.

The silver thread woven through LSD is the starry role of the DJ. The truly great figures set musical standards that shape and became one in communion with the crowd. Standards are expressed in choice of track, by quality of rapport between DJ and punters, and the musical splice. Dancers are taken on a journey into sound, of ecstatic cliff hanging highs, a low with a drug induced crash of equipment, or to the bar for a drink with a profit motive in mind.

LSD tells of an often uneasy relationship with the music industry, the money making machinery, and commercialization. It draws in a shower of contemporaneous divas and explores the creation of some great dance mixes and the origins of the 12". The DJ too has presence in the studio with his deft skills, overlaying and mixing, constructing and inventing new and wild dance beats for the dance floor with technical imagination and flair.

I grew up in the sevent