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This is not my "final" review of this fascinating box set. I hope to do that after I return from vacation. But, it is such a landmark production that I wanted to at least post something. Having just finished all 17 hours (!) of material, there is so much to digest. I hope I can give you at least an idea of what to expect.
First, I don't think there has ever been a documentary project of this scope in documenting the "History of Popular Music". Director Tony Palmer literally traveled the world to film thousands of hours of performances and interviews with the "key players", who shed light on all aspects of the "popular music" business. These interviewees are singers, musicians, agents, critics, record producers and composers. And the quotes that Palmer - who seems to actually be doing the interviewers in most cases are gems. Phil Spector in the mid-70s discussing his music while playing a guitar! (Have you ever seen Spector playing an instrument?). Producer John Hammond on racism in the industry. Hoagy Carmichael on his hit "Stardust", Pete Seeger on "what is folk music?". David Bowie saying "I never wanted to be a rock star." It's gems like these that make this essential viewing for anyone, of any age, who cares about "Popular Music". And Palmer conducted interviews with Bing Crosby, Rudy Vallee and Eubie Blake before they died.
Let me also point out that "Popular Music" as covered in the 17 chapters of this set means any music that is not "Classical". Presented mostly chronologically in the order that these musical styles occurred, there are Episodes devoted to Ragtime, Blues, Jazz Country, Vaudeville (and Music Hall, since this is a British production), Swing, Protest Songs and , finally - for the last four Episodes - Rock music. Actually the Rock sections are the weakest of the set as quite a few of these artists' careers went nowhere. And the set ends with Virgin Records founder saying, in 1980, that Mike Oldfield (whose "Tubular Beels" was a smash hit on Branson's label) is "the future of Popular Music".
It's also very important to know the background of the project. From 1976 to 1980 the 17 Episodes were broadcast on British TV and, to my knowledge, never aired in the US. So we are missing the last 27 years of pop music history. No Disco, no Punk, no Alternative and no Disney on Broadway. Younger viewers will be surprised to see all the long hair and sideburns, leisure suits and wide shirt collars. But this was the period when the interviews were done.. The series was recorded on film and, though the soundtrack has been remastered, the film stock was not restored. It looks dated. Palmer sometimes becomes quirky in his choices of visuals. The early "Vaudeville and Music Hall" Episode has some nice footage of Al Jolson and some British Music Hall performers but it also has a topless stripper from circa 1975. In the Episode on Protest Songs we hear a protest song while we watch some really violent footage of a Roller Derby! The authorities that Palmer enlisted to "write" the scripts are experts like Stephen Sondheim (show music), Paul Oliver (blues), Derek Taylor (the Beatles) and Ian Whitcomb and Rudi Blesh (Ragtime).
So, despite some missteps and a visual quality that looks like a 16mm print it's the interviews and the live performance footage that Palmer captured (mixed with lots of newsreel and TV footage) that make this set special. Knowing of the few moments of nudity and violence which is included, I feel that a copy of this belongs in every school and public library to act as a visual and aural history course on both American and British pop culture for at least the first ¾ of the 20th century.
It lost a "star", in my opinion, because of the film and sound quality but don't let that deter you from buying it. Nothing like this project will ever be attempted again, so this is the best we can hope for.
HIGHLY recommended!
Steve Ramm
"Anything Phonographic"
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Popular music is now an essential part of our lives - yet we know comparatively little about it - where it came from, how it developed, how it has influenced or been influenced by social change.Today, the popular music industry controls billions of doll
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