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A Whore Just Like The Rest: The Music Writings Of Richard Meltzer
He is one of the inventors of rock criticism. His first book, The Aesthetics of Rock (acclaimed by Greil Marcus as "a disemboweling of rock's soft white underbelly"), became an instant cult classic when published in 1970. And for the next thirty years he fearlessly expanded the boundaries of music writing. Now he has collected the best of his prodigious output into a gonzo sampler of the reviews, profiles, interviews, and essays that form the heart of his rockwriter legacy. Traveling from psychedelia to the "dinosaur-rot early '70s" to the redeeming majesty of punk and the constant solace of jazz, this will stand as a remarkable document of an era by a singular voice in music writing.
591 pages, Paperback
First published April 14, 2000
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About the author
Richard Meltzer
26 books19 followersRock critic, performer and writer. He is considered by some rock historians to be the first to write real analysis of rock and roll and is credited with inventing "rock criticism".
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Displaying 1 - 11 of 11 reviews
October 7, 2019
I’ve got some problems with Meltzer, and they’re not his obtuse pseudo intellectual bullshit—I like that part about him. No, what I don’t like about Meltzer is (1) Fundamentally, I’m not convinced he is fucking mad about music, the way my friends and I are and (2) he ruins a bunch of pieces with stupid and creepy things to say about women.
First, about not bleeding for music: who does this guy listen to in order to access the sublime, to transcend, to rise above? I read all 608 pages of this book and I can’t tell you. The only inkling we get is from a couple of his early pieces in which he poetically waxes on some 60s rocknroll, like the Stones and the Kinks. In fact, I got really excited when I first started the book, about how I might connect with this guy about early rock n roll. Anticipating his later chapters, I was excited about what light he would shed on classic 70s LA punk. But he never took me there—he just sort of belched and burped for the next 500-something pages.
Second, about his misognynism. Introducing women by mentioning whether or not they responded to his come-ons? Leering at girls? This guy is gross. Undoubtedly, he explains this as part of his “bad boy of rock criticism” title, but there’s nothing “bad boy” about it—it’s banal. Tired, worn-out, old-fashioned, same-as-always, pure sexist banality.
As for the the pseudo-intellectual bullshit that other dear Goodreaders complain about? That’s the real-stuff. That’s the potential of Meltzer, which he foolishly squanders. Maybe his other work stays course with uniting the ordinary and the transcendent, the delinquent and the abstract, the high with the low. As our man Bangs says; rock n roll poetry.
And what about Bangs? Why is Meltzer so strangely condescending and jerky about Bangs? Maybe it’s because he knows Bangs really does bleed love for music and the sublime?
First, about not bleeding for music: who does this guy listen to in order to access the sublime, to transcend, to rise above? I read all 608 pages of this book and I can’t tell you. The only inkling we get is from a couple of his early pieces in which he poetically waxes on some 60s rocknroll, like the Stones and the Kinks. In fact, I got really excited when I first started the book, about how I might connect with this guy about early rock n roll. Anticipating his later chapters, I was excited about what light he would shed on classic 70s LA punk. But he never took me there—he just sort of belched and burped for the next 500-something pages.
Second, about his misognynism. Introducing women by mentioning whether or not they responded to his come-ons? Leering at girls? This guy is gross. Undoubtedly, he explains this as part of his “bad boy of rock criticism” title, but there’s nothing “bad boy” about it—it’s banal. Tired, worn-out, old-fashioned, same-as-always, pure sexist banality.
As for the the pseudo-intellectual bullshit that other dear Goodreaders complain about? That’s the real-stuff. That’s the potential of Meltzer, which he foolishly squanders. Maybe his other work stays course with uniting the ordinary and the transcendent, the delinquent and the abstract, the high with the low. As our man Bangs says; rock n roll poetry.
And what about Bangs? Why is Meltzer so strangely condescending and jerky about Bangs? Maybe it’s because he knows Bangs really does bleed love for music and the sublime?
October 17, 2008
One of the only music writers I genuinely like. He hates most music. Good for him.
January 13, 2025
Some hilarious reviews 🤣
November 5, 2007
When you're done with Carducci, read this, from the guy who invented rock criticism way back in the 60s (man!) I re-read the piece "Vinyl Reckoning" about every 6 months, and while I don't agree with everything in this collection, I wouldn't part with it. Amazing stuff, but like Carducci, not for the faint of heart--Meltzer's style is convoluted to say the least. Oh what the hell--buy it now.....
July 28, 2008
Tremendous overview of Meltzer's career as a "rock critic." Extremely funny pretty much all the way thru.
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May 21, 2021a total treasure trove.
October 29, 2007
I'm not sure what to make of his ears (he's a huge Doors fan, for example), but he's a hilarious writer 80% of the time. Still, in this collection he uses his gonzo talents to squeeze out sour grapes a bit too often.
February 21, 2012
If you like the title, read the book. More of a culture critic than a music critic, he's the guy you thought you got stuck sitting next to who turned out to be an erudite weirdo.
February 14, 2013
Unreadable at times. Meandering and downright boring at others. Meltzer's writing on L.A. Punk are almost redeeming, but sheesh, this one felt like a chore.
February 11, 2008
This and GULCHER...
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August 15, 2008Fuck yeah.
Displaying 1 - 11 of 11 reviews