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I Wanna Be Sedated: Pop Music in the Seventies
I Wanna Be Sedated, takes a mischievous look at the decade's major genres ( Punk, Disco, Heavy Metal, Funk & Art Rock).
- GenresMusicHistoryNonfiction
182 pages, ebook
First published October 1, 1993
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Displaying 1 - 5 of 5 reviews
July 2, 2022
When I started to read this book I was somewhat put off by the excessive amount of silliness and supposedly comedic writing from the authors. It was very distracting to try and garner some insights into the major musical trends and artists of the 70s in rock and pop with all the jokes and puns made by Delillo and Scott. Then, around about halfway into this book, I let go of my worries and distraction in reading the history and major releases of the acts reviewed and critiqued. I found myself actually enjoying the text and whilst at times the humour is a little bit forced or even unfunny there are some seriously interesting points made by the authors about the music of the 1970s.
Taking a chronological approach to their subject both authors offer some valuable insights into how the 1970s were dominated by not just one, two or three music movements but was in fact perhaps the most eclectic era for popular music in the post-war era. All of the major fashions or trend or genres are covered, plus some that are not so well known or lasting in their legacy. There is hard rock, prog, disco, adult contemporary, reggae, one hit wonders, the live album, metal, pub rock, Glam rock, the sensitive singer-songwriter, new wave, art rock, and even a discussion of the K-Tel phenomenon.
For those of us who either lived in the 1970s and listen to the music at the time or who have made an effort to listen to the work of ABBA through to ZZ Top and most points in between Dellio and Woods have offered a reasonably concise and diverting guide to the era and the artists. There are times when the jokes get in the way and one finds it hard to discern whether or not the authors are making a hash of things. Yet when they recommend a performer, a recording, or even diss the more ridiculous aspects of their subject, at heart one knows they make plenty of good points.
For neophytes who have no real knowledge of the 1970s and that decade’s music ‘I Wanna Be Sedated’ will be less helpful. Because of the chaotic narrative of the book and the in-jokes I suspect that some readers will find the history either opaque or too absurd to persist with. Serious students of the decades music will also not be as enamoured with this book because of the silliness of the text.
It must be noted that this book is very American, and to a slightly lesser extent British, in its focus. Yes, there are references to pop acts that were popular in the 1970s from outside these two large Anglophone markets, including Canadian and Australian bands and singers. However at the end of the day this is really an American perspective on 1970s pop music.
At the end your reaction to this book will be guided by whether or not you want to read a learned and fulsome discussion of 1970s pop music, or if you want to indulge in a more trivial, more fun examination of the subject. If you are looking for an ultra serious critical review of pop music in the 1970s then this is not the book you should be reading. If on the other hand you’d like to remember or encounter for the first time the absurd pop riches of a decade that was capable of producing the Sex Pistols, the Caroenters, Rick Dees and ‘Disco Duck’, ‘Frampton Comes Alive’ and Barry White, then ‘I Wanna Be Sedated’ might just be what you need.
Taking a chronological approach to their subject both authors offer some valuable insights into how the 1970s were dominated by not just one, two or three music movements but was in fact perhaps the most eclectic era for popular music in the post-war era. All of the major fashions or trend or genres are covered, plus some that are not so well known or lasting in their legacy. There is hard rock, prog, disco, adult contemporary, reggae, one hit wonders, the live album, metal, pub rock, Glam rock, the sensitive singer-songwriter, new wave, art rock, and even a discussion of the K-Tel phenomenon.
For those of us who either lived in the 1970s and listen to the music at the time or who have made an effort to listen to the work of ABBA through to ZZ Top and most points in between Dellio and Woods have offered a reasonably concise and diverting guide to the era and the artists. There are times when the jokes get in the way and one finds it hard to discern whether or not the authors are making a hash of things. Yet when they recommend a performer, a recording, or even diss the more ridiculous aspects of their subject, at heart one knows they make plenty of good points.
For neophytes who have no real knowledge of the 1970s and that decade’s music ‘I Wanna Be Sedated’ will be less helpful. Because of the chaotic narrative of the book and the in-jokes I suspect that some readers will find the history either opaque or too absurd to persist with. Serious students of the decades music will also not be as enamoured with this book because of the silliness of the text.
It must be noted that this book is very American, and to a slightly lesser extent British, in its focus. Yes, there are references to pop acts that were popular in the 1970s from outside these two large Anglophone markets, including Canadian and Australian bands and singers. However at the end of the day this is really an American perspective on 1970s pop music.
At the end your reaction to this book will be guided by whether or not you want to read a learned and fulsome discussion of 1970s pop music, or if you want to indulge in a more trivial, more fun examination of the subject. If you are looking for an ultra serious critical review of pop music in the 1970s then this is not the book you should be reading. If on the other hand you’d like to remember or encounter for the first time the absurd pop riches of a decade that was capable of producing the Sex Pistols, the Caroenters, Rick Dees and ‘Disco Duck’, ‘Frampton Comes Alive’ and Barry White, then ‘I Wanna Be Sedated’ might just be what you need.
June 16, 2025
This slim book is sometimes as silly as it gets, but it covers a vast soundscape of music through the 70s decade with remarkable breadth, depth, and at times hilarious commentary. There are occasional factual errors (e.g., the Bee Gees being from Australia and moving to England, when in fact they were English and lived in England before their family moved to Australia) -- but they are few and far between. All in all it's a very well-researched and knowledgeable survey of 70s sounds.
Sometimes the humor is a bit forced (or, as aforementioned, very silly), but the book elicited more than a few out-loud laughs as I read it. Sometimes it's extremely witty and sometimes snarky but VERY funny.
It covers SO much, so many genres, and will have you in a streaming-fest to look up all the vastly diverse artists and songs discussed. I enjoyed it, a great trip down memory lane and a great, well-written read.
Sometimes the humor is a bit forced (or, as aforementioned, very silly), but the book elicited more than a few out-loud laughs as I read it. Sometimes it's extremely witty and sometimes snarky but VERY funny.
It covers SO much, so many genres, and will have you in a streaming-fest to look up all the vastly diverse artists and songs discussed. I enjoyed it, a great trip down memory lane and a great, well-written read.
April 25, 2008
This book is hilarious and weirdly fanciful. When the facts break down, why not just make them up? Lester Bangs meets Mark Leyner. Indispensible when you want to read something bizarre, funny AND informative. Nothing else like it, I promise.
October 29, 2008
Brilliantly funny, opinionated, and even containing some actual facts. A great read for fans of 70's music.
Displaying 1 - 5 of 5 reviews