[.ca] Playback: From The Victrola To Mp3, 100 Years Of Music, ... (ISBN 0306809842)

Well written, well researched & witty to boot:
I liked this book quite a lot. It's a small but concise volume, and it offers the reader a good bit of information quite economically. It is also somewhat of a walk down memory lane for technology buffs and people who grew up listening to music in general..in whatever format. It is in some respects a natural history of heard media. Mr. Coleman erects a sturdy platform from which to observe the cluttered landscape of failed and outdated technologies. His occassionally arch commentary on the actual music that some of these great technological leaps forward produced is amusing and produced more than one audible chuckle. I think that his background as a music reviewer serves him well in this respect. He clearly loves music, and has obviously found himself responding to these new technologies and sounds like all of the rest of us. In particular, his chapter on the confluence of the Beatles genius and George Martin's technological savvy (Chap. 6- Dreaming in Stereo I think), and the epochal music that emerged from their propitious alliance is brilliant. Absolutely the most clear eyed analysis I've read.

Music & Technology: Balance or Self-Fulfilling Prophecy:
I found Playback to be not only an excellent journey through both the nuts & bolts technical history of music reproduction but an enjoyable reflection on the music of the time(s). Mr. Coleman finds a comfortable blend of business, technology and musical genealogy that reinforce the clear picture he has constructed of the music industry. With many of the questions asked or implied, I think Playback accelerates our awareness of the astonishing rate through which we are directly affecting our society with technology.

From cylanders to MP3's and everything in between:
Mark Coleman has packed plenty of information into this little volume about the history of recorded music. The primary focus of the book is how the technology has evolved from the days when Thomas Edison presented the world with the phonograph. It is critical to understand that from the earliest days of recorded music there were always competing technologies. This continues to be the case today. Coleman does a great job of explaining why particular formats won the day and why others simply did not cut the mustard. He also discusses at length the resistance inventors encountered from the musicians who feared that these emerging technologies would cost them their livelihoods. From the cylander to discs to the LP, from 45 rpm records to 8 track tapes, cassettes, CD's and MP3's, Coleman covers just about all of the formats that have emerged over the past 125 years. For a young person eager to learn all about what came before this is an excellent read. Likewise, for older folks like myself the book gets us up to speed on what is going on out there today. I found the book to be very well written. However, I must admit that when I got to the chapter on hip-hop and mixes and club DJ's etc. I felt like I did the first time I walked into a CompUSA store 8 or 9 years ago.....like I was on another planet!!! All in all, this one is well worth your time and attention. Recommended.

Easily-Researched Boners Mar Otherwise Interesting History:
I picked this up because the subject matter, sound recording, fascinates me. And Coleman's style is wonderfully readable and consistently interesting--believe me, any subject, no matter how interesting one may find it, can be make painfully tedious with bad writing (as I learned trying to read a recent biography of Michael O'Donoghue). However, as entertaining as this book is, I have to question its accuracy, with the howlers that turn up practically on every other page. Famous DJ Murray "The K" Kaufman's name is misspelled as "Kaufmanns." Four simultaneous Top 10 hits from the "Saturday Night Fever" LP is said to be "equaling the Beatles' British Invasion coup" (in fact, the Beatles held the top five spots on Billboard's Hot 100 on April 4, 1964). And in his discussion of the RCA/CBS "Speed Wars," Coleman seems to have missed, ignored or chose not to explain the entire reason for the "big hole" in the middle of 45 rpm records: it was specifically designed to accommodate RCA's "quick-change" automatic turntable that was supposed, as they were marketed, to make the change from one side to the next virtually seamless and therefore, so they expected the consumer to believe, be a viable alternative to LPs. This seems a strange omission given that his claimed original intention was to detail the history of the turntable. He also manages to mangle the early history of magnetic tape recording in the U.S. (failing to mention John T. Mullen at all!). And these are only the most obvious boners! Coleman's insights and speculations on the present and future of music transcription and consumption are interesting, to be sure, and, again, his writing is lively and appealing, but, given the questionability surrounding the facts as he presents them, I must therefore question his conclusions as well as the validity of this history as a whole. But it is a fun read with a good beat and it's good to dance to, so I'll give it a sixty-three, (...)