.
Yes, that was me. I suppose it still is ... but in 1991 book reviewers had balls (and column space). I guess this is one of my favourite notices of my all-time, so thank you Charis Gray ...
I had no intention of writing a book of 'opinions'. I was, and am, an historian. My business is Facts. But my editor at the -- then joyful -- firm of Basil Blackwell had begun a series of books about recordings. I think it had started with Country Music, or Folk Music on Record. He knew that Ian and I had an unparalelled collection of musical-theatre recordings, so he asked ... and there went the next umpteen months of my life: listening to records. How many My Fair Ladys? How many Die lustige Witwes ... how many dreadful vanity discs ...
It was an odd time in the world of the 'record'. The 'vinyl' recording of all our youthful passions had just been (temporarily?) superseded by the CD. So, although I didn't realise it, I was arriving at the end of an era, and more or less, writing its epitaph. I frantically tried to get up-to-date at the last moment, and included CD references ... I shouldn't have. This is a history and summary of musical theatre recordngs on vinyl. And if I reissue it, that is what it will be called.
I may reissue it. It has, amazingly, been one of my most popular books. I (and my editor) expected, quite honestly, when it came out, a torrent of scorn mail from musical-theatre ultra-devotees who didn't agree with my choices. You know the type of 'ultras' I mean. Hand on heart, I had NOT ONE. Though I did hear of one gentleman in Baltimore who swished his copy back to the bookshop, complaining that I failed to mention some part-record of Roberta.
The exercise, alas, had its downside. After so many months of listening to end-to-end show recordings (the many shelves of the records concerned are now enshrined at Harvard's Theatre Library), I became glutted. For years thereafter, I could not listen to a show disc. Even now, I find it hard. But I had done my task, and, unbelievably, two decades later, I still get messages from folk who have read and enjoyed the book ... that's reward enough ...
Goodness, what else is in this folder. Many memories, I think ...
2 comments:
Dear Mr. Ganzl, I'm a little late to the party chiming in after all these years, but hoping you'll receive notice of this comment/post. I was a teenager when I first stumbled upon your Blackwell Guide (in my local library in the suburbs of Chicago, USA). I still own the 1st hardcover edition I would purchase off eBay years later, and often revisit it. To this day I collect and enjoy foreign-language cast recordings, that (pre-internet) I would have never known existed back in 1989 had it not been for your book. Indeed, earlier this year it was a bucket list moment to finally track down a mint LP copy of Les Petite Boutique des Horreurs, that I fondly remember only reading about in your book 36 years ago. Additionally, your programme notes and writing for the original Music of ALW souvenir brouchure did similar wonders for my imagination. It was the first time I heard anyone make an educated defense for Sir Andrew Lloyd Webber's music in Starlight Express (my "gateway drug" to the musical theatre and theatre in general), and it also opened up the world of global musical theatre to me as I would fortunately have the opportunity to travel the world as a teenager and young adult, seeing so many of those foreign-language stage productions, that I discovered through your writing. It is a privilege and pleasure to share my gratitude, after all these years, to you. Thank You.
Thank you so much Fabrizio! I'm 80 years old and still turning out the books! Two in the pipeline :-) Then, I think, retirement :-)
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