Greil Marcus, author of Mystery Train, widely acclaimed as the best book ever written about America as seen through its music, began work on this new book out of a fascination with the Sex Pistols: that scandalous antimusical group, invented in London in 1975 and dead within two years, which sparked the emergence of the culture called punk. "I am an antichrist!" shouted singer Johnny Rotten--where in the world of pop music did that come from? Looking for an answer, with a high sense of the drama of the journey, Marcus takes us down the dark paths of counterhistory, a route of blasphemy, adventure, and surprise.

This is no mere search for cultural antecedents. Instead, what Marcus so brilliantly shows is that various kinds of angry, absolute demands--demands on society, art, and all the governing structures of everyday life--seem to be coded in phrases, images, and actions passed on invisibly, but inevitably, by people quite unaware of each other. Marcus lets us hear strange yet familiar voices: of such heretics as the Brethren of the Free Spirit in medieval Europe and the Ranters in seventeenth-century England; the dadaists in Zurich in 1916 and Berlin in 1918, wearing death masks, chanting glossolalia; one Michel Mourre, who in 1950 took over Easter Mass at Notre-Dame to proclaim the death of God; the Lettrist International and the Situationist International, small groups of Paris--based artists and writers surrounding Guy Debord, who produced blank-screen films, prophetic graffiti, and perhaps the most provocative social criticism of the 1950s and '60s; the rioting students and workers of May '68, scrawling cryptic slogans on city walls and bringing France to a halt; the Sex Pistols in London, recording the savage "Anarchy in the U.K." and "God Save the Queen."

Although the Sex Pistols shape the beginning and the end of the story, Lipstick Traces is not a book about music; it is about a common voice, discovered and transmitted in many forms. Working from scores of previously unexamined and untranslated essays, manifestos, and filmscripts, from old photographs, dada sound poetry, punk songs, collages, and classic texts from Marx to Henri Lefebvre, Marcus takes us deep behind the acknowledged events of our era, into a hidden tradition of moments that would seem imaginary except for the fact that they are real: a tradition of shared utopias, solitary refusals, impossible demands, and unexplained disappearances. Written with grace and force, humor and an insistent sense of tragedy and danger, Lipstick Traces tells a story as disruptive and compelling as the century itself.

...

Previously published as Invisible Republic and already considered a classic of modern American cultural criticism, The Old, Weird America is Greil Marcus's widely acclaimed book on the secret music (the so-called "Basement Tapes") made by Bob Dylan and the Band while in seclusion in Woodstock, New York, in 1967--a folksy yet funky, furious yet hilarious music that remains as seductive and baffling today as it was more than thirty years ago.

As Mark Sinker observed in The Wire: "Marcus's contention is that there can be found in American folk a community as deep, as electric, as perverse, and as conflicted as all America, and that the songs Dylan recorded out of the public eye, in a basement in Woodstock, are where that community as a whole gets to speak." But the country mapped out in this book, as Bruce Shapiro wrote in The Nation, "is not Woody Guthrie's land for made for you and me . . . It's what Marcus calls 'the old, weird America.'" This odd terrain, this strange yet familiar backdrop to our common cultural history--which Luc Sante (in New York magazine) termed the "playground of God, Satan, tricksters, Puritans, confidence men, illuminati, braggarts, preachers, anonymous poets of all stripes"--is the territory that Marcus has discovered in Dyaln's most mysterious music. And his analysis of that territory "reads like a thriller" (Ken Tucker, Entertainment Weekly) and exhibits "a mad, sparkling brilliance" (David Remnick, The New Yorker) throughout. This new edition of The Old, Weird America includes an updated discography.
...

Greil Marcus's popular appreciation of his, and Bob Dylan's, favorite song--a book that Rolling Stone called "essential insight into the living history of rock & roll."

Greil Marcus has written the definitive biography of the greatest pop single ever made. Recorded in Columbia's Studio A in New York on 16 June 1965, "Like A Rolling Stone" was instantly of its time-and so strong it has escaped time altogether. The musicians gathered in the studio never managed a second successful recording: they caught it once and only once. Then it was gone, arguably never to be bettered in Bob Dylan's countless live performances of the song.

Dylan's career as a folk singer--and the career imposed upon him, his unwanted role as "voice of a generation"--had hit a wall. Marcus recreates the brilliantly competitive pop world of 1965, and the energy, the anger, the thrill and the horror that Bob Dylan turned into a revolutionary six-minute single. Forty years later it remains the signal accomplishment of modern music. It drew to itself disparate traditions of American music and speech; it redrew the map of the country itself; it left behind a world that was not the same. The whole adventure is here....

Catch a train to the heart of rock ’n’ roll with this essential study of the quintessential American art form. First published in 1975, Greil Marcus’s Mystery Train remains a benchmark study of rock ’n’ roll and a classic in the field of music criticism. Focusing on six key artists—Robert Johnson, Harmonica Frank, Randy Newman, the Band, Sly Stone, and Elvis Presley—Marcus explores the evolution and impact of rock ’n’ roll and its unique place in American culture. This fifth edition of Mystery Train includes an updated and rewritten Notes and Discographies section, exploring the evolution and continuing impact of the recordings featured in the book....