Some titles are inadequate
for the book they announce. Such is
the case here. Far from being, as one
might expect, a dry descriptive text,
painstakingly researched and written
out of enthusiasm, Blake mixes his enthusiasm
with a highly readable and lively style.
The book has a wide
remit: to capture not only the spirit
of the times discussed, place historical
events in context, explore economic
and political factors, but also to capture
the domestic and propagandistic role
of the gramophone in the heyday of the
development of acoustic, cylinder, 78,
45 and up to early LP formats. You get
a real sense of the gramophone at the
very heart of things, held in high esteem
by parties of all political and social
persuasions to spread the message, boost
morale, yet provide solid entertainment
catering to public demand. Whilst each
of these concerns is dealt with in turn,
in addition a sense of the personalities
both on and behind the recordings comes
through. Extracts from diaries and memoirs
aid Blake’s task here, particularly
with regard to Fred Gaisberg of HMV.
Naturally depth of
coverage is an issue in a book of this
kind. Earlier sections on the Spanish-American
War and Boer War are comparatively slim.
They are interesting as a preface to
the major topics of the Great and Second
World Wars.
When it comes to these
two great conflicts and flanking events,
Blake comes into his own. There is a
thoroughness and authority about his
writing, dispatching a tightly-woven
and intricate narrative. There have
been other volumes in German and French
that have explored the role of the Gramophone
during this time, but these have been
restricted by presentation of documentary
material in the original language, divorced
from context or commentary. There are
small points that might be debated and
queried, but these are matched by the
excitement of factual discovery and
the piecing together of cause and effect
as regards the use of the Gramophone.
Blake’s own reminiscences complete an
already full account.
What is impressive
is the inclusiveness of the volume when
it comes to the recorded materials discussed,
or more accurately, as they are described
– classical and lighter music, jazz,
military music, opera and operetta,
speech and war reporting. Each is treated
as seriously as the next. Rightly, Blake
allows little room for derisory distinction.
For someone with an overwhelming interest
in classical music, I came away from
the book with a desire to get better
acquainted with some non-classical materials
that were discussed, if only this were
possible.
There are useful supporting
illustrations. I particularly like the
one of a concentrating Lenin before
an acoustic recording horn in 1919.
I recommend this volume without hesitation
to anyone wanting to get a wider picture
of the times. It will be of value to
social historians, researchers, music-lovers,
followers of the gramophone’s fortunes,
and many more besides. They will find
much to interest and indeed entertain
them.
Evan Dickerson
see also review
by Arthur Baker
