Chronicles， Vol. 1像一塊滾石 鮑勃·迪倫迴憶錄第1捲 英文原版 [平裝] pdf epub mobi txt 電子書 下載 2025

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Bob Dylan（鮑勃·迪倫） 著

圖書標籤:

• Bob Dylan
• Chronicles
• Volume One
• Memoir
• Autobiography
• Music
• Rock and Roll
• Literature
• American Literature
• Biography
• Rolling Stone

齣版社： Simon & Schuster US

ISBN：9780743244589

商品編碼：19280344

包裝：平裝

叢書名： Chronicles

齣版時間：2005-10-31

用紙：膠版紙

頁數：293

正文語種：英文

商品尺寸：21.3x14.1x2.2cm

內容簡介

""I'd come from a long ways off and had started a long ways down. But now destiny was about to manifest itself. I felt like it was looking right at me and nobody else.""

Bob Dylan's "Chronicle: Volume One" explores the critical junctions in his life and career. Through Dylan's eyes and open mind, we see Greenwich Village, circa 1961, when he first arrives in Manhattan. Dylan's New York is a magical city of possibilities -- smoky, nightlong parties; literary awakenings; transient loves and unbreakable friendships. Elegiac observations are punctuated by jabs of memories, penetrating and tough. With side trips to New Orleans, Woodstock, Minnesota and points west, "Chronicles: Volume One" is an intimate and intensely personal recollection of extraordinary times.

Revealing, poetical, passionate and witty, "Chronicles: Volume One" is a mesmerizing window on Bob Dylan's thoughts and influences. Dylan's voice is distinctively American: generous of spirit, engaged, fanciful and rhythmic. Utilizing his unparalleled gifts of storytelling and the exquisite expressiveness that are the hallmarks of his music, Bob Dylan turns "Chronicles: Volume One" into a poignant reflection on life, and the people and places that helped shape the man and the art.
　　一本曆時三年在手動打字機上敲齣來的迴憶錄，證明其作者是一位傑齣的散文大師，一位引人注目的文化觀察傢，和一位化裝成蕩鞦韆演員的詩人。我們早就知道迪倫會寫，然而我們沒有想到他會寫得如此齣色，沒有想到這位搖滾老江湖可以用如此的熱情、憐憫和深邃的眼光迴顧往昔的歲月。
　　你在這裏聽到迪倫無與倫比的聲音，他的抑揚頓挫，他冷麵幽默的機智，他玩弄詞藻的本領以及各種驚心動魄的迴憶——所有一切都講得非常漂亮。原來迪倫竟然在追憶過去，想象當年人們的麵貌、穿著和談吐的時候竟然有種普魯斯特式的風采。
　　尤其引人入勝的是，本書獻給讀者一份心意，讓他們更好地瞭解他作品的真諦：迪倫幾十年來在若乾采訪中極為吝嗇地散落的思想火花。本書為讀者開闢瞭一條理解作者思和藝術的通道，對於迪倫而言，這是一個至關重要的人生交接點，迪倫一方麵在尋找一種讓整整一代人有共鳴的聲音，替他們說話（盡管他自己並不情願如此）。另一方麵，他又在積極復興他遊吟詩人的傳統。
　　鮑勃·迪倫不僅稱得上是20世紀偉大的搖滾音樂傢，更是一位傑齣的詩人，一位語言大師（他是惟一一位獲諾貝爾文學奬提名的音樂傢）。本書齣版以後，獲得瞭如潮的好評：有媒體把它與剋魯亞剋的《在路上》相提並論，也有媒體說它寫作手法直追意識流大師普魯斯特，更有媒體稱迪倫為莎士比亞以來偉大的英語作傢。本書記錄的不僅是作者發明創造和靈感迸發的輝煌時刻，還有那些意氣消沉的時刻！

作者簡介

Bob Dylan is one of the most lauded and greatest-loved songwriters and performers of all time. His particular brand of music first caught the public’s attention in the 1960s. He has released thirty-five studio albums with hits ranging from “Blowin’ in the Wind” and “Like a Rolling Stone” to “All Along the Watchtower,” “Knockin’ on Heaven’s Door,” and “Make You Feel My Love.” His remarkable career in music and literature continues to this day.
　　鮑勃·迪倫（Bob Dylan，1941年5月24日－），原名羅伯特·艾倫·齊默曼（Robert Allen Zimmerman），有重要影響力的美國唱作人，搖滾歌手，民謠歌手，音樂傢，詩人，獲2008年諾貝爾文學奬提名。迪倫的影響力主要體現在60年代，他對音樂的主要的貢獻是歌詞的深刻寓意與音樂成為同等重要的一部分，他對工業國傢整個一代人的敏感性的形成起瞭很大的作用，他的音樂對理解和分析60年代是至關重要的。縱觀其音樂生涯，Bob Dylan 堪稱賦予瞭搖滾樂以靈魂。

精彩書評

One would not anticipate a conventional memoir from Bob Dylan--indeed, one would not have foreseen an autobiography at all from the pen of the notoriously private legend. What Chronicles: Volume 1 delivers is an odd but ultimately illuminating memoir that is as impulsive, eccentric, and inspired as Dylan's greatest music. Eschewing chronology and skipping over most of the "highlights" that his many biographers have assigned him, Dylan drifts and rambles through his tale, amplifying a series of major and minor epiphanies. If you're interested in a behind-the-scenes look at his encounters with the Beatles, look elsewhere. Dylan describes the sensation of hearing the group's "Do You Want to Know a Secret" on the radio, but devotes far more ink to a Louisiana shopkeeper named Sun Pie, who tells him, "I think all the good in the world might already been done" and sells him a World's Greatest Grandpa bumper sticker. Dylan certainly sticks to his own agenda--a newspaper article about journeymen heavyweights Jerry Quarry and Jimmy Ellis and soul singer Joe Tex's appearance on The Tonight Show inspire heartfelt musings, and yet the 1963 assassination of John Kennedy prompts nary a word from the era's greatest protest singer. For all the small revelations (it turns out he's been a big fan of Barry Goldwater, Mickey Rourke, and Ice-T), there are eye-opening disclosures, including his confession that a large portion of his recorded output was designed to alienate his audience and free him from the burden of being a "the voice of a generation." Off the beaten path as it is, Chronicles is nevertheless an astonishing achievement. As revelatory in its own way as Blonde on Blonde or Highway 61 Revisited, it provides ephemeral insights into the mind one of the most significant artistic voices of the 20th century while creating a completely new set of mysteries.
--Steven Stolder

精彩書摘

Chapter 1: Markin' Up the Score Lou Levy, top man of Leeds Music Publishing company, took me up in a taxi to the Pythian Temple on West 70th Street to show me the pocket sized recording studio where Bill Haley and His Comets had recorded "Rock Around the Clock" -- then down to Jack Dempsey's restaurant on 58th and Broadway, where we sat down in a red leather upholstered booth facing the front window. Lou introduced me to Jack Dempsey, the great boxer. Jack shook his fist at me. "You look too light for a heavyweight kid, you'll have to put on a few pounds. You're gonna have to dress a little finer, look a little sharper -- not that you'll need much in the way of clothes when you're in the ring -- don't be afraid of hitting somebody too hard." "He's not a boxer, Jack, he's a songwriter and we'll be publishing his songs." "Oh, yeah, well I hope to hear 'em some of these days. Good luck to you, kid." Outside the wind was blowing, straggling cloud wisps, snow whirling in the red lanterned streets, city types scuffling around, bundled up -- salesmen in rabbit fur earmuffs hawking gimmicks, chestnut vendors, steam rising out of manholes. None of it seemed important. I had just signed a contract with Leeds Music giving it the right to publish my songs, not that there was any great deal to hammer out. I hadn't written much yet. Lou had advanced me a hundred dollars against future royalties to sign the paper and that was fine with me. John Hammond, who had brought me to Columbia Records, had taken me over to see Lou, asked him to look after me. Hammond had only heard two of my original compositions, but he had a premonition that there would be more. Back at Lou's office, I opened my guitar case, took the guitar out and began fingering the strings. The room was cluttered -- boxes of sheet music stacked up, recording dates of artists posted on bulletin boards, black lacquered discs, acetates with white labels scrambled around, signed photos of entertainers, glossy portraits -- Jerry Vale, Al Martino, The Andrews Sisters (Lou was married to one of them), Nat King Cole, Patti Page, The Crew Cuts -- a couple of console reel-to-reel tape recorders, big dark brown wooden desk full of hodgepodge. Lou had put a microphone on the desk in front of me and plugged the cord into one of the tape recorders, all the while chomping on a big exotic stogie. "John's got high hopes for you," Lou said. John was John Hammond, the great talent scout and discoverer of monumental artists, imposing figures in the history of recorded music -- Billie Holiday, Teddy Wilson, Charlie Christian, Cab Calloway, Benny Goodman, Count Basie, Lionel Hampton. Artists who had created music that resonated through American life. He had brought it all to the public eye. Hammond had even conducted the last recording sessions of Bessie Smith. He was legendary, pure American aristocracy. His mother was an original Vanderbilt, and John had been raised in the upper world, in comfort and ease -- but he wasn't satisfied and had followed his own heart's love, music, preferably the ringing rhythm of hot jazz, spirituals and blues -- which he endorsed and defended with his life. No one could block his way, and he didn't have time to waste. I could hardly believe myself awake when sitting in his office, him signing me to Columbia Records was so unbelievable. It would have sounded like a made-up thing. Columbia was one of the first and foremost labels in the country and for me to even get my foot in the door was serious. For starters, folk music was considered junky, second rate and only released on small labels. Big-time record companies were strictly for the elite, for music that was sanitized and pasteurized. Someone like myself would never be allowed in except under extraordinary circumstances. But John was an extraordinary man. He didn't make schoolboy records or record schoolboy artists. He had vision and foresight, had seen and heard me, felt my thoughts and had faith in the things to come. He explained that he saw me as someone in the long line of a tradition, the tradition of blues, jazz and folk and not as some newfangled wunderkind on the cutting edge. Not that there was any cutting edge. Things were pretty sleepy on the Americana music scene in the late '50s and early '60s. Popular radio was sort of at a standstill and filled with empty pleasantries. It was years before The Beatles, The Who or The Rolling Stones would breathe new life and excitement into it. What I was playing at the time were hard-lipped folk songs with fire and brimstone servings, and you didn't need to take polls to know that they didn't match up with anything on the radio, didn't lend themselves to commercialism, but John told me that these things weren't high on his list and he understood all the implications of what I did. "I understand sincerity," is what he said. John spoke with a rough, coarse attitude, yet had an appreciative twinkle in his eye. Recently he had brought Pete Seeger to the label. He didn't discover Pete, though. Pete had been around for years. He'd been in the popular folk group The Weavers, but had been blacklisted during the McCarthy era and had a hard time, but he never stopped working. Hammond was defiant when he spoke about Seeger, that Pete's ancestors had come over on the Mayflower, that his relatives had fought the Battle of Bunker Hill, for Christsake. "Can you imagine those sons of bitches blacklisting him? They should be tarred and feathered." "I'm gonna give you all the facts," he said to me. "You're a talented young man. If you can focus and control that talent, you'll be fine. I'm gonna bring you in and I'm gonna record you. We'll see what happens." And that was good enough for me. He put a contract in front of me, the standard one, and I signed it right then and there, didn't get absorbed into details -- didn't need a lawyer, advisor or anybody looking over my shoulder. I would have gladly signed whatever form he put in front of me. He looked at the calendar, picked out a date for me to start recording, pointed to it and circled it, told me what time to come in and to think about what I wanted to play. Then he called in Billy James, the head of publicity at the label, told Billy to write some promo stuff on me, personal stuff for a press release. Billy dressed Ivy League like he could have come out of Yale -- medium height, crisp black hair. He looked like he'd never been stoned a day in his life, never been in any kind of trouble. I strolled into his office, sat down opposite his desk, and he tried to get me to cough up some facts, like I was supposed to give them to him straight and square. He took out a notepad and pencil and asked me where I was from. I told him I was from Illinois and he wrote it down. He asked me if I ever did any other work and I told him that I had a dozen jobs, drove a bakery truck once. He wrote that down and asked me if there was anything else. I said I'd worked construction and he asked me where. "Detroit." "You traveled around?" "Yep." He asked me about my family, where they were. I told him I had no idea, that they were long gone. "What was your home life like?" I told him I'd been kicked out. "What did your father do?" "'lectrician." "And your mother, what about her?" "Housewife." "What kind of music do you play?" "Folk music." "What kind of music is folk music?" I told him it was handed down songs. I hated these kind of questions. Felt I could ignore them. Billy seemed unsure of me and that was just fine. I didn't feel like answering his questions anyway, didn't feel the need to explain anything to anybody. "How did you get here?" he asked me. "I rode a freight train." "You mean a passenger train?" "No, a freight train." "You mean, like a boxcar?" "Yeah, like a boxcar. Like a freight train." "Okay, a freight train." I gazed past Billy, past his chair through his window across the street to an office building where I could see a blazing secretary soaked up in the spirit of something -- she was scribbling busy, occupied at a desk in a meditative manner. There was nothing funny about her. I wished I had a telescope. Billy asked me who I saw myself like in today's music scene. I told him, nobody. That part of things was true, I really didn't see myself like anybody. The rest of it, though, was pure hokum -- hophead talk. I hadn't come in on a freight train at all. What I did was come across the country from the Midwest in a four-door sedan, '57 Impala -- straight out of Chicago, clearing the hell out of there -- racing all the way through the smoky towns, winding roads, green fields covered with snow, onward, eastbound through the state lines, Ohio, Indiana, Pennsylvania, a twenty-four-hour ride, dozing most of the way in the backseat, making small talk. My mind fixed on hidden interests...eventually riding over the George Washington Bridge. The big car came to a full stop on the other side and let me out. I slammed the door shut behind me, waved good-bye, stepped out onto the hard snow. The biting wind hit me in the face. At last I was here, in New York City, a city like a web too intricate to understand and I wasn't going to try. I was there to find singers, the ones I'd heard on record -- Dave Van Ronk, Peggy Seeger, Ed McCurdy, Brownie McGhee and Sonny Terry, Josh White, The New Lost City Ramblers, Reverend Gary Davis and a bunch of others -- most of all to find Woody Guthrie. New York City, the city that would come to shape my destiny. Modern Gomorrah. I was at the initiation point of square one but in no sense a neophyte. When I arrived, it was dead-on winter. The cold was brutal and every artery of the city was snowpacked, but I'd started out from the frostbitten North Country, a little corner of the earth where the dark frozen woods and icy roads didn't faze me. I could transcend the limitations. It wasn't money or love that I was looking for. I had a heightened sense of awareness, was set in my ways, impractical and a visionary to boot. My mind was stro...

前言/序言

《星辰之徑：失落文明的密碼》 一、引言：塵封的呼喚 公元2347年，地球曆經“大寂靜”時代近兩百年後，人類文明在廢墟上蹣跚重建。新生的人類社會，建立在對曆史的敬畏與對未知的好奇之上。故事的主角，艾拉·文森特，一位年輕的考古語言學傢，正緻力於破譯一種被稱為“原始語”的遠古方言。她的工作地點並非尋常的博物館或大學實驗室，而是位於南極冰層深處，一座被地質活動偶然暴露齣來的巨大立方體結構——“方舟”。這座結構的曆史可以追溯到“大寂靜”前的黃金時代，一個被後世稱為“全盛紀元”的時期。 艾拉深信，方舟內部隱藏著那個偉大文明留下的最後信息，那是關於他們如何崛起，又如何在一夜之間銷聲匿跡的終極答案。但方舟的入口並非實體之門，而是一種基於復雜數學和聲波共振的能量屏障。她的團隊，由頂尖的物理學傢、工程師和密碼專傢組成，曆經數年，終於捕捉到瞭屏障發齣的微弱、規律性的振動——那是文明的“心跳”。 二、失落的文本與密鑰 在成功開啓方舟的外部傳感係統後，艾拉終於獲得瞭第一批數據流。這些數據並非數字代碼，而是一種復雜的、多維度的圖像和聲音的混閤體，被艾拉命名為“光子敘事”。這些敘事記錄瞭一個名為“阿卡迪亞”的全球聯閤體，他們掌握瞭超越現有理解的科技，包括對引力場和時空漣漪的精確操控。 主要的挑戰在於“語言”。阿卡迪亞的語言係統，即艾拉正在研究的“原始語”，並不依賴於綫性書寫，而是通過激活特定區域的大腦神經元來傳遞意義。艾拉團隊開發齣一種神經接口設備，能夠將光子敘事轉化為可供人類理解的感官體驗。 在分析瞭數以萬計的“光子片段”後，艾拉發現瞭一個反復齣現的符號集群，它總是在描述一個名為“塞壬之歌”的事件。這個符號序列似乎是理解整個文明曆史的關鍵。在一次近乎絕望的嘗試中，艾拉將一個失傳已久的古代樂譜——一首被認為隻是神話的鏇律——輸入到接口中，奇跡發生瞭：“塞壬之歌”的符號集群瞬間被解鎖，露齣瞭核心的文本信息。 三、阿卡迪亞的興衰 文本揭示瞭阿卡迪亞的輝煌與傲慢。他們並非毀於戰爭或瘟疫，而是毀於他們對“完美平衡”的過度追求。阿卡迪亞文明的核心哲學是“熵的逆轉”，即利用先進技術來對抗宇宙固有的無序性。他們建立瞭一個全球性的能量網絡，通過抽取特定維度空間的能量來維持其社會的絕對穩定與高效。 核心人物是一位名叫“至高架構師”的領袖，她在文本中以第一人稱的口吻記錄瞭文明走嚮衰亡的過程。她描述瞭一種“靜默的覺醒”——當文明的穩定達到極緻時，生命本身開始失去其內在的“變數”和“創造力”。藝術變得公式化，情感被優化，個體的差異被視為低效的噪聲。阿卡迪亞的公民們雖然物質上達到瞭天堂，精神上卻陷入瞭虛無。 四、維度裂隙與“大寂靜”的真相 文本的後半部分充滿瞭緊迫感。至高架構師意識到，他們維持的“完美平衡”正在撕裂現實的結構。為瞭對抗熵增，他們過度開采瞭維度的能量，無意中在宇宙中打開瞭一個巨大的、不穩定的“裂隙”。 “大寂靜”並非一次爆炸，而是一次“撤離”。至高架構師和少數清醒的科學傢們，在裂隙吞噬地球之前，啓動瞭最後的“方舟計劃”。方舟的目的地並非另一個星球，而是時間本身。他們將自己的意識、知識和文明的精華，通過超光速的“時空錨點”，投射到瞭一個更穩定的時間點——即艾拉所處的“後寂靜時代”。 艾拉發現，她所破解的“原始語”，其實是至高架構師為未來的人類留下的“警鍾”和“藍圖”。如果未來的人類重蹈覆轍，試圖重建同樣的完美係統，裂隙就會重新打開，徹底抹除地球上的所有生命。 五、傳承與抉擇 在方舟的深處，艾拉找到瞭最後的遺物：一個晶體核心，裏麵封存著至高架構師留下的一個“選擇”。這個選擇就是：繼承阿卡迪亞的科技，冒著重蹈覆轍的風險，重建一個更強大的文明；或者，將這段曆史永遠封存，讓後來的社會在不完美、充滿變數和奮鬥的道路上自然發展。 艾拉麵臨著巨大的倫理睏境。她手中的技術可以瞬間解決她所處時代的一切貧睏、疾病和能源危機。然而，她也看到瞭那個黃金時代是如何在光芒萬丈中走嚮自我毀滅的。 最終，艾拉做齣瞭決定。她沒有將方舟的全部數據公之於眾，而是精心地篩選瞭部分基礎科學知識，這些知識可以幫助她的人類社會安全地發展數百年，但不足以讓她重建阿卡迪亞的“完美係統”。她將“塞壬之歌”的完整真相——關於維度裂隙和熵的逆轉理論——永久地編碼進瞭方舟的深層結構中，並設置瞭一個極其復雜的、需要數代人纔能完全破解的保護機製。 《星辰之徑》的故事結束於艾拉離開方舟，麵對南極的極光。她知道，她選擇瞭一條更艱難的路，一條充滿不確定性的路。但正如她破譯的最後一段信息所言：“真正的生命力，存在於不完美和對抗無序的微小努力之中，而非對永恒靜止的癡迷。”她將這段曆史，變成瞭一個需要未來人類用自己的智慧和道德去逐步解鎖的密碼。她不再是考古學傢，而是文明的“守門人”。 （字數：約1500字）

評分☆☆☆☆☆

讀完閤上書的那一刻，一股強烈的悵然若失感湧上心頭，這證明瞭這本書已經成功地在我的精神世界裏留下瞭深刻的印記。這不是一本“讀完就放一邊”的書，它更像是一個引子，激發瞭我重新去聆聽那些熟悉的鏇律，去用全新的耳朵去解讀那些曾經聽過無數遍的歌詞。它改變瞭我對這位藝術傢過往的認知，讓我看到一個更立體、更復雜、更有人味兒的靈魂。與其說這是一本迴憶錄，不如說它是一部關於如何在紛繁世界中保持自我獨立思考的指南。它用最樸實的語言，講述瞭最不平凡的人生軌跡，其中蘊含的力量，足以支撐我在麵對自己生活中的“風暴”時，多一份從容和堅韌。

評分☆☆☆☆☆

從文學技巧的角度來看，這本書的結構安排非常巧妙，它並非嚴格按照時間綫索推進，而是像音樂的變奏一樣，在不同的記憶片段和當下感受之間自由穿梭。這種非綫性的敘事手法，完美地契閤瞭迴憶的本質——記憶往往是碎片化的，是被情感碎片重新組織的。作者通過這種方式，成功地營造齣一種夢境般的流動感，讓你沉浸其中，時而驚喜，時而悵惘。此外，書中穿插的那些關於音樂創作的片段，雖然對於非專業人士來說可能略顯晦澀，但對於真正熱愛音樂的人來說，簡直是寶藏。他剖析瞭音符如何組閤成情感，歌詞的每一字是如何被賦予生命力的過程，那種對藝術的虔誠和探索欲，極具感染力。

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這本書帶給我最大的震撼，在於它對“真實”的毫不掩飾。很多名人的迴憶錄為瞭維護形象，多少會對某些經曆進行美化或過濾，但在這裏，我感受到的是一種近乎殘酷的坦誠。作者毫不避諱地談論自己的弱點、犯過的錯誤，以及那些不那麼光彩的時刻。這種真誠的力量是巨大的，它拉近瞭作者與讀者之間的距離，讓我們明白，即便是那些被冠以“傳奇”之名的人，其內心深處也充滿瞭人性的脆弱和迷茫。尤其是他對某些關鍵曆史時刻的個人解讀，提供瞭完全不同於主流敘事的視角，這使得整本書的厚度猛增，不再隻是簡單的事件羅列，而是上升到瞭一種對時代、對藝術、對個人命運的深刻反思。每一次閱讀，都會因為心境的不同，而捕捉到之前忽略掉的微妙信息。

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閱讀這本書的過程，簡直就是一場精神上的馬拉鬆，它不是那種讓你一口氣讀完的爆米花讀物，而是需要你放慢腳步，細細咀嚼每一個句子、每一個段落背後的深意。作者的敘事方式非常獨特，他似乎並不急於拋齣爆炸性的猛料，而是更專注於捕捉那些轉瞬即逝的內心感受和環境的氛圍渲染。有那麼幾處描繪，我甚至能清晰地“看”到當時的場景，仿佛置身於他描述的那些昏暗的酒吧、擁擠的排練室，甚至是在漫長巡演路上的孤獨長夜。這種強烈的畫麵感，得益於作者對語言近乎偏執的雕琢，他總能找到那個最精準、最具張力的詞匯來錶達那種復雜的情緒，時而尖銳如刀，時而又帶著一種難以言喻的溫柔和自嘲。讀到一些關於創作瓶頸和自我懷疑的部分時，我深有共鳴，那份掙紮和堅持，遠比光鮮亮麗的成就更令人動容。

評分☆☆☆☆☆

這本書的裝幀拿到手的時候就給我一種非常樸實的感覺，封麵設計很簡潔，沒有太多花哨的元素，給人一種沉穩、值得細品的味道。紙張的質感也相當不錯，摸起來舒服，油墨印製清晰，即便是長時間閱讀也不會讓眼睛感到疲勞。我特彆喜歡它那種微微泛黃的內頁處理，仿佛帶著曆史的沉澱感，讓人在翻閱時更容易進入作者所構建的世界。裝訂部分處理得非常結實，即便是經常翻閱，也不用擔心書頁會鬆脫，這對於一本需要反復品味的傳記來說至關重要。整體來看，齣版方在書籍的實體製作上確實下瞭不少功夫，這種對細節的關注，讓閱讀體驗從一開始就提升瞭一個層次。拿到手後，我幾乎是迫不及待地翻開瞭第一頁，那種期待感，就像是即將與一位老朋友麵對麵，準備聆聽他娓娓道來的那些塵封已久的故事。這種實體書的儀式感，是電子閱讀永遠無法替代的。

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Timeless classic～值得收藏

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不錯，想買這個想瞭一年

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以為是很厚一本，其實是一般這麼厚的隻要三四十來塊錢。書本價格是320颱幣，人名幣120有點坑，喜歡當然就無所謂啦，誰要它是颱灣原版呢。從右往左看+繁體字，這個看起來有點費勁。因人而異，各取所需。

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Dylan腦殘粉一枚~

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等瞭一個多月終於等到它，颱版好書，值得

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依舊無不給力

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東西質量不錯，快遞也很快

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好書，價格貴瞭，還好有優惠促銷。

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經典的搖滾宗師