Alex Van Halen knew from the start that his younger brother had a talent like no one he’d heard before. And he knew that together they could form a rock & roll band around this talent that would knock the lights out of people who came to their concerts or put on their records. And he knew at seventy years old, alone without his brother, that he had to tell a story about this sensitive soul that not a lot of those people ever got to know. He called it Brothers.

Although the title of Alex Van Halen’s new memoir emphasizes the content will revolve around his relationship with his kid brother Edward (who passed in 2020), it can also symbolize the brothership that solidified between four young men as their band sweated and practiced and fought for Van Halen’s ultimate success. Although bass player Michael Anthony isn’t given much ink, frontman David Lee Roth most certainly is. And although he calls the hairy-chested belter an arrogant diva, he also gives credit where credit is due: that Van Halen wouldn’t have been as great without him.

But the pages belong to Alex and Ed, whose voice emanates from previously published interviews more than from conversations between him and his brother. That intimacy has been quietly left out. On the other hand, Alex provides insight into Ed’s thoughts and feelings about the music and the band via these excerpts. If you’re okay with Alex sharing Ed’s already out-there words and not so many original conversations between the two, then you will love this book.

It’s a very entertaining, fast-paced read aside from Alex when others are quoted (some of these are quite hilarious). You get an excellent peephole view into life before they were VAN HALEN, the rock superstars. Alex gives plenty of examples of the early bond he and Ed shared: how coming to a country they didn’t yet understand kept them from spinning off into separate friend groups, how their parents were a steady influence and grounding force for them, how school was a struggle academically but taught them to remain brothers-in-arms while opening their eyes to a world where music could be their destiny. 

Once Roth enters the picture, it’s all crazy with endless touring and recording. Again, Alex uses a lot of pre-published quotes to show the ins and outs of recording their albums up to 1984; but he does have his moments describing those times. “Look, we were young, we were opinionated, we were full of piss and vinegar and all that,” Alex wrote about the early days. “We were also delusional because we were not as good as we thought. But we were better than everyone else thought.”

Roth remains a double-edged thorn in his side, even to this day. One minute, he praises the singer’s ability to perform and work up an audience; the next, he shakes his head at the absurdity of the antics Roth can devise. “Dave was a pseudointellectual, a dilettante, who knew little about many things but only knew a lot about one thing: himself!” 

Ed is also not immune to some of Alex’s irritations. Alex was NOT happy about Ed recording a guitar solo for Michael Jackson’s “Beat It.” He did not believe his brother’s assertions that metal guitar picks caused his tongue cancer instead of all the cigarettes he smoked a day. But through everything, their bond never broke.

The book stops with 1984 and Roth’s departure. Nothing about Sammy Hagar. There is nothing about the rekindled tours with Roth. A brief mention of “Right Now” alongside “Jump” as being their biggest hits, although labeled as “keyboard tunes.” Maybe he has a book two planned or just wanted to publicly reflect on the best times of his life with the original Van Halen. “The point of a band is that you’re in it together; blood in, blood out.”

The final Coda of the book is Alex’s letter to Ed, an intimate remember this tap on the shoulder, a fuss at about not taking better care of yourself, and the admittance of how although life can be good there is still an emptiness without his brother there with him. “We were brothers. We’re still brothers. Even death can’t change that.”

Live photograph by Leslie Michele Derrough

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As the chief pop music critic and editor for the Los Angeles Times during the prime of Newman’s music career, Robert Hilburn is the ideal person to tell that story. And he does so remarkably well in A Few Words in Defense of Our Country. Coming in at almost 550 pages, this book is clearly exhaustive, starting with his family’s migration from New York to California and his uncles’ careers making music for Hollywood films, leading to Newman’s own relationship with music, as well as his initial bucking of the family business making it as an album focused musician before flirting with and finally embracing his career as a composer of film scores. Over the last couple of decades, Newman has managed to create a solid track record in both careers simultaneously.

The book is well researched, including interviews from those closest to Newman, and was written with the musicians’ cooperation, making for a substantially robust bio. Almost as important as the interviews with those who know him the best are the remarks of fellow musicians talking about Newman’s influence on them as songwriters. Newman was never one to shy away from social themes like racism and inequality, and as a result, a song written nearly 50 years ago still rings true in 2024.

The book’s weight is likely to be an obstacle to those who don’t know Newman well, but for anyone willing to devote the time, A Few Words in Defense of Our Country is a fascinating read about one of the best pop/rock songwriters of the 1970s—a writer whose songs still come across as timely a generation after they were first recorded.

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In Born With a Tail, Doug Brod does a fantastic job digging deep into LaVey’s life and telling a remarkably rounded story that unfolds in such a way that never loses the reader’s attention, with just the right amount of skepticism mixed with light admiration for what he was able to accomplish in his lifetime. Brod brings an impressive depth to his research akin to the work he did with his last book, They Just Seem a Little Weird: How KISS, Cheap Trick, Aerosmith, and Starz Remade Rock and Roll. The story is told through LaVey’s own writings, interviews, and recollections from his friends, family members (those close and long estranged), as well as former members of the church. 

The book delves into LaVey’s childhood, raised by Jewish parents in California, where he was a talented piano player who would make money playing at venues across San Francisco. At the dawn of the church’s founding, impressively, he drew the attention of celebrities like Jayne Mansfield and Marilyn Monroe (though as LaVey is an unreliable narrator of his own story, it’s unclear whether or not his relationships with the actresses were more than just friends). Later into his career as a satanist, Sammy Davis Jr. became close to LaVey, as did (not exactly surprising) Marilyn Manson.

Some of the best stories here revolve around LaVey’s connections to Hollywood, many exaggerated over the years. In particular, his role as an advisor and one-line actor in the dreadful 1975 horror movie The Devil’s Rain is a fascinating read and crammed with sensational details. The movie, financed by the mafia, boasted a cast that included William Shatner, Tom Skerritt, Ernest Borgnine, and a young John Travolta – all on set with LaVey in Mexico. It was here where Travolta was first introduced to Scientology (a big loss for LaVey and his church).

Despite being filled with a detailed rundown of just about every milestone in LaVey’s private and public life, Born With A Tail is a fast read owing greatly to Brod’s entertaining, conversational narration. The author also does a commendable job of telling LaVey’s fascinating story without coming off too cynical or too fawning while still covering all aspects of the figure who was able to become a modern-day boogieman to many while serving as a highly entertaining talk show guest to many others.       

The post Doug Brod’s ‘Born With A Tail: The Devilish Life and Wicked Times of Anton Szandor LaVey’ Captures an Illustrious Life (BOOK REVIEW) appeared first on Glide Magazine.

Hanna’s authenticity and introspection shine through as she discusses her upbringing, her nuanced relationship with the Riot Grrrl movement, and her personal battles, including her health struggles and her partnership with Adam Horovitz of the Beastie Boys. Her narrative is rich with detail and sensitivity, making her life story both compelling and inspiring. Kathleen Hanna also shared a complex and notable history with both Kurt Cobain and Courtney Love. As a close friend of Cobain, Hanna played a significant role in the early days of Nirvana, even inspiring the title of the iconic song “Smells Like Teen Spirit” through a piece of graffiti she left on Cobain’s wall. Her relationship with Courtney Love, however, was fraught with tension and conflict, emblematic of the rivalries within the 90s alternative music scene. Despite the public feuds, Hanna’s interactions with Cobain and Love reflect the intricate dynamics and intense passions that fueled the era’s music and cultural movements.

One of the standout features of Rebel Girl is Hanna’s skill in balancing the portrayal of her difficult experiences with the remarkable successes she has achieved. Despite the often distressing details of her past, her strength and wit are evident, making even the toughest moments accessible and relatable. This balance highlights her growth and transformation as both an artist and an individual, emphasizing the extensive personal work she has undertaken.

Hanna’s memoir is more than a personal account; it is a reflection on the broader social and cultural challenges she has confronted and fought against. Her dedication to feminist activism, particularly her efforts to create spaces for women in music, is a recurring theme that underscores the necessity of inclusivity in the arts and beyond. Her reflections on the Riot Grrrl movement are particularly insightful, as she addresses its achievements and shortcomings with a thoughtful and critical perspective.

For long-time admirers of Hanna, Rebel Girl provides a deeper understanding of the person behind the music and the movement. For those less familiar with her work, the memoir serves as an illuminating introduction to a pioneering artist who has significantly influenced the cultural landscape. The book also features stunning photography, adding a visual dimension that complements Hanna’s vivid storytelling. Rebel Girl is a must-read for anyone interested in music, art, culture, and social issues. Hanna’s narrative is not just a personal journey but also a chronicle of a vital cultural movement that continues to have a lasting impact. Her ability to infuse humor into her storytelling, even when discussing serious and challenging topics, makes the memoir both engaging and thought-provoking.

Whereas 2013’s documentary The Punk Singer did a great job of providing an overall survey course of Hanna’s life, Rebel Girl is the equivalent of taking an upper level class in Kathleen Hanna’s life and impact. Her honesty, resilience, and irreverent humor make this book an inspiring read that will resonate with both fans and newcomers. It serves as a powerful reminder of the importance of self-reflection, healing, and the ongoing struggle for equality and justice.

The post Kathleen Hanna Shares Deep and Introspective Stories in Memoir ‘Rebel Girl: My Life as a Feminist Punk’ (BOOK REVIEW) appeared first on Glide Magazine.

In Leon Russell: The Master of Space and Time’s Journey Through Rock & Roll History, writer Bill Janovitz – probably best known by most as the frontman for Buffalo Tom – does a masterful job of telling the most comprehensive story yet of Russell, a musician as complicated as he was brilliant. The Oklahoma native got his start playing local night clubs at 14, later connecting with J.J. Cale in a band the got a gig backing Jerry Lewis, before striking out to Los Angeles. Janovitz details Russell’s transformation in LA, growing out his hair, leaning fully into the hippie lifestyle and snagging the nickname Master of Space and Time, a moniker that is equal parts ludicrous and fitting.

Along the way, he founded his own publishing company and record label, took on the role of producer, composer, arranger and studio musician, meanwhile getting screwed out of credit and money from those in the business, something he would eventually do to other musicians to varying degrees according to stories in the book. Janovitz, in covering all aspects of Russell’s life and influence, doesn’t gloss over some of the more difficult and bizarre actions in his life. Through interviews with friends and family of Russell, he looks into whether some of his more irrational behavior at times could be attributed to Autism or undiagnosed bipolar disorder (or both). He also digs into his likely addiction to food and the health problems that it caused towards the end of his life. 

But he also gives an overwhelming focus to the immense talent of Russell, including his role as the band leader for Joe Cocker’s Mad Dogs & Englishmen tour, which spawned both a movie and wildly popular album and his role of musical inspiration for everyone from Elton John and Tom Petty (an early signing to his record label) as well as future Concrete Blonde co-founders Johnette Napolitano and James Mankey, both former employees of Russell.

With The Master of Space and Time’s Journey Through Rock & Roll History, Janovitz has created the authoritative look on the life of one of the most original American rock musicians to come out of the 1970s. Despite having a fairly small catalogue of truly great albums (as well as admittedly a handful of uninspired offerings), Russell remains a major influence on musicians today, almost a decade after his death.  

The post Bill Janovitz Chronicles the Story of Leon Russell in ‘The Master of Space and Time’s Journey Through Rock & Roll History’ (BOOK REVIEW) appeared first on Glide Magazine.

A great example of this is the chapter about “Sunshine Superman” by Donovan. For decades, fans have mostly assumed that the song was an allusion to LSD. However, in the interview with Donovan Leitch he explains how the song was actually a love letter to his then love interest (now his wife of over 50 years). Donovan discusses how the inspiration for the word ‘sunshine’ in the song was merely a description of the sun coming through his window and the reference to ‘Superman’ was inspired by Nietzsche’s Thus Spoke Zarathustra. It was also interesting to discover that the session musicians on “Sunshine Superman” included John Paul Jones on bass and Jimmy Page on guitar before the days of Led Zeppelin.

Another great chapter is about Creedence Clearwater Revival’s “Bad Moon Rising”. Many have assumed that it has to do with astrology, but according to John Fogerty it was more of a send-up on astrology. Fogerty discusses how he always thought astrology was a bit silly and that spawned the idea to write down the phrase ‘bad moon rising’ for future inspiration. The rest of the lyrics were inspired by the movie The Devil and Daniel Webster.

In the chapter discussing “Barracuda” by Heart, sisters Ann and Nancy Wilson reveal that the song came out of anger resulting from a trade ad made by their record company that implied they were incestuous lovers. Ann was furious and wrote a scathing poem that became the lyrics. Joan Jett discusses how she formed the Blackhearts and how the name had no deeper meaning except that a black heart is easy to draw on a bathroom wall. Her producer/cowriter also discusses how the song “Bad Reputation” came out of a conversation with Jett when labels wouldn’t sign her because of her ‘bad reputation’ in which Jett replied ‘I don’t give a damn about my bad reputation’. And the rest is history.

This is just a small sample of the wealth of stories contained in Anatomy of 55 More Songs. The chapters are laid out in chronological order from “Walk On By” by Dionne Warwick to “If It Makes You Happy” by Sheryl Crow. Myers interviews David Byrne, Chris Frantz, Tina Weymouth and Jerry Harrison for the chapter on “Burning Down the House,” and Kenny Rogers for “The Gambler”. The chapters are fairly short, making it an easy read. An added bonus would be to listen to the song the chapter is discussing right before reading it to have it fresh in your head. Anatomy of 55 More Songs is a fantastic addition to any music lovers library.

The post Marc Myers Reveals the Stories Behind Iconic Tunes on ‘Anatomy of 55 More Songs’ (BOOK REVIEW) appeared first on Glide Magazine.

However, Johnson does take you on one heck of a ride through his life up to then. With his knack for jovial double-entendres, he has written this just as he saw it and the reader is engrossed from the get-go, feeling as if Johnson was telling his tales to you in his local pub back in Newcastle, England, with lots of belly laughs, even when reflecting on the hard times. And hard times were plenty. The region was dreary with only hard labor jobs to look forward to in your adulthood unless you were lucky enough to find an escape path through school, the military, or plain dumb luck. Johnson found all three in one form or the other.

“Experience is what you get when you don’t get what you want,” Johnson writes in his Author’s Note. “This is a book about what happened when I didn’t get what I wanted but never stopped believing and never gave up.” His father was a soldier in WWII who met Johnson’s mother in Italy and brought her to northern England to sire and raise three sons and a daughter. They lived with relatives, including a set of grandparents who called the offspring “Italian pigs” and treated them as such. Once they were able to move into a place of their own, it was only slightly better.

One thing you do get with Johnson’s book is the invaluable time spent with his parents and his own earliest years growing up. He doesn’t skim over this to get to his rock & roll life, as typically happens in so many life stories. By doing this, you are able to connect to Johnson from the very beginning. You can feel the cold seeping in through drafty windows, you can feel the angst of an untouchable father who showed little affection except when bellowing at the top of his lungs. And you can feel his giddy moments of hope and his disappointment when they’re shot down. Life kept wanting to keep him in one place as one type of man but he kept fighting to be someone different – a singer. Obviously, he won that battle but the steps of the journey are intriguing.

Once Johnson enters into his musical dreams, you find out what it was really like to be a struggling band of young men trying to play gigs with a breaking-down van and jobs to get to in the morning; and in Johnson’s case, a wife and baby. Geordie took him to Top Of The Pops semi-stardom. Geordie II eventually brought him to AC/DC. He speaks highly of his bandmates, giving immense credit to Malcolm Young, who passed in 2017, and was always the heart and soul of the band: “Malcolm also had this uncanny ability to simultaneously watch every single move of every single person in the band, listen to their performance, study the audience’s reaction and at the end of the night, give the kind of feedback that might not have been easy to hear but made the show better the next night.”

The last portion of the 373-page book focuses on the making of the now-legendary album, Back In Black. Most of the lyrics were written by Johnson, giving the heave-ho to rumors that former singer Bon Scott had written them before dying tragically in February of 1980. After five weeks of recording in the Bahamas, the album was primarily done and would be released in July of 1980, sparking ravenous sales by fans who were anxious for their music. Album tracks like “Hell’s Bells,” “You Shook Me All Night Long” and the title track are still played on the radio and at sporting events to the same enthusiastic roars as they were in the early 1980s, except its now several generations instead of the one. 

You will also get some fun tidbits along the way about that cap, the t-shirt of his early years, how he got to those high notes during recording, meeting – but not realizing till years later – Bon Scott, and how Roger Daltrey encouraged him to never give up on his dreams.

Johnson’s story would continue through more albums, tours, and videos with AC/DC before the aforementioned ear problem kicked him into a long sabbatical. He writes openly about playing a show in the cold rain, immediately boarding a flight to the next show, his hearing going in and out during the next concerts and finally having a doctor give him a deflating prognosis. But new technology has given him hearing aids that work wonders and in March of this year Johnson performed at the Taylor Hawkins Memorial Concert.

So having just turned 75 in October, this singer from humble beginnings is not through yet, and picking up his Lives Of Brian is a great place to get to know this guy who found his calling at eleven years old after seeing Little Richard singing “Tutti Frutti.” “My dream of becoming a singer was born in that moment.”

Check out Leslie’s interview with 1975-1977 AC/DC bassist Mark Evans.

The post ‘The Lives Of Brian’ by Brian Johnson Revisits Raspy Voiced AC/DC Singer’s Early Years With Humor & Decorum (BOOK REVIEW) appeared first on Glide Magazine.

The story of The Allman Brothers Band, and particularly Duane Allman, is well-chronicled. Bob Beatty acknowledges this and makes two things clear. First, this is not meant to be a biography of Duane Allman. Second, it was Beatty’s affinity for the band that led him to write this particular story. It is the story of how Duane’s musical vision led the band to its lone commercial success before Duane’s death in a motorcycle accident in 1971.

Beatty’s story shows Duane as a session musician who was unsatisfied with playing blues and R&B covers. Perhaps the best summary of Duane’s quest is when Beatty says, “Duane’s career prior to forming The Allman Brothers Band was that of a talented musician and bandleader whose abilities were a poor fit for a music business focused on hit-making.”   

Play All NIght! tells the story of how Duane’s talent was easily recognizable, but his ethos of wanting to make music rather than hits and money led to a lack of fulfillment in the big music cities of New York, Nashville, and Los Angeles. It was a return to the South that began the fulfillment of Duane’s vision. It was after his return to the South that he recruited Dickey Betts, Berry Oakley, Butch Trucks, Jai Johanny Johanson to play the sound he had in his mind. Beatty describes a magical jam session that made the band realize they had something truly special. All that remained for the lineup was brother Gregg Allman as the chief songwriter.

This book is also the story of how The Allman Brothers band defied every convention to become one of the most influential bands in rock and roll history. It was an integrated band of long-haired musicians trying to find audiences in the south. It was a band that played free shows in parks simply for their own enjoyment and for the enjoyment of those who came to see them. It was a band of talented musicians that didn’t want to be one star and a group of sidemen. Ultimately, it was a band that, despite the lack of commercial success of its first two albums and the advice of record executives, felt a live album was the best option for the next album. In doing so, the band not only created a classic album but also the band’s best recorded effort before Duane’s untimely death, followed just a year later by the death of Berry Oakley.

Whether or not you’re a lifelong devotee of The Allman Brothers Band, Play All Night! is a story about what can happen when you remain true to your vision, no matter how unconventional it may be. Regardless, this book may lead you to check out the landmark live album that is the result of Duane Allman’s unrelenting quest.

The post Bob Beatty Zeros in on Allman Brothers History with ‘Play All Night!: Duane Allman and the Journey to Fillmore East’ (BOOK REVIEW) appeared first on Glide Magazine.

Powers, with the help of journalist Chris Campion details it all in his enthralling memoir Some Kind of Kick. Growing up as a gay Mexican American in the 1970s he found his people first at the legendary Rodney Bingenheimer’s English Disco hanging out with the other Glam rock kids trying to catch a glimpse of celebrities like David Bowie and Iggy Pop. Thanks to the Ramones, he pivoted to the burgeoning punk scene and founded the LA chapter of the band’s fan club – which allowed him access to the band as well as other groups touring through the area like Blondie and Patti Smith. 

Part of the charm of this book is how Kid Congo – a name he was christened with by Lux Interior and Poison Ivy upon joining The Cramps – manages to be humble and almost downplay his role in helping to co-create a remarkable music scene through his participation with some of the most influential bands to come out of the genre. He’s also frank about his flaws, in particular his drug use that included a longtime heroin addiction.

He also covers at great lengths his own experiences as a music fan, trying not to gush of meeting and eventually partying with many of the bands he obsessed over. It was through that shared fandom that he first met the late Jeffrey Lee Pierce, another equally odd kid seeking a connection through glam music and punk rock, who he co-founded the Gun Club, agreeing to be the guitarist without even owning a guitar, let alone knowing how to play one.     

Covering decades, growing as a musician, falling in and out of love and fighting addiction – something he ultimately would conquer – in Some Kind of Kick Powers gives testament to a nonconventional life lived to the fullest. Unlike many of his friends and peers from that scene who never made it out, Powers is still making music, branched out into acting in movies and TV shows and has amassed an incredibly compelling story.  

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SST – initially a mail order business Ginn started to sell old radio equipment – morphed into a record label when Black Flag was looking for a way to get their records out into the world. Over the course of several decades the California-based SST Records would become the Good House Keeping Seal of Approval for punk rock music, alongside the east coast-based Discord Records.

Ginn, a hero to many and a villain to many more, earns both titles in Corporate Rock Sucks as the highly driven head of a label that gave a slew of seminal bands their first start via SST (Minutemen, Husker Du, Dinosaur Jr., Meat Puppets, Sonic Youth and many, many more). He’s also portrayed as a mercurial individual who would turn on some of the bands he signed, as well as his own bandmates, and is alleged by many to have failed to pay royalties for their work. He’s also a Deadhead – likely the biggest sin for many punk rockers.

The book complies interviews from many in the SST universe, including former employees, musicians from a slew of former SST bands, other label head and producers that were part of some of those influential records. It is a complete and complex look, the eschews simple reverence and hero worship for a balanced look at the label and personalities that ran it. Rutland, who also co-authored bios of both Keith Morris and the band Bad Religion, is quickly becoming the Dean of Southern California Punk Rock, having penned three essential texts about the scene so far. Corporate Rock Sucks is essential reading for music fans, even those ambivalent about punk.

The post Jim Ruland Chronicles the Rise & Fall of SST Records on ‘Corporate Rock Sucks’ (ALBUM REVIEW) appeared first on Glide Magazine.