An indispensable oral history of an often misunderstood musical genre.
The most important lesson this mammoth tome teaches us is that metal means far more than one might believe. It isn’t just Black Sabbath, Slayer, Guns N’ Roses and teased hair, write Revolver senior writer Wiederhorn and Nights with Alice Cooper producer Turman. Rather, it’s an umbrella under which falls numerous subgenres, including thrash, death and black, oftentimes incorporating and/or encompassing punk, rap, and good, old-fashioned rock ’n’ roll. This is why a style of music that hasn’t completely crossed over to the mainstream more than merits this lengthy, in-depth study. The success of an oral history is primarily dependent on the quality and quantity of interview subjects, and here, the authors lined up a veritable murderer’s row of talking heads: Jimmy Page, Henry Rollins, Gene Simmons, Slash, Courtney Love, Kurt Loder, Sharon Osbourne and Dee Snider are among the dozens of high-profile musicians and industry insiders who offer up commentary. The authors also spoke with members of well-known cult bands like Slipknot, Minor Threat and Bad Brains, as well as Type O Negative, Disturbed, W.A.S.P. and Cannibal Corpse. The majority of the interviewees are forthcoming and compelling, which makes for great reading for both hard-core headbangers and general music fans. The anecdotes run the gamut from debaucherous (lots of sex, drugs and violence) to heartbreaking, but there’s plenty of factual meat to satisfy readers in search of the history behind the music and the facts behind the myths. The subtitle doesn’t lie: This hugely impressive achievement is, without question, definitive.
Even if your metal collection consists of a couple of Kiss cassettes and an AC/DC CD, you’ll find this a killer read.
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").
Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)