We’re All Alone

Delta Lady: A Memoir by Rita Coolidge with Michael Walker (Harper, $25.99, 225 pages)

In the Acknowledgments, Rita Coolidge states that from the age of four she “dreamed of writing a book.” Sadly, this memoir does not read as if it was written. It reads as if it was dictated onto audio cassettes and transcribed by the writer whose name is found beneath hers in small letters. There’s simply no voice, no style present that gives it personality; thus, one never feels like time has been spent with the singer-musician.

Coolidge concedes that people usually think of her as the woman who was once married to Kris Kristofferson. Those wishing to find out something about that marriage may be satisfied with what they read in these 219 pages. But those wishing to learn more about her life in or out of the music trade may be left wanting.

One frustrating thing is that Coolidge makes bold statements before walking them back. For example, she’ll state that musician Joe Blow used too much cocaine, and then retract that by saying it’s not for her to say what too much is. Tentativeness in a “tell all” is so unsatisfying.

It seems like Coolidge waited decades to tell her story and then hedged in the telling.

Note:

Delta Lady could have used assistance from a strong editor. There are awkward statements and content throughout. For example, at one point we read this about Janis Joplin: “She drank too much than was good for her…” And Coolidge tells us that after her mother died, “I had a gig on the eighteenth and knew she wouldn’t want me to not do that gig.” Ouch!

There’s also noticeable repetition in the account. For example, one particular background singer did some work with the Rolling Stones. So every time her name is mentioned, we’re told – with but one exception – that this woman once sang with the Rolling Stones. These may seem like small points, but they’re not so small when you’ve shelled out $26.00 for a finished work.

Finally, there may be some issues with factual accuracy. Coolidge states that the Mad Dogs and Englishmen tour left Joe Cocker physically and financially impoverished. Other accounts note that Cocker’s poor physical state was due to alcoholism. And the Mad Dogs and Englishmen double-album made Cocker rich. It was the second-best selling album in the U.S. when it was released, and was very likely the best selling recording on college campuses. A&M Records co-founder Jerry Moss stated, “‘The Letter’ (from the Mad Dogs album) was the first hit for Joe… The record went (Top 10) platinum and sold well… That whole group was incredible, and it was an amazing experience – what they did live and on record was magnificent. After that success, we were able to get Joe back in the studio to make more great records.”

Joseph Arellano

A review copy was provided by the publisher.

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Get It While You Can

Live at the Fillmore East & West by John Glatt (Lyons Press, $26.95, 413 pages)

Live at the Fillmore East & West by John Glatt is an entertaining overview of the rock scene in the late 60s and early 70s, but it did not provide quite as much information as I expected. The book is not an accounting of all or most of the bands that played at the Fillmore East in New York City or at the Fillmore West in San Francisco (which was once my veritable second home). Instead, it is a snapshot of the times, with particular focus given to – as noted on the cover – Bill Graham, Janis Joplin, Grace Slick, and Carlos Santana. One’s enjoyment in reading the book will depend on how interested you are in these four figures. So much has been written about Joplin that there’s little new here, and there’s likely too much about promoter Bill Graham as Glatt earlier wrote Rage & Roll: Bill Graham and the Selling of Rock.

Another issue is that in attempting to humanize these figures, there’s too much attention paid to their flaws and conflicts and personal relationships; too little attention is paid to the music they created. As with most rock and roll stories, sex and drugs are over-emphasized. Graham is quoted as stating that, “…cocaine came in and cocaine ruined the music.” Even if this is true, focusing on musicians’ drug use grows boring quickly – very, very quickly.

The most fascinating part of Live is the detailed explanation as to how the Fillmore East came to be born. Fillmore West likely gets less attention than it deserved. It’s worth restating that the music fails to get the attention it deserves. Glatt’s account ends somewhat suddenly and anti-climatically with Graham’s accidental death, after the closing of the rock palaces.

Although Live lacks the depth and detail that its subtitle promised (“Getting Backstage and Personal with Rock’s Greatest Legends”), it nevertheless makes me want to read Glatt’s earlier rock and roll book.

Recommended, for those seeking a less than fully comprehensive look at the subject matter.

Joseph Arellano

A review copy was provided by the publisher.

Note: The hardbound release contains several errors/typos. For example, Spencer Dryden is referred to as Spender Dryden. The Monterey Folk Festival is called the Monterrey Folk Festival. And the drug Halcion is called Halcyon. These mistakes will hopefully be corrected in the trade paperback edition.

Coming Up Next…

A look at Live at the Fillmore East: Getting Backstage and Personal with Rock’s Greatest Legends by John Glatt.

Instant Karma

Corn Flakes with John Lennon and Other Tales From a Rock ‘n Roll Life by Robert Hilburn (Rodale, $14.99, 280 pages)

“…the best music doesn’t just fill a void in the listener…  it can also fill a need in the artist.”   Robert Hilburn

“I look at people as ideas.   I don’t see people as people.”   Bob Dylan

“And we all shine on, like the moon and the stars and the sun.”   John Lennon

The fine long-time music critic for The Los Angeles Times, Bob Hilburn, takes us along on his trips with “the best rock stars” in this engaging account of his years in the music business.   It is mostly a study of personalities, big ones, such as John Lennon, Bob Dylan (“The most important figure in rock…  rock’s most celebrated living figure…  the greatest songwriter.”), Bruce Springsteen, Elvis Presley, Neil Young, Bono of U2, Johnny Cash and Janis Joplin.   There are also quick, brief encounters with Sir Elton John, Sir Paul McCartney, Michael Jackson, Mick Jagger, Joni Mitchell, John Prine, Waylon Jennings, and Jack White.

You’re probably thinking that you’ll enjoy this memoir if you happen to like these artists, most of whom were blessed with the approval of both Hilburn and Rolling Stone magazine.   You’ll be right in that thought, and also will likely find that it has less charm if these artists are not your cup of tea or Java.   Hilburn makes quite clear that he dislikes “superficial artists” (a term coined by Dylan), among whom he includes Rod Stewart, the “cold” Steely Dan, and Madonna.   He writes of the latter that she’s a “sharp cookie” who always provides good quotes for an interviewer, but “I’m not generally a fan of her music.”

So, yes, this is an account of hanging out on the road with the stars of boomer rock and country music.   The true tales from the 1970s are the most interesting ones – when rock was seemingly full of excitement and energy (and played on vinyl) – and the telling seems to get tired and grumpy as we approach current times.   Hilburn, in fact, closes the book with a tremendous sense of pessimism about the music trade’s prospects for survival.

If Hilburn has a fault, it’s an obvious one in that he often gets close to being over the top about those artists, those geniuses – such as Dylan and Mitchell, that he favors.   Not only does he realize it, but so do some of the performers he’s supported.   For example, at one point he asks Bono if the musician fears that the public will become tired of him.   Bono replies, “Look, I’m tired of Bono and I am Bono.”

“Paul’s like a brother.   We’ve gone way past all that.”   John Lennon

If there’s a reason to buy this book, now available in trade paperback form, it’s for the touching overview of Hilburn’s days spent with Lennon in New York City just two weeks before the former Beatle’s tragic death.   This Lennon is a man at peace with himself, in love with his life, and ready to forgive and forget.   One very revealing note is when John tells Hilburn that all of the stories about the deep rift between him and Paul McCartney were just that, stories.   John noted he and Paul were, deep down, brothers still.

Hilburn’s book is a brief for the magical power of rock ‘n roll.   It may now be an endangered art form, but Hilburn reminds us that, at it’s best – as when it’s performed by The Boss (Springsteen), “rock ‘n roll can still be majestic.”

Well recommended.

Joseph Arellano

Take Away:  This is a very entertaining journal of life within the rock ‘n roll circus tent.   However, Hilburn sacrifices a bit of credibility when he refers to Kurt Cobain as one of rock’s greatest figures and as “the great talent” of the 1990s.   As he admits, “I often had a hard time convincing…  people when it came to Kurt.”   In the words of The Band, take what you need and leave the rest.

This book was purchased by the reviewer.

On the Road Again

Corn Flakes with John Lennon and Other Tales From a Rock ‘n Roll Life by Robert Hilburn (Rodale; $14.99; 280 pages)

“…the best music doesn’t just fill a void in the listener…  it can also fill a need in the artist.”

“I look at people as ideas.   I don’t see people as people.”   Bob Dylan

The fine long-time music critic for The Los Angeles Times, Bob Hilburn, takes us along on his trips with “the best rock stars” in this engaging account of his years in the music business.   It is mostly a study of personalities, big ones, such as John Lennon, Bob Dylan (“The most important figure in rock…  rock’s most celebrated living figure…  the greatest songwriter”), Bruce Springsteen, Elvis Presley, Neil Young, Bono of U2, Johnny Cash and Janis Joplin.   There are also brief encounters with Elton John, Paul McCartney, Michael Jackson, Mick Jagger, Joni Mitchell, John Prine, Waylon Jennings, and Jack White.

You might be thinking that you’ll enjoy this memoir if you like these artists, most of whom were blessed with the approval of both Hilburn and Rolling Stone magazine.   You’ll be right in that thought, and also will likely find that it has less charm if these artists are not your cup of Java.   Hilburn makes very clear that he dislikes “superficial artists” (a term coined by Dylan), among whom he includes Rod Stewart, the “cold” Steely Dan, and Madonna.   He writes of the latter that she’s a “sharp cookie” who always provides good quotes for an interviewer, but “I’m not generally a fan of her music.”

So, yes, this is an account of hanging out on the road with the stars of boomer rock and country music.   The true tales from the 1970s are the most interesting ones – when rock was full of excitement and energy – and the telling seems to get tired and pessimistic as we approach present times.   Hilburn, in fact, closes the book with a lot of pessimism about the current music trade’s prospects for survival.

If Hilburn has a fault, it’s an obvious one in that he often gets close to being over the top about those artists, those geniuses, he favors.   Not only does he realize it, but so do some of the artists he’s supported.   For example, at one point he asks Bono if the musician is afraid that the public will become tired of him.   Bono answers, “Look, I’m tired of Bono and I am Bono.”

“Paul’s like a brother.   We’ve gone past all that.”   John Lennon

If there’s a reason to buy this book, now available in trade paperback form, it’s for the touching overview of Hilburn’s days spent with Lennon in New York City just two weeks before the former Beatle’s tragic death.   This Lennon is a man at peace with himself, in love with his life, and ready to forgive and forget.   One very revealing note is when John tells Hilburn that all of the stories about the deep rift between him and Paul McCartney were just that, stories.   John noted that he and Paul were, deep down, brothers still.

Hilburn’s book is a brief for the power of rock ‘n roll.   It may now be an endangered art form, but Hilburn reminds us that, at its best – as when it’s performed by Bruce Springsteen, “rock ‘n roll (can) still be majestic.”

Well recommended.

Take Away:  This is a very entertaining journal of life within the rock ‘n roll circus tent.   However, Hilburn sacrifices a bit of credibility when he refers to Kurt Cobain as one of rock’s great figures and as “the great talent” of the 1990s.   As he admits, “I often had a hard time convincing…  people when it came to Kurt.”   Take what you need from this account and leave the rest.

Joseph Arellano