“Bruce Springsteen @ 75,” a novel penned by American music journalist Gillian G Gaar is a real treat for any Springsteen admirer. The book, retailing at £40, takes an in-depth look at Springsteen’s illustrious life and career through 75 significant events, performances, songs and albums, coinciding with his 75th birthday in September. In addition to the riveting narrative, the book is peppered with a generous selection of pictures from his life both on and off the stage.
Unlikely as it might seem, there’s still fresh perspective available on the life and artistry of David Bowie. Me and Mr Jones, authored by Suzie Ronson at £20, is a testament to that. Ronson spent her adolescent years working as a hairdresser in Beckenham, London where she used to serve Mrs. Jones, a regular customer who just happened to be the mother of rising star David Bowie in the early 1970’s.
In one of their encounters, Mrs. Jones mentioned that her son had made it to the top 10. A subsequent visit by Bowie’s mother introduced Ronson to Bowie’s wife, Angie. Soon after, the hairdresser found herself being drawn into Bowie’s vibrant, ever-changing world, eventually marrying his guitarist Mick Ronson. Ronson was responsible for creating Bowie’s signature Ziggy Stardust hairstyle, which became a symbol of true audacity in the world of fashion and hairstyles. This unlikely connection may seem like a long-shout but Ronson delves into it with gusto in her 300-page book. The novel features cameos from the likes of Lou Reed, Iggy Pop, and Bob Dylan, reminiscing her life in vibrant, candid reflections. Her words, “My life was all black and white until I met David,” are heartfelt and leave lasting impact on the reader.
Also partaking in the voyage of belief is “In the Jingle Jangle Jungle” authored by Joel Gion, who is famously known for his role in the cult American psychedelic/rock ensemble, The Brian Jonestown Massacre. Retailing at £22, courtesy of White Rabbit Publishers, the narrative spans over the first decade of the band’s course that utterly known for their extravagant and indulgent behaviours. These perceived actions have sparked concerns as much as they’ve made the band a symbol of the classical hedonism that reigned in rock’n’roll during the 1960s and 1970s era.
Gion pens down, “There were moments when I was devoid of substances to escalate my consciousness, nonetheless, that never affected me. I reflected a nonchalant attitude towards substance abuse, particularly during the recording sessions.” The initial period of the band’s formation is overviewed with deep thought and wisdom, addressing choices of living patterns Gion writes, “I find myself sinking in silence of deliberately self-induced poverty.”
Their self-indulgence journey is contrasted by genuine life encounter, he notes, “Cocaine is not particularly enjoyable for me. This peculiarly is the main reason why I remain mentally sound enough to be weaving this story.”
Gion brings his memoir to an end when the band starts performing tracks from their 1998 album, “Strung Out in Heaven”. The book is filled with worldly and biting details that leave the readers in hope of a sequel.
In terms of succession, “You Spin Me Round: Essays on Music”, an assemblage edited by Adrian Duncan, Niamh Dunphy and Nathan O’Donnell (PVA, €15) is eagerly anticipated. The book surprisingly delivers influential insights through personal works of known authors like Aingeala Flannery, Wendy Erskine, Brian Dillon and Ciaran Carson, along with critical analysts like McKenzie Wark, Colin Graham and Tabitha Lasley. The compilation of around twelve essays leaves readers spellbound. With contributions evaluating the defining relevance of music to human emotions and existence, from Erskines’ skillful scrutiny of the music video for Rod Stewart’s renowned song “Hot Legs” to Wark’s jubilation on gender emancipation, every write-up leaves a significant impression.
In Jane Savidge’s incisive tell-all, ‘This is Hardcore’, published by Bloomsbury at £8.99, she insightfully traces the narrative of Pulp’s 1998 album. Notably, this album is widely perceived as representing Jarvis Cocker’s growing disenchantment with fame, as well as signifying the final throes of Britpop. Savidge charts the course from Cocker’s notorious interruption of Michael Jackson’s performance to his ultimate confession of finding more joy in reading books rather than performing.
The album, which reflected on ageing, fame and various distractions such as drugs and pornography, was decidedly less palatable than earlier Pulp hits including ‘Common People’ and ‘Disco 2000’. Nevertheless, it revealed a bizarre liberation for Cocker and a rejection of his original materialistic inclinations.
Likewise, ambition is a focal point in Amanda Kramer & Wayne Byrne’s ‘Hired Guns: Portraits of Women in Alternative Music’, published by Equinox Publishing and priced at £25. Their approach is straightforward yet compelling; interviewing ten female artists about their careers. The in-depth responses create lengthy feature articles making ‘Hired Guns’ an extended read, but the broad range of musician profiles are its distinguishing factor.
The subjects encompass individuals from the recognised to the overlooked, who work predominantly outside mainstream recognition. Byrne, an Irish co-author, suggests their duty “is to bring skill, not ego”. Among those interviewed, Gail Ann Dorsey and Sara Lee are familiar due to their well-publicised work with David Bowie and acts like Robert Fripp, B-52s and Indigo Girls, respectively.
Some lesser-known artists include touring and session performers such as Clare Kenny, Susan Miller, Tracy Wormworth, Joy Askew, Lori Barbero, Caroline Dale, Angie Pollock and Sue Hadjopoulos, alongside Dorsey and Lee. Each one contributes to a narrative woven with threads of fortitude and dynamism.
The Blind Boys of Alabama have been consistently delivering Christian music with devotion, energy, and a touch of humour since the early 1940s. Despite the inevitable changes in the lineup over the years, owing to the passing of the six original founders, the group has been successful in maintaining a steady influence in the world of gospel music.
In their book, Spirit of the Century: Our Own Story, published by Hachette Books (£25), many of the living members walk us through the transition from a specialized audience to wide-spread recognition. Guiding this narrative is US cultural historian, Preston Lauterbach, who masterfully facilitates this journey of the group, bringing in sources from historic archives along the way, which allows for an intimate education of history. Two key figures feature prominently in this history – Jimmy Lee Carter, who retired from singing at 91 and views his performances as divine (“When I step on stage, I’m not Jimmy Carter, I’m the Spirit of God”), and Clarence Fountain, who brought a strong, unwavering faith to the stage (“We didn’t come here looking for Jesus – we brought Him along with us”).
Lauterbach lauds the group’s musical legacy as being part of the remarkable ‘gospel highway’, a national effort in the Black community to promote and nurture their unique music culture. The book unfolds across three distinct sections – Genesis and Revelations, Exodus, and Resurrection – detailing the group’s gradual but consistent ascent to success. Despite facing decades of prejudice, the story illuminates the resilience shown by this performing group that continues to promote their message of faith through their music. As Lauterbach astutely observes, “The soul of America is alive and well in this music. You just have to know where to find it.”