AMIEE MANN - "QUEENS OF THE SUMMER HOTEL"
Though the versatile Aimee Mann has embraced everything from comedy to Christmas songs, she has also demonstrated a willingness to dive into the deepest, darkest corners of the psyche. Her 2017 release "Mental Illness" won the Grammy for Best Folk album.
Her new one, "Queens of the Summer Hotel," contains songs Mann created for a stage musical (delayed by the Pandemic) based on "Girl Interrupted," Susanna Kaysen's memoir dealing with her psychiatric hospitalization in the 60s. As always, Mann's intricate compositions prove to be mesmerizing, moving and meaningful. Having grappled with her own anxiety and depression issues, she speaks through various characters on this album, exploring their secrets, struggles and pain.
The results can be melancholy, biting or disturbing, examining such subject matter as self-harm and suicide, but they also offer profound rewards to listeners who utilize their empathy. Lyrically the album is thought-provoking and poignant. Musically it's stunning. The arrangements, led by strings, piano, woodwinds, brass or acoustic guitar, is beautiful throughout. And Mann's voice -- graceful, emotive and eloquent -- enthralls endlessly.
"Suicide Is Murder" details the collateral damage of the deadly act. The tale swiftly told in "Home By Now" is also quietly unnerving. "Give Me Fifteen" damns doctors for having a callous approach to diagnosis. Inner torment that can't be buried sears in "Burn It Out," as Mann sings, "All of the shame that was yours to bear... Will it ignite like the signal flare?"
Among the other most arresting tracks are "You Fall," "Robert Lowell and Sylvia Plath," "At The Frick Museum," "You're Lost" and "I See You."
With its theatrical roots, "Queens of the Summer Hotel" has a different feel from Mann's other records. But it still brims with her intelligence, perceptiveness, wit, compassion, honesty and musical magic. On this album, Mann achieves a rare intimacy and understanding. Despite the darkness that permeates the record, it's not without hope and comfort.
NATALIE HEMBY - "PINS AND NEEDLES"
You may not recognize her name, but you're probably familiar with her songs. Natalie Hemby has written country hit singles for such stars as Miranda Lambert, Little Big Town, Kacey Musgraves and Lady A. Artists from other genres, including Lady Gaga, Ed Sheeran and Alicia Keys have also recorded her works. You might also know Hemby as a member of the female supergroup Highwomen.
Her second solo album, "Pins and Needles," should raise her profile even higher. She co-wrote the strong material here and the record is bursting with smart, relatable lyrics and memorable, mellifluous melodies. Hemby delivers the tunes with her winning, expressive, always convincing voice.
The sound, a pleasing blend of country, rock and pop, serves Hemby well. Hemby reveals the fallibility of those we idolize on the opener, "Heroes." The title track rides on an infectious rhythm. Hemby puts plenty of bite into "Hardest Part About Business" and imbues "Heart Condition" with a beautiful ache. On "Radio Silence," she laments a relationship's fading magic. "Banshee" proves to be a distinctive pleasure. Hemby sings emotionally of love on the powerful ballad that closes the set, "The Last Resort."
With her latest solo album, Hemby shows that she doesn't have to share the spotlight to present exciting, catchy music.
BOOKS
SET THE NIGHT ON FIRE: LIVING, DYING, AND PLAYING GUITAR WITH THE DOORS
By Robby Krieger and Jeff Alulis [Little, Brown & Company]
It's one of the most intriguing stories in rock history. And yes, even after all the books, the sordid TV specials and even an Oliver Stone biopic, there is still much to uncover about The Doors.
People with even a tenuous connection to the band, and many who had no connection whatsoever, have attempted to cash in. But a new book is a must-read. "Set The Night on Fire," by Robby Krieger, offers a true, inside look at the group's history. The Doors' great guitarist also wrote or co-wrote some of their best-loved songs, including "Light My Fire," "Touch Me" and "Lover Her Madly." He was there and takes us into the intimate moments of creation, as well as the times of turmoil.
Krieger provides an in-depth look at the enigmatic Jim Morrison, an exceptionally complex individual. The poet/lead vocalist could be gentle and charming when relatively sober; violent and raging in darker moments.
It's exciting to hear about the first Doors rehearsals at Krieger's parents' house and the early writing sessions with Morrison. Krieger details how his composition "Light My Fire" benefitted from each of his bandmates making small, but vital contributions to the song.
Krieger relates his memories of famous and infamous concerts. A Doors performance could be magical... or a chaotic disaster. It could even devolve into a riot. The unpredictable Morrison made each show an adventure. Drugs, booze and a contempt for authority made brushes with the law inevitable. But there's no denying the power of the music The Doors forged. It was riveting, diverse, inventive and influential.
There's a recollection of the controversial "Ed Sullivan Show" appearance and the memorable one on "The Smothers Brothers Comedy Hour." Yes, Krieger touches on the Oliver Stone Doors biopic, its strengths and flaws, including its misleadingly disparaging portrayal of Morrison.
Other musical legends of the time drift through the pages of Krieger's book, among them Janis Joplin, Jimi Hendrix, Bob Dylan, Joan Baez and George Harrison.
Even the most ardent Doors fans haven't heard many of these stories before. It's so valuable to have an opportunity to leap into Krieger's mind and to learn how he developed into such a musical force. He was inspired by folk, blues, flamenco and jug bands, as well as rock 'n' roll.
He clarifies the artistic fires that burned within the four distinctive musicians -- Krieger, Morrison, John Densmore and Ray Manzarek -- as well as the self-destructive madness that plagued the band. Krieger also gives us insights into his life before and after The Doors. He takes us through the torments of his battles with substance abuse, cancer and nasty court cases involving the other surviving band members. Densmore and the late Manzarek published their own differing accounts of the band, sparking a feud between the two. Krieger's own take is long overdue.
Krieger shatters the myths, misconceptions and lies told about the band over the years. Devotees of The Doors will be thrilled by his honest and revealing memoir. It's enthralling, edgy and enlightening; sometimes funny, sometimes poignant. It provides new context that makes experiencing the band's music again that much richer.
FOREVER YOUNG
By Hayley Mills [Grand Central Publishing]
One of the biggest child stars of the 60s, Hayley Mills became the darling of the Disney studio lot. That came after she was spotted in her debut film, 1959's British crime film "Tiger Bay." The 12-year-old earned a BAFTA for Most Promising Newcomer.
Disney signed her to a seven-picture deal. Walt himself took her under his wing. The daughter of legendary actor Sir John Mills and writer Mary Hayley Bell, she was a sensation in such memorable films as "Pollyanna" (for which she won a special Academy Award at age 14) and "The Parent Trap." She even had a hit record.
Though she faced many challenges along the way, Hayley Mills carved out a successful career an adult actor, starring on stage and appearing in such notable television productions as "The Flame Trees of Thika," "Good Morning, Miss Bliss" and "Wild at Heart."
Hers has been a truly remarkable life and she tells her story in an irresistible new memoir. It's an impossible-to-put-down book, written with warmth and an incredible recall of even the tiniest details.
Hayley gives us insights into the vibrant, culturally thriving London of the 50s and 60s; the bucolic joys of the family farm; and the razzle and dazzle of Hollywood. She presents a fond and admiring picture of Walt Disney. He could, however, be uncompromising as a leader or negotiator.
Among the many other luminaries who pop up over the years, in Hayley's book, are Laurence Olivier and Vivien Leigh, Karl Malden, Jane Wyman, Roddy McDowall, Alan Bates, Jane Birkin, Gypsy Rose Lee and The Beatles. Her anecdote about a date with George Harrison, at the onset of Beatlemania, is priceless. Harrison's later spiritual journey inspired Hayley to delve into Eastern religious philosophies.
Early on, Hayley was caught up in the Disney magic. Imagine getting a tour of Disneyland, guided by none other than the theme park's creator, Walt. She was living out a fantasy. But it wasn't all glamour and fun. There were pressures. And Hayley's insecurities and self-esteem issues dogged her. She developed an eating disorder.
Hayley's sudden phenomenal rise sparked tensions within her loving family. Her previously inseparable parents had to separate often, when her mother had to stay with her in Hollywood, while dad was off shooting a picture in another country. Hayley's mother had a reliance on alcohol that became problematic.
Then there was the sibling situation. Hayley had not had any grand ambitions or formal training. Her sister Juliet did study extensively and worked hard to establish herself in acting. So Hayley felt guilt at the fame that fell into her lap.
Hayley had no say over her own career. Disney and her parents made all the decisions. She didn't even know that she was being awarded the special juvenile Academy Award (the last that was ever presented). Annette Funicello accepted for her. A grown-up Shirley Temple had presented the gleaming statuette. Hayley was back in England, at boarding school, and was shocked when the Oscar was later delivered.
Despite her sweet, innocent image, Stanley Kubrick wanted to cast Hayley as the title character in "Lolita." Disney and mum and dad quashed that notion instantly. That was one of several classic roles she had to pass up. But for Hayley Mills, that's the one that remains the most disappointing lost opportunity.
She did make numerous pictures that delighted her legions of fans, including "That Darn Cat" "The Chalk Garden" "Summer Magic," "The Moon-Spinners," "Whistle Down The Wind," "In Search of the Castaways," "The Trouble with Angels" and "The Family Way."
Hayley left Disney studio when her contract ended, so she could pursue more diverse roles.
The business side of movie-making displayed an ugly side. After feeling secure about the trust her father had established for her, Hayley was rudely awakened to the reality of the British government's tax department insisting she owed them 90 percent of everything she had ever earned.
At 20, Hayley entered a tumultuous romance and marriage to producer/director Roy Boulting, a controlling man, 32 years her senior. By the time their baby came along the union was in its final stages of crumbling.
The memoir takes us through Hayley's first 21 years. Written with candor and compassion, it's a fascinating look at an endearing star. We'll look forward to a volume two, which would take us through the next chapters of her extraordinary life.
MELLENCAMP
By Paul Rees [Atria Books]
Beginning in the early 80s, Johnny Cougar achieved pop stardom. The Indiana-based singer-songwriter built a huge following with such smashes as "Hurts so Good," "Jack & Diane" and "R.O.C.K. in the U.S.A." As years past, he reverted to his real name, John Mellencamp, and abandoned his commercial rock sound for something grittier, something more raw and honest. He expanded his influences beyond British Invasion and Robert Johnson to such literary greats as John Steinbeck and William Faulkner.
Compositions like "Troubled Man," "Small Town," "Rain on the Scarecrow," "Paper in Fire," "Pink Houses" and "Authority Song" established Mellencamp as a voice of the people, an uncompromising champion of America's heartland, a storyteller deserving of being discussed in the same breath as Springsteen, Dylan and Guthrie.
His amazing creative journey is documented in detail by Paul Rees in a compelling new biography. Rees previously penned books on Robert Plant and The Who's John Entwistle. He has interviewed countless rock superstars and served as editor of popular U.K, music publications "Kerrang!" and "Q."
Using his own interviews with the songwriter, as well as quotes from friends, family and bandmates, Rees gets readers inside the complicated mind and colorful personality of John Mellencamp. Growing up in a rural area, his family, particularly his tough, demanding father, helped mold Mellencamp into a determined, obstinate, resilient man.
His great passion was always the act of creation. Put simply, Mellencamp lived to create. He expressed himself primarily through music, starting in garage band days, but also poured his soul into ever more impressive paintings.
With painting, he had no one to answer to but himself. With music, he had to wrangle with musicians, producers and record labels. But as he evolved artistically, he wouldn't let anyone budge him from his musical vision. He knew what he wanted and if you disagreed, you'd better get out of his way. He could be difficult to work with, difficult to live with, as former bandmates, lovers, wives and children confirm. But he also has a charm and loyalty that draws people to him.
It's his talent and integrity that have made him an important figure in American music. He has stood up for the farmer and for the Black Lives Matter movement. One frustrated record company executive referred to Mellencamp as the "Little Bastard." Mellencamp embraced the nickname.
After a heart attack, the stubborn Mellencamp continued to chain-smoke and consume large quantities of coffee. He goes his own way. Long ago he stopped weighing how songs might be received by fans or critics. He speaks his own truth, consequences be damned.
In his thoroughly researched book, Rees follows Mellencamp's example, writing with straighforwardness and sincerity. He portrays Mellencamp as a rebel, sometimes a tyrant, but always, most of all, a true artist, whether he's holding a paintbrush or a guitar. It's a gripping portrait.
MADE IN HOLLYWOOD: ALL ACCESS WITH THE GO-GO's
By Gina Schock [Black Dog & Leventhal]
The Go-Go's definitely did have the beat. The all-female rock group helped set the beat for the 80s. And stirring rhythms provided by drummer Gina Schock were a big part of that. She has written a highly entertaining memoir, "Made in Hollywood." It's filled with great anecdotes and amazing collection of photos. Schock has been taking cool pics of the band members throughout the group's remarkable run.
Recently (and belatedly) inducted into the Rock and Roll Hall of Fame, The Go-Go's are finally getting the respect they're due. The California-based girls wrote and performed impossibly catchy pop-punk-rock tunes, becoming chart and concert sensations. Their 1981 debut album, "Beauty and the Beat," soared to number one and included the smash singles "We Got The Beat" and "Our Lips Are Sealed." These young women, exuding strength and independence, inspired countless girls to pick up instruments.
In her memoir, Schock takes us behind the scenes, providing her terrific photos of band members on stage, backstage, on the bus, in the studio, during video shoots -- posing and in candid moments. Combined with her absorbing text, this results in an exceptionally appealing book.
Schock illuminates her own musical roots, then in the chapter titled "Perfect Place, Perfect Time," depicts her cross-country move, leading to connecting with The Go-Go's and the start of a life-changing, scene-altering, thrilling ride. She charts their enjoyable adventures, but doesn't shy away from their colorful misadventures either.
In addition to Schock's own recollections, the book includes remembrances from her bandmates, as well as other notables, such as Dave Stewart, Kate Pierson, Jodie Foster and Paul Reubens. Fellow Go-Go Kathy Valentine wrote the affectionate foreword.
Schock's photos also capture moments shared with other celebrities at Go-Go's events, including Bill Murray, Chris Reeve, Andy Gibb, KISS, Chrissie Hynde, David Bowie and Dolly Parton. The book also shows some of Schock's tasty Go-Go's memorabilia, including ads and concert posters.
"Made in Hollywood" is a fun, nostalgic document of the musical and cultural landscape of the 80s. It's a revealing early history of one of the most important bands of the time and of all time. And Go-Go's fans, in particular, will be head over heels, as they thumb through this impressively assembled book.
ROCK CONCERT: AN ORAL HISTORY AS TOLD BY THE ARTISTS, BACKSTAGE INSIDERS AND FANS WHO WERE THERE
By Marc Myers [Grove Press]
A history of the rock concert sounds like an interesting idea for a book. But what author Marc Myers has put together is infinitely more fascinating than you might have imagined. Going from the R&B shows of the late 40s to the Live Aid spectacle of 1985, it chronicles the evolution of these exciting events.
Myers, a music journalist who regularly contributes to the Wall Street Journal, has collected testaments from the artists, fans and others who shared in the exhilaration of these gatherings. He puts the phenomenon of rock concerts into context, so the reader can understand the social, political and cultural backdrops to the ever expanding events.
Among those speaking about 50s concert experiences are R&B saxophonist and wild showman Big Jay McNeely, as well as songwriting great Mike Stoller, Marshall Chess (son of Chess Records co-founder Leonard Chess) and Lance Freed, son of legendary DJ Alan Freed. The senior Freed was one of the first to popularize the term "rock 'n' roll."
From the clubs in Los Angeles, spreading East to cities like Cleveland and New York, R&B artists were starting to get airplay from daring white disc jockeys. Hot horns and earthy vocals roused listeners. In Chicago, electric guitars were springing into prominence, as epitomized by the innovative Chuck Berry. White kids tuned in and began buying tickets to the concerts at clubs and theatres featuring black artists that these jocks were promoting.
Bill Haley took the participation of white kids to another level. Then came a real explosion -- Elvis Presley. Myers includes Wanda Jackson talking about the king of rock 'n' roll in the days of his earliest pelvic gyrations. Also offering commentary are Elvis' girlfriend of the time and the head of his first fan club. Elvis proved that rock 'n' rollers could fill larger venues.
Rock has long been a force for change. Myers includes a passage in which Joan Baez talks about leading a huge crowd in the singing of "We Shall Overcome" at the 1963 March on Washington. Peter Yarrow and Noel Paul Stookey (Peter, Paul & Mary) also reminisce about performing to 230,000 idealists that day.
Folk wasn't the only music stirring emotions. Girl groups were popular in the early 60s. Ronnie Spector of the Phil Spector-created The Ronettes is among those talking about her experiences in that era. Concert Promoter Fred Vail talks about the surf craze and The Beach Boys' first headlining show.
Another revolution struck in the mid-60s, when the British Invasion exploded. Screaming hordes of teens packed arenas to catch such idols as The Beatles and The Dave Clark 5. One of those contributing to Myers book is Deejay Bob Eubanks (Also known as the host of "The Newlywed Game"). He borrowed $25,000 to book The Beatles at the Hollywood Bowl. The logistics of putting on that concert are fascinating. Tony Newman, drummer for the U.K. group Sounds Incorporated, recounts what it was like to open for the Fab Four on their first North American stadium tour. Famed photographer Henry Diltz remembers shooting the Moptops at their '66 Shea Stadium extravaganza.
George Wein, founder of the Newport Folk Festival, reveals the mood at the fest, when Bob Dylan shockingly went electric. The times they were indeed a-changin' with that affirmation of folk-rock.
In the late 60s, venues like Fillmores East and West and the Avalon Ballroom gained importance in presenting new and established artists. Joshua White, acclaimed for his light shows, talks about working with Bill Graham and dreaming up psychedelic backdrops for concertgoers.
Festivals became all the rage by the 70s. Poet Michael McClure recalls participating in San Francisco's Human Be-In. Steve Miller and Country Joe McDonald wax nostalgic about Monterey Pop. And festival co-producers Artie Kornfeld and Michael Lang offer insights into Woodstock. Documentarian Albert Maysles confronts the horrors of the Stones' debacle, Altamont.
For big-name rock bands, showmanship grew and new challenges arose in touring and playing huge venues. Author Myers utilizes tantalizing tales from such performers as Angus Young (AC/DC), Alice Cooper, Ian Anderson (Jethro Tull), Todd Rundgren, Bill Legend (T. Rex), Chuck Leavell (Allman Brothers Band), Chris Stein (Blondie) and Jerry Martini and Cynthia Robinson (both founding members of Sly and the Family Stone), and Bob Weir (Grateful Dead). Myers also gets the perspective of Elizabeth Marvel, a self-described Deadhead.
The scale and spectacle of rock concerts continued to mushroom in the 80s. There's an extensive chapter on Pink Floyd's lavish production of "The Wall." In the 80s, MTV generated enough demand for fans to pack outdoor barns like the Bay Area's Shoreline Amphitheater. Ticketmaster heightened the economic impact of presenting concerts. Tina Weymouth talks about the showy shows of that decade.
A skilled interviewer, the author brings out colorful recollections from so many people involved in staging memorable concerts over the years. Myers' ingeniously conceived book makes you wish you could have been at many of these historic events. Reading about them is the next best thing.
