Yep Roc Records’ New Benefit Record Can And Likely Will Succeed In Its Aim

Courtesy: Yep Roc Records

Cat’s Cradle in Carrboro, NC has hosted countless acts over the course of its 50 years in business, but its future is now in doubt as a result of the COVID-19 pandemic.  Its closure meant the cancellation of its entire concert schedule, leading to trouble paying the rent and basic overhead costs.  In response, many of the North Carolina bands that have gone on to national (and even global) fame since their days performing at Cat’s Cradle have come together for a benefit compilation meant to raise money for the famed venue.  The compilation, Cover ChargeNC Artists Go Under Cover To Benefit Cat’s Cradle, was released Friday through Yep Roc Records.  The 25-song collection is a widely appealing presentation that will connect just as much with fans of Americana and southern rock as it will to those with an appreciation of pop music.  That is proven through the acts and songs featured throughout the compilation.  This will be addressed shortly.  The performances of the noted songs by the featured North Carolina acts adds to the record’s appeal.  They will be discussed a little later.  The record’s sequencing rounds out its most important elements.  Each noted item is important in its own way to the whole of this compilation’s presentation.  All things considered, they make Cover Charge: NC Artists Go Under Cover To Benefit Cat’s Cradle a work whose own music is sure to help keep the music alive at its beneficiary club.

Yep Roc Records’ new benefit record Cover Charge: NC Artists Go Under Cover To Benefit Cat’s Cradle is sure to benefit the famed local music venue, an greatly at that.  That is proven in part through the acts and songs that are featured in the 25-song presentation.  They range from a cover of The Go-Gos’ Can’t Stop The World’ by Superchunk, to an updated take of Buffalo Springfield’s timeless protest song ‘For What It’s Worth’ by Faith Jones, to a cover of Paul McCartney’s ‘Every Night’ by Terry Anderson and the Olympic Ass-Kickin’ Team and so much more, the compilation runs the gamut on genres and acts.  There is even a cover of Madonna’s ‘Dress You Up’ next to Beck’s ‘Think I’m In Love’ along with a pair of Neil Young covers to add to the presentation.  Again, what listeners get here is an extensive list of covers of songs from a wide range of well-known acts.  The covers in question are unique takes on the noted songs by acts that are well-known in their own right and others who are building their reputations quite well.  That aspect alone makes for its own reason for audiences to take in this record.  It is just one of the aspects that makes the compilation worth hearing.  The acts’ performances of the respective covers add their own hare of interest and appeal to the record.

The performances in question are of note because while they largely stay true to their source material, they give the songs their own unique updates.  Case in point is the noted update on Buffalo Springfield’s ‘For What It’s Worth.’  The original song is well-known by audiences of all ages.  It is a very subdued composition.  That reserved nature and feeling was used intentionally so as to heathen the feeling of the song’s subject as he/she looked around at everything happening in the world at the time.  Faith Jones’ update is less subdued and reserved than its source material.  It is not more energetic than said song.  It is however, still impacting in its own right.  The use of the pedal to give it a sort of funk vibe plays into its infectious nature.  The addition of the slide guitar alongside that element gives the song a bit of a country vibe.  Those two elements serve well to play into the song’s bigger message of unity, what with the genres begin so different yet coming together.  The overall energy level through the arrangement plays alongside the music to help translate the emotion in the continued message of that need for unity and hope even with everything going down.  The whole is a work that is one of the compilation’s highest points.  It is just one of the ways in which the record’s featured performances prove important to its presentation.  Mandolin Orange’s take of Bob Dylan’s Boots of Spanish Leather’ is another way in which the performances stand out.

Bob Dylan’s original song is a timeless song of lost love in its own right.  To say that it is a deeply emotional work is a powerful statement in its own right, what with Dylan’s minimalist approach to the song musically and lyrically.  It is just Dylan by himself singing and strumming his guitar.  Mandolin Orange takes that deeply emotional impact and builds on it.  The duo – Andrew Marlin and Emily Franz – offer audiences a composition here, that is even more reserved than Dylan’s original work.  The guitar work is noticeably slower in the act’s take on the song than in Dylan’s original.  What is so important to note though, is that even with the increased emotional approach, the duo doesn’t let itself go over the top.  Rather, the pair, with its violin and guitar, make it just as powerful as Dylan did with his work if not more so.  It would have been so easy for Marlin and Franz to go over the top, but that never once happens.  The result is, again, a work that pays wonderful tribute to its source material while introducing successfully, for a whole new generation of listeners.  It is yet another way in which the compilation’s performances prove important to its whole.  Chatham County Line’s over of Beck’s ‘Think I’m in Love’ is one more example of what makes the record worth hearing.

Beck’s original song ‘Think I’m In Love’ is a stark contrast to that of Chatham County Line’s cover of said song and vice versa.  Beck’s work is a funky, upbeat composition that exudes well, a person’s thought of, well, being in love.  That is the case even with the subtleties in its guitar line and beat.  CCL’s take on the song meanwhile, is even lighter than its source material.  The light, bluegrass approach that the group uses is an approach for which the band has come to be known throughout its life.  The subdued use of the mandolin and percussion alongside the vocals gives the song a whole new identity here that is certain to engage listeners in its own right.  Together with the other noted performances and those not directly addressed, the performances in whole give audiences just as much engagement as the featured songs and acts.  Even with all of this in mind, there is still one more item to address in examining the compilation, its sequencing.

The sequencing of Cover Charge: NC Artists Go Under Cover To Benefit Cat’s Cradle is important to address because of the impact that this aesthetic element has on the record’s general effect.  As the genre styles change from one to the next, the album also manages to keep its overall energy stable throughout.  The crests and troughs are places at all of the right places from one to the next.  Case in point is the first handful of the record’s featured songs.  The record’s energy starts high in its opener, Superchunk’s cover of The Go-Gos’ ‘Can’t Stop The World.’  From there, the energy pulls back immediately in Sarah Shook & The Disarmers’ cover of Cigarettes After Sex’ ‘Apocalypse.’  The energy gradually builds back over the course of the next two songs before pulling back again in the Steep Canyon Rangers’ cover of Neil Young’s ‘Unknown Legend.’  The album pulls back even more in its energy immediately after in Skylar Gudasz and Erich Bachmann’s cover of The Everly Brothers’ timeless hit ‘All I Have To Do is Dream.’  This song stays true to its source material, but at the same time, is much slower than the original in terms of its tempo.  The noted rise and fall happens again over the course of the next two songs before quickly shifting gears again in The Love Language’s cover of Teenage Fanclub’s song ‘Everything Changes.’  The rises and falls in the album’s energy continue throughout the record from there, with each happening at the right places and rates of change.  Keeping this in mind, the album’s sequencing clearly proves pivotal in its own way to the whole of its presentation.  When it is considered along with the record’s featured songs and acts, and performances, the whole of the compilation becomes a work that holds its own against it counterparts in this year’s already vast sea of covers compilations.

Yep Roc Records’ new covers compilation Charge: NC Artists Go Under Cover To Benefit Cat’s Cradle is a positive offering from the independent label.  It is a work that is certain to make plenty of noise as it helps save a venue that has helped Cat’s Cradle create its own noise over the years.  That is due in part to the songs and acts that are featured throughout the collection.  Regardless of listeners’ familiarity with the acts, this aspect is certain to generate its own share of engagement and entertainment among audiences.  The performances of the featured covers will generate its own interest for the collection, as has been noted.  The record’s sequencing rounds out its most important elements.  All three noted elements are key in their own way to the whole of this collection.  All things considered they make Charge: NC Artists Go Under Cover To Benefit Cat’s Cradle a presentation that is sure to help keep the music coming at Cat’s Cradle thanks to its own music.  The collection is available now.

The track listing for Cover ChargeNC Artists Go Under Cover To Benefit Cat’s Cradle is noted below.

Cover Charge Track Listing:

  1. Superchunk – “Can’t Stop the World” (The Go-Go’s)
  2. Sarah Shook & the Disarmers – “Apocalypse” (Cigarettes After Sex)
  3. Hiss Golden Messenger and Jonathan Wilson – “Travellin’ in Style” (Free)
  4. The dB’s – “I’m on an Island” (The Kinks)
  5. Steep Canyon Rangers – “Unknown Legend” (Neil Young)
  6. Eric Bachmann & Skylar Gudasz – “All I Have to Do is Dream” (The Everly Brothers)
  7. The Connells – “Keep Your Distance” (Richard Thompson)
  8. Mandolin Orange – “Boots of Spanish Leather” (Bob Dylan)
  9. The Love Language – “Everything Flows” (Teenage Fanclub)
  10. Dex Romweber (feat. Jennifer Curtis) – “A Face in the Crowd” (Andy Griffith)\
  11. Tift Merritt – “Help Me Make It Through The Night”  (Kris Kristofferson)
  12. The Old Ceremony – “Alone Again Or” (Love)
  13. Mayflies USA – “There is a Light that Never Goes Out” (The Smiths)
  14. The Mountain Goats – “The Longest Winter” (Paradise Lost)
  15. Faith Jones – “For What It’s Worth” (Buffalo Springfield)
  16. Mipso – “Long Distance Love” (Little Feat)
  17. Terry Anderson and The Olympic-Ass Kickin Team – “Every Night” (Paul McCartney)
  18. Florence Dore – “Somewhere Down the Line” (Marshall Crenshaw)
  19. Southern Culture on the Skids – “Let’s Work Together” (Canned Heat)
  20. Iron & Wine – “Piss Diary” (Kingsbury Manx)
  21. Mount Moriah – “Don’t Let It Bring You Down” (Neil Young)
  22. Sam Melo of Rainbow Kitten Surprise – “Stars” (Janis Ian)
  23. Don Dixon & Marti Jones – “Respoken” (The Lovin Spoonful)
  24. Chatham County Line – “Think I’m in Love” (Beck)
  25. The Veldt – “Dress You Up” (Madonna)

More information on Cover ChargeNC Artists Go Under Cover To Benefit Cat’s Cradle is available at https://www.facebook.com/CoverChargeMusic.

To keep up with the latest entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Rock Super Group’s 2014 Debut Getting Proper U.S. Release This Spring

Courtesy:  MVD Entertainment Group

Courtesy: MVD Entertainment Group

It may only be January. But rock collective The Bullhounds is officially giving American audiences good reason to think warm. That is because the band will release its debut album Protector this spring via MVD Entertainment Group.

The members of The Bullhounds are no strangers to the music business. Guitarist Peter Stroud has performed and recorded with both Sheryl Crow and Pete Droge & The Sinners. Drummer Mauro Magellan and guitarist Rick Richards both spent time with the famed Southern rock band Georgia Satellites. Richards also spent time alongside Guns N’ Roses founding member Izzy Stradlin in his own solo career. Magellan also joined bassist Keith Christopher as part of Keith & The Satellites. Singer Erling Daell rounds out the band’s lineup.

Protector was originally released overseas in May 2014. The album’s U.S. release can be pre-ordered online from MVD Entertainment Group’s website at http://mvdb2b.com/s/TheBullhoundsProtector/BASTARD001?utm_source=The+Bullhounds+%22Protector%22+will+be+one+of+the+purest+rock%27n%27roll+records+in+2015&utm_campaign=Bullhounds&utm_medium=email. And while audiences wait for the album’s U.S. release date, they can check out the video for the album’s lead single ‘Make It’ online now via YouTube at https://www.youtube.com/watch?v=e3oGabJotw8 to get a feel for what the band has to offer audiences. More information on The Bullhounds is available online along with any tour schedule updates at:

Website: http://www.thebullhounds.com

Facebook: http://www.facebook.com/TheBullhounds

To keep up with the latest sports and entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Crain’s Third Record One of 2013’s Early Sleeper Hits

Courtesy:  Ramseur Records

Courtesy: Ramseur Records

Samantha Crain is one of the music industry’s best kept secrets.  This twenty-six year old Oklahoman has been making waves with her upcoming third full length studio release, Kid Face.  Crain’s new album has been getting attention from both the public sphere and that of public broadcasting with positive reviews from Rolling Stone magazine, Spin, and National Public Radio.  What’s most intriguing about the album isn’t so much its songs, but the ability of the songs to keep listeners’ attention throughout the course of the record.  Considering that the album was recorded and mix over the course of just nine days, the album becomes that much more impressive.

Crain’s third album is a solid piece of county/folk that not only Crain’s fans will enjoy but also those of fellow female artists Nora Jones, and Regina Specktor among a handful of others.  Its opener, ‘Never Going Back’ makes for quite the interesting starting point for Crain on this album.  The song, as Crain herself writes of it, is about an individual who had been involved in an affair but has made the life altering decision to not go back; thus the song’s title.  It goes completely against the mold of the stereotypical country song.  Instead of someone singing about having lost a partner, this is an empowering song about someone who has made the decision to get out of a relationship that would have otherwise led to such a country song.  She writes in ‘Never Going Back’, “The ending of ten thousand dreams/My soul has finally been set free/From his cool eyes/I’ll hide myself in softer storms/Crawl out of holes/Become reborn/To my surprise…I’ve stayed afloat in quicker sand/But now I have a place to stand and call my own/I had a deal with man and God/One let me down and one did not/So I made my way back home.”  The uplifting and infectious sound of the song and the equally positive lyrics make this a good start to this record.  On top of that, the two together make for a song that is sure to be an instant hit for Crain’s fans.

Crain doesn’t note in writing about the songs on this album the roots of ‘Never Going Back.’  More than likely, it had no influence from any personal bearings.  Though in reading through what she had to note about other songs, many of the other songs on this album did in fact come from personal experience.  And one of the best of those songs is another song that goes almost completely against the grain of standard pop song writing.  That song comes late on the album in the form of ‘Somewhere All The Time.’  Crain writes of this song that its influence comes from her life on the road.  She notes that travelling is in fact, her “obsession and her method.” Although sometimes she does need a break.  And thus this song was born.  It’s a response to the people who ask her if being on the road so much is difficult.  She writes of those who ask her, “Everybody wants to go somewhere/Everybody wants to go all the time/Don’t you ever want to sit down some/Take a little time.”  Her response is two-fold.  By and large, she writes of the joys of touring despite things like vehicles breaking down and people who seemingly get paranoid when she’s out on the road.  For everything that she loves of being on the road, Crain does explain that need to get away as she sings, “Somebody better say a prayer for me/Cause I need a break from this whole scene/Spend some time in the grasslands/And my man to love me/Could you forget about me for a while.”  As with the album’s opener, this is another nice upbeat piece all the way around that fans will instantly enjoy.  It’s really one of those classic storytelling style songs that will especially impress fans of singer songwriters the likes of Neil Young and Bob Dylan.  And it makes for one more piece of the whole that will make this album a favorite both for long-time fans and for those who are new to Samantha Crain’s music.

As has already been noted here, a big part of what makes Samantha Crain’s new album so impressive is her ability and seeming drive to go against the grain of standard music and general human standards.  As the album nears its final notes, listeners get one more song proving that in ‘Ax.’  It really comes across as a song of social commentary, so to speak.  Crain writes about the song that ‘Ax’ is her response to the seemingly increasing negativity in the world today and that while it seems “against her own nature most days”, she wrote this as her own “call to try and be one of the giving and humane.”  In simple terms, ‘Ax’ is proof that people can be good.  They just have to try.  She writes, “You can put your ax back in its place/Your face is wearing all that awful hate/It’s tough to be afraid/But you have to let it lay.”  This is such a short verse in an equally short song.  But being such a short song and short verse, it proves that less is more.  She says so much in so few words.  The gentility of the song’s musical backing adds even more emotion to the song.  It’s just her singing along with a piano and guitar.  The minimalist approach—both lyrically and musically–harkens back to another era of music’s greatest eras past.  That being considered too, one can’t help but appreciate this song even more both in itself and as a part of the bigger picture that is Crain’s new album.

Samantha Crain offers audiences a lot of impressive material, both musically and lyrically, as has been noted here.  The songs already mentioned are just a tiny picture of what audiences can expect from her upcoming release.  It offers eight more tracks of which listeners will each find their own favorite.  The album will be available February 19th on Ramseur Records.  In celebration of its upcoming release, Samantha Crain will be touring in support of the album.  Her tour starts January 23rd in Raleigh, North Carolina at the Berkeley Café.  Doors open at 7pm and the show begins at 8pm.  For full information on the show, including ticket information, go online to http://www.berkeleycafe.net.

Her performance in Raleigh will be followed up by a set of dates in Wilmington, North Carolina and Pembroke, North Carolina between January 24th and 26th.  From there, she will be heading up to New York before making her way through the Midwest.  Fans can get a full tour itinerary online at http://www.facebook.com/Samanthacrainmusic and http://www.samanthacrain.com.

To keep up with the latest entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it or its companion page, http://www.facebook.com/pages/Reel-Reviews/381028148587141.  Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

The Outlaws Have Plenty Of Reason To Be “Proud” Of Their New LP

Courtesy: Rocket Science Ventures

The Outlaws is coming!  Get it?  It’s a movie reference for those who might not have known.  The movie in question is The Three Stooges’ 1965 movie by the same name.  Of course that movie was anything but good, thanks to one Curly Joe DeRita.  It isn’t the focus of today’s review.  The Outlaws in question getting the focus today is the Tampa Bay, Florida based Southern Rock band.  The Outlaws has been making music for four decades.  This band has been there through thick and thin during the entire course of its career.  And next month, The Outlaws will release its eleventh full length studio album, titled, “It’s About Pride.”

“It’s About Pride” is a fitting title for the band’s new album as it’s an album of which the band’s fans new and old will be proud.  The album opens strongly with the song, ‘Tomorrow’s Another Night.’  It’s a straight forward country rock style song with a hopeful chorus that in its own way outlines everything that this band has been through in its career.  The band sings in the chorus, “Tomorrow’s another night/Maybe the light will shine on me/I’ll take what I’m given/And I’ll hold on tight/Win or lose/it’s gonna be alright/But tomorrow’s another night.”  The song drives, musically speaking, through its entire four and a half minute run time, keeping listeners’ ears the whole time.  The multi-guitar “attack” and guitar solos add their own flare to the song, too.

The band follows up ‘Tomorrow’s Another Night’ with an equally driving song in ‘Hidin’ Out in Tennessee.’  It’s basically another song about life on the road for a band.  This type of song is nothing new to the music business.  It crosses the border from rock to country.  But rather than taking the Bon Jovi or Kid Rock route, The Outlaws take a more positive outlook here, singing, “Nobody knows where an outlaw goes/and they d*** sure don’t wanna be found/If you’re lookin’ for me/I’ll be hiding out in Tennessee.”  The song breaks down into a mini jam session from the last chorus that will get any pure blood country fan on his or her feet.  It’s a great way to finish off this song and segue into the next.

That next song is the album’s title track.  And it’s bound to be one of the album’s biggest hits.  For that matter it could very well become one of the band’s biggest hits in its entire four decade long career.  Front man Henry Paul sings of the band’s roots, and its pride in those roots.  As noted in the band’s bio, this song tells the story of how the band has endured so much and has still come back for more.  As with ‘Hidin’ Out In Tennessee’, the multi-guitar attack adds its own touch.  The music in general really catches the vibe of the song’s lyrics, too.  It helps to convey the band’s early history and everything that it has faced to get where it is today.   

The album’s opening trio of tracks is a great way to start off what is a great return for a band that’s been away for quite some time.  They are only part of the overall success of the album, though.  Fans will also enjoy the George Thorogood style ‘Born To Be Bad’ and the Neil Young/Lynyrd Skynyrd styled ‘Trouble Rides A Fast Horse.’  Fans of fellow southern rock acts such as the Eagles and Tom Petty will like ‘Trail of Tears’ and ‘Right Where I Belong.’  ‘Trail of Tears’ is a touching story of what happened to the Native American community as a result of the Indian Removal Act of 1830.  Whether these songs or any others, fans will all have more than their share of favorite songs.  They all combine to make for an album that any fan of southern rock and/or country will enjoy.

“It’s About Pride” hits stores Tuesday, September 25th via Rocket Science Ventures.  While fans wait for the album’s release, they can see them live on tour.  The band will be in Vernal, Utah next Friday, August 17th for the annual Country Explosion.  To see more tour dates and keep up with all the latest from The Outlaws, fans can check them out online at http://www.outlawsmusic.com, http://www.facebook.com/outlawsmusic, http://twitter.com/outlawsmusic, and on the band’s official YouTube channel, http://www.youtube.com/outlawsmusic.

To keep up with the latest entertainment reviews and news, go to http://www.facebook.com/philspicks and “Like” it or its companion page, http://www.facebook.com/pages/Reel-Reviews/381028148587141.  Fans can always keep up with the latest entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

New Skynyrd memoir brings back great music memories

 

The world of rock and roll is rife with stories that are the stuff of legend.  Choose any band from any era, and one will find any number of stories.  Now another band has some of its stories told thanks to its former tour manager in a new book titled, Turn it Up!  The band in question is one Lynyrd Skynyrd.

Turn it Up! was written by Lynyrd Skynyrd’s former tour manager, Ron Eckerman.  In his new memoir, Eckerman tells the story of his time with one of rock’s most famous, and infamous bands.  His book follows the course of his time with the band from his first meeting right to the dark day when the world lost Lynyrd Skynyrd in that horrible plane crash.  One of the book’s funniest memories comes early on in Eckerman’s time with the band.  He writes of how the band teasingly called him Roneckerman just to get under his skin.  He notes how the band would use both his first and last name with no pause in-between.  It was because of the band’s frontman, Ronnie Van Zant.  They were making a joke of another Ron being linked to the band.  Yes, it was entirely juvenile.  But that’s what makes this story so funny.  It shows that the band was just a bunch of grown up kids.

Eckerman also tells readers of the band’s drug and alcohol use throughout its tours, and what is perhaps one of its most outrageous moments when drummer Artimus Pyle actually climbs across the roof of the car he’s riding in, from one side of the car to the other and then gets back in.  If ever there was a memorable moment that is definitely one.  Of course, it’s only a tiny sampling of the unbelievable stories that Eckerman shares with his readers. 

For all the wild and crazy stories that surround Lynyrd Skynyrd, Eckerman does offer readers a softer side to one member of the band, too.  In one instance, he writes of a fishing trip he took with Ronnie Van Zant during some of the band’s downtime.  He notes how Van Zant told him that the serenity of fishing was really what he loved.  It showed that for all the wild and crazy antics of the band, at least one member of the band was in reality, as ordinary and calm as anyone.  It’s kind of like the legends surrounding the likes of Ozzy versus the behind the scenes reality of how he really is.

What is perhaps one of the most interesting moments in the book is another moment between Eckerman and Van Zant.  At one point, Van Zant is alone with Eckerman, and tells him that he’s going to be a father.  Van Zant’s next statement is prophetic in a way.  Eckerman writes that while they’re celebrating the good news, Ronnie told him, “This is gonna change a few things, and we really gotta clean up this band.  Sooner or later somebody’s gonna die.”  The irony of Van Zant’s statement is that it wasn’t drugs and alcohol or the general rock and roll lifestyle that ended Lynryd Skynyrd.  It was the now infamous plane crash that took the life of Van Zant and five others.

The plane crash that took the lives of Buddy Holly, The Big Bopper, and Richie Valens was a dark moment in one era of music history.  The plane crash that ended the original Lynyrd Skynrd was another generation’s dark moment.  Eckerman notes in his book of how he fights with himself to this day on what happened.  On the one hand, he blames himself and friend Peter Rudge for wanting the band to travel by plane.  But then he continues on the other hand, “But I do believe, like Ronnie, that we are in the hands of destiny, and when your number’s up your number is indeed up, so it might have happened regardless of the circumstances.”  What really makes this moment hit home is when Eckerman notes of his friendship with Van Zant, “I lost my closest brother on that flight, closer than my brothers by blood, and an entire family whom I loved dearly.”  That sentiment, combined with his obvious mixed emotions makes for what is arguably the most touching statement in the book.  Here is a man who started out admittedly knowing next to nothing of Lynyrd Skynyrd and hardly being overly fond of its members, but then came to be that close to the band in the end.  It’s the sort of story that is perfect for a big screen adaptation.  It’s enough to make enough the strongest reader tear up.

Whether it be for this story, the stories of wild parties and everything else that went on during his time with Lynyrd Skynyrd, Ron Eckerman’s new memoir is a wonderful look behind the scenes of arguably one of the greatest rock bands of all time.  It showed the band’s wild side, and its gentler side.  It’s a piece of rock history that readers and fans alike will enjoy from the first page to the last.