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Backstage Passes & Backstabbing Bastards: Memoirs of a Rock 'N' Roll Survivor
Al Kooper began his professional career in 1958 at the age of fourteen. Kooper's quirky keyboard style was a seminal force in popularizing the Hammond B3 organ as a major voice in rock music. Bob Dylan, Jimi Hendrix, The Rolling Stones, B.B. King, George Harrison, The Who, Trisha Yearwood, and a plethora of other artists have benefited from having Kooper perform on their albums and singles. Backstage Passes & Backstabbing Bastards, Kooper's insightful and amusing autobiography, puts you in the passenger seat as you cruise the entire history of rock 'n roll as well as the various cultural landmarks and idiosyncrasies of the '50s, '60s, '70s, '80s, and '90s.
336 pages, Paperback
First published April 22, 1998
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Displaying 1 - 30 of 61 reviews
September 9, 2012
As I've mentioned in other reviews - when I'm familiar with the territory and some of the people mentioned and in this case the business itself - I'm captivated. Kooper gives a great picture of the NY music business in the early and mid 60s and goes on from there to the various aspects of his career. If you have an interest in music, the music industry and how records are produced you'll like this book.
June 22, 2013
If you were growing up listening to the music in the fifties and sixties, or you grew up later and wonder why everyone is still listening to Bob Dylan, The Doors, The Beach Boys, B.B. King and Aretha this is a must read book. You oldtime folkies and rockers are going to love it, you younger folk trying to get your band going need to hear Kooper's words of wisdom and advice about the world and lifestyle you may be aspiring too.
This account (originally published about 25 years ago and updated to cover the years from 1968 to 2007), is the real deal from a guy who spent 50 years as musician, songwriter, band leader/solo performer, engineer and producer. Here's what Al himself has to say in his intro about the kind of "rock history" you are likely to otherwise encounter:
"One horrible offshoot of rock 'n roll history books is revisionism. That is, someone who is a lazy researcher publishes an untruth in a book that is used by other researchers. The untruth becomes used so many times that it becomes "the truth". The difference with this book is that I was present when these events took place and they are not up for conjecture. In the course of the last two weeks, I have read in recently published "factual" books how I dated Linda McCartney before Paul (not true), formed the Blues Project (not true).......[etc.] I urge the writer who does research [and readers] to try and speak with someone who was in the room when something happened, as opposed to taking the word of some hack on assignment".
For 50 years or so, Al Kooper in his various roles was "in the room" with Bob Dylan [he remains famous for stepping up at the session that recorded "Like A Rolling Stone" to play perhaps the most famous organ riff in rock history - at a time when he hardly knew how to play an organ!], Jimi Hendrix, Gene Pitney, Bill Graham, Lynrd Skynyrd, Mike Bloomfield, The Rolling Stones and on and on. In this book he's tellin'it like it really was. Don't miss it. (Collector Alert: It's worth the price just for the discography supplied at the end).
This account (originally published about 25 years ago and updated to cover the years from 1968 to 2007), is the real deal from a guy who spent 50 years as musician, songwriter, band leader/solo performer, engineer and producer. Here's what Al himself has to say in his intro about the kind of "rock history" you are likely to otherwise encounter:
"One horrible offshoot of rock 'n roll history books is revisionism. That is, someone who is a lazy researcher publishes an untruth in a book that is used by other researchers. The untruth becomes used so many times that it becomes "the truth". The difference with this book is that I was present when these events took place and they are not up for conjecture. In the course of the last two weeks, I have read in recently published "factual" books how I dated Linda McCartney before Paul (not true), formed the Blues Project (not true).......[etc.] I urge the writer who does research [and readers] to try and speak with someone who was in the room when something happened, as opposed to taking the word of some hack on assignment".
For 50 years or so, Al Kooper in his various roles was "in the room" with Bob Dylan [he remains famous for stepping up at the session that recorded "Like A Rolling Stone" to play perhaps the most famous organ riff in rock history - at a time when he hardly knew how to play an organ!], Jimi Hendrix, Gene Pitney, Bill Graham, Lynrd Skynyrd, Mike Bloomfield, The Rolling Stones and on and on. In this book he's tellin'it like it really was. Don't miss it. (Collector Alert: It's worth the price just for the discography supplied at the end).
January 3, 2018
I'd been a casual fan of Al Kooper from way back, but this book filled in so many of the gaps for me in a way that makes me appreciate him so much more. Very enlightening read not just about Al Kooper but about the music biz and how it's evolved over the years.
Someone said there was too much Al Kooper. In a book about Al Kooper. By Al Kooper. Um, wut?? That being said, you do get the sense that Al is trying to convince everyone that he's done some shit, man, and he hasn't always gotten the credit, or the bucks, that he deserved from it. And it's true! This guy has been part of the rock 'n roll scene since he was a teenager -- almost 60 years -- and he's pretty much seen and done it all. He's written, performed, produced, and been involved in almost every aspect of the music industry. He was there when Dylan infamously went electric, and he shares his own perspective on what really went down there. He has so many stories to share of his experiences with many of the greats (and the not-so-greats), and he tells them with a sardonic wit that's quite entertaining. Still I think he's holding back some REALLY juicy stories...
Someone said there was too much Al Kooper. In a book about Al Kooper. By Al Kooper. Um, wut?? That being said, you do get the sense that Al is trying to convince everyone that he's done some shit, man, and he hasn't always gotten the credit, or the bucks, that he deserved from it. And it's true! This guy has been part of the rock 'n roll scene since he was a teenager -- almost 60 years -- and he's pretty much seen and done it all. He's written, performed, produced, and been involved in almost every aspect of the music industry. He was there when Dylan infamously went electric, and he shares his own perspective on what really went down there. He has so many stories to share of his experiences with many of the greats (and the not-so-greats), and he tells them with a sardonic wit that's quite entertaining. Still I think he's holding back some REALLY juicy stories...
April 15, 2013
A few words up front: as the cover implies, these are the memoirs of Al Kooper, so if you read this and think the author is talking too much about Al Kooper, then you're kind of missing the point. I didn't know much about Kooper until I read the book, and I should say that I found his memoirs to be very entertaining. I've seen some blogs refer to him as rock music's Forrest Gump, but I think Zelig might be just as apt a comparison. One would think that being on hand for some of the biggest events in rock music history would make Kooper a household name, if not a multi-millionaire, but few of his records remain in print and he claims he still hasn't seen any royalties from his biggest hits, namely "This Diamond Ring" and the first Blood Sweat and Tears album. Still, for the adventurous listener, there are many rewards to be found by seeking out his discography some of it can be found on Spotify.
September 11, 2012
I loved this book. Al Kooper played with everybody. He got his start playing organ on Like A Rolling Stone for Bob Dylan. I know it's been said before but this guy was a rock n roll Zelig!
July 16, 2008
"Backstage Passes" assumes that we're more interested in Al Kooper than perhaps we really are. Kooper is at pains throughout the book to point out that many rock histories are written without talking to people who were in the room, and that many inaccuracies are perpetrated as a result. Fair enough, and certainly Kooper was in a lot of interesting rooms. He's got a lot of good stories, but I get the feeling that he still isn't telling us everything he knows. In the early going it really is more of a history-- he goes into elaborate detail about the difference between the Brill Building and 1650 Broadway (the latter is where early 60's rock was written he tells us), and this is interesting and important to know. He is good on the business of selling songs in that period-- again, inside stuff that a lot of bios ignore. Once he gets rolling, though, Al Kooper looms larger in the narrative than Al Kooper ever did in rock'n'roll, and this distortion, perhaps inevitable in a first person narrative, has a sort of "Rosencrantz and Guildenstern Are Dead" effect on the story.
The history of sixties and seventies rock that we get from Kooper more or less starts with "This Diamond Ring" (he didn't like the version Gary Lewis and the Playboys did, and later recorded it himself); his time with Dylan; The Blues Project; Blood, Sweat and Tears; "Super Session"; Mike Bloomfield; session work with the Rolling Stones on "Beggers Banquet" (that's Al on the French horn into to "You Can't Always Get What you Want"); Lynyrd Skynyrd; and The Tubes. There's a lot more, and just that list covers quite a bit of ground, but he spends nearly as much time discussing his various solo albums (quick-- name one) as he does on any of the other projects. I like "Child is Father to the Man" as much as almost anyone, I daresay, but as interesting and charming as it is, it is nowhere near as interesting or important as Dylan or the Stones. The book is a weird view of the period as a result of the fact that he insists on writing as much about "I Stand Alone" as he does, very nearly, about "Blond on Blond".
The history of sixties and seventies rock that we get from Kooper more or less starts with "This Diamond Ring" (he didn't like the version Gary Lewis and the Playboys did, and later recorded it himself); his time with Dylan; The Blues Project; Blood, Sweat and Tears; "Super Session"; Mike Bloomfield; session work with the Rolling Stones on "Beggers Banquet" (that's Al on the French horn into to "You Can't Always Get What you Want"); Lynyrd Skynyrd; and The Tubes. There's a lot more, and just that list covers quite a bit of ground, but he spends nearly as much time discussing his various solo albums (quick-- name one) as he does on any of the other projects. I like "Child is Father to the Man" as much as almost anyone, I daresay, but as interesting and charming as it is, it is nowhere near as interesting or important as Dylan or the Stones. The book is a weird view of the period as a result of the fact that he insists on writing as much about "I Stand Alone" as he does, very nearly, about "Blond on Blond".
May 22, 2020
I had enjoyed Al Kooper's playing back when I was a teenager especially on Dylan's "Blonde on Blonde" and lately I have been playing some of his solo albums so on a whim I bought this book. It is an entertaining and sometimes amusing account of his career. He does not come across as bitter though clearly some people did treat him badly. You will probably enjoy this book more if you are familiar with his music but it's probably not a bad read even if you don't know his music.
November 30, 2015
A fun read about a true rock 'n roll survivor. Interesting life story about a guy who has crossed paths with so many of the great musicians of his era. I only gave it 3 stars because, as interesting as it is, the book is similar to the memoirs of many other rock stars of his generation, and doesn't offer any unique perspectives or unexpected surprises along the way.
April 20, 2020
As a rock n roll fan, this book is packed with obscure factoids this reader loved.
Book starts with a 14 year old sneaking in to Tin Pan Alley from Queens to catch glimpses of music being recorded, sell songs and perform music. Ends with a sixty-something reflecting on a career that participated in some of the greatest music ever made. Fascinating!
Book starts with a 14 year old sneaking in to Tin Pan Alley from Queens to catch glimpses of music being recorded, sell songs and perform music. Ends with a sixty-something reflecting on a career that participated in some of the greatest music ever made. Fascinating!
January 21, 2019
One of the greatest rock and roll memoirs. This book is a gem. Al Kooper is a treasure.
April 16, 2020
Al Kooper gives the reader pretty much everything they'd want from a classic rock-era biography, because he turns up in an amazing amount of 1960's-90's seminal musical productions and events. I love this genre because I'm a huge rock music fan; I even got to teach a high school class, "History of Rock 'n Roll" for several years, consisting mainly of my personal musical tastes & record collection. So much fun! These books also make for great escapism in this time of Covid-19 isolation, reading while concurrently listening to the music being covered.
In the past, I've been disappointed in many of these tomes, because they're totally self-serving (I get it, they're AUTO- or straight BIOGRAPHIES, but still!) or scandal-ridden tally sheets of wrecked relationships, finances, & hotel rooms, groupies, liquor, and drugs. They often conclude with the rock star either dead or getting clean & sober . . . and now they see life as beautiful & regret all the time they wasted . . . make amends, if possible, and . . . the end. That's fine, but what I want to read about predominately is the MUSIC: the ideas & influences behind the music, how it evolved, analysis by the performer and his or her peers & critics of the music, how it has or has not stood up to the test of time and/or possibly had some influence on contemporary music. Of course some of that other juicy material should be included, when appropriate, but not dominate the story. If it does, the music probably isn't worthy of discussion. Side note: I try not to judge historical events or figures in the context of today's social norms & standards, but it's more than a little disheartening to read about many of these guys that wrote poignant love songs who were complete and utter misogynists! Kooper is not that, but he seems to give the the women in his life pretty short shrift and goes through wives on a semi-regular basis. Not that unusual, unfortunately, in the lives of creative and famous artists.
In "Backstage Passes & Backstabbing Bastards," Al Kooper deals with the above topics with self-deprecating humor and brevity. He fulfills my criteria for a good rock bio and even provides dates(!) which many fail to do, on early '50s influences, his work with Dylan, the Blues Project, Blood Sweat & Tears, George Harrison, Lynyrd Skynrd, Ray Charles, B.B. King, and many, many others. One artist, guitarist par excellence Mike Bloomfield, was of special interest to me as I love his work but didn't know that much about his background, except for his great recordings with the Butterfield Blues Band. I knew that he worked with his friend Kooper on several occasions, such as on the superlative "Super Session." Kooper also produced "From His Head to His Heart to His Hands" which included previously unissued live performances by Bloomfield, who died of a drug overdose in 1981, to help keep his memory alive as a worthy guitar-god peer and influence on Duane Allman, Jimi Hendrix, and Eric Clapton, among others. Al Kooper's uncompromising passion and priority for the music comes through loud and clear and for that, I respect him and highly recommend this book.
In the past, I've been disappointed in many of these tomes, because they're totally self-serving (I get it, they're AUTO- or straight BIOGRAPHIES, but still!) or scandal-ridden tally sheets of wrecked relationships, finances, & hotel rooms, groupies, liquor, and drugs. They often conclude with the rock star either dead or getting clean & sober . . . and now they see life as beautiful & regret all the time they wasted . . . make amends, if possible, and . . . the end. That's fine, but what I want to read about predominately is the MUSIC: the ideas & influences behind the music, how it evolved, analysis by the performer and his or her peers & critics of the music, how it has or has not stood up to the test of time and/or possibly had some influence on contemporary music. Of course some of that other juicy material should be included, when appropriate, but not dominate the story. If it does, the music probably isn't worthy of discussion. Side note: I try not to judge historical events or figures in the context of today's social norms & standards, but it's more than a little disheartening to read about many of these guys that wrote poignant love songs who were complete and utter misogynists! Kooper is not that, but he seems to give the the women in his life pretty short shrift and goes through wives on a semi-regular basis. Not that unusual, unfortunately, in the lives of creative and famous artists.
In "Backstage Passes & Backstabbing Bastards," Al Kooper deals with the above topics with self-deprecating humor and brevity. He fulfills my criteria for a good rock bio and even provides dates(!) which many fail to do, on early '50s influences, his work with Dylan, the Blues Project, Blood Sweat & Tears, George Harrison, Lynyrd Skynrd, Ray Charles, B.B. King, and many, many others. One artist, guitarist par excellence Mike Bloomfield, was of special interest to me as I love his work but didn't know that much about his background, except for his great recordings with the Butterfield Blues Band. I knew that he worked with his friend Kooper on several occasions, such as on the superlative "Super Session." Kooper also produced "From His Head to His Heart to His Hands" which included previously unissued live performances by Bloomfield, who died of a drug overdose in 1981, to help keep his memory alive as a worthy guitar-god peer and influence on Duane Allman, Jimi Hendrix, and Eric Clapton, among others. Al Kooper's uncompromising passion and priority for the music comes through loud and clear and for that, I respect him and highly recommend this book.
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May 26, 2020Al Kooper's story is one of various chapters that seem to defy a theme. His early career is an amazing tale of unlikely success. The underdog - right place, right time, hits the big time with Dylan during a session that must have been a surreal experience. At that point I sensed this was a guy who would make the very most of his skills. While I enjoyed parts, too often this reads like a mediocre book report ("what I did last millennium").
In the end I couldn't help but feel some sympathy for a guy who was immersed in the music business; the plastic, hyper materialistic land of - at best, very conditional - at its worst, phony friendships and convenient, shaky alliances. I'd say one couldn't help but be bitter, but I did also feel used, because its clear Al wrote this book partly to do some subtle settling of scores. The second half of this book especially, feels like a series of diary entries by a scarred and insecure individual who is presenting his side of the story regarding a series of engagements/endeavors that didn't quite work out.
It is worthwhile reading about his early experiences of starting the Blues Project, BS&T, working with Dylan and the Stones. But even those are too thin and there's a lot in there about Al's views, feelings and memories but not quite enough observation of the rich characters around him. Very few of us are story-tellers, Al is not the exception, and when it comes to books like this, the art of storytelling is essential.
To be honest I got about 85% through but couldn't finish it just now. I wouldn't use the word "boring" but there is a point where it starts feeling very monotonous. I guess if you're one to gush at an inside look at the Lives of the [sometimes] Rich & Famous, you might enjoy it all the way through. But for me there was way too much minutiae regarding a series of transactions. Come to think of it, that might be the best way to describe my feeling about this book: too transactional and self conscious. Sorry Al, and sorry to some of the more sensitive people who read these reviews.
I started by saying the book - i.e. his life story, lacked a theme, but I have to believe there is a theme in there somewhere, and it's just a matter of the author puling himself up a few thousand feet for the sake of perspective.
In the end I'm still a fan of his music and think he's probably a decent guy, but I have to say I liked him better before reading this. Love the title though!
In the end I couldn't help but feel some sympathy for a guy who was immersed in the music business; the plastic, hyper materialistic land of - at best, very conditional - at its worst, phony friendships and convenient, shaky alliances. I'd say one couldn't help but be bitter, but I did also feel used, because its clear Al wrote this book partly to do some subtle settling of scores. The second half of this book especially, feels like a series of diary entries by a scarred and insecure individual who is presenting his side of the story regarding a series of engagements/endeavors that didn't quite work out.
It is worthwhile reading about his early experiences of starting the Blues Project, BS&T, working with Dylan and the Stones. But even those are too thin and there's a lot in there about Al's views, feelings and memories but not quite enough observation of the rich characters around him. Very few of us are story-tellers, Al is not the exception, and when it comes to books like this, the art of storytelling is essential.
To be honest I got about 85% through but couldn't finish it just now. I wouldn't use the word "boring" but there is a point where it starts feeling very monotonous. I guess if you're one to gush at an inside look at the Lives of the [sometimes] Rich & Famous, you might enjoy it all the way through. But for me there was way too much minutiae regarding a series of transactions. Come to think of it, that might be the best way to describe my feeling about this book: too transactional and self conscious. Sorry Al, and sorry to some of the more sensitive people who read these reviews.
I started by saying the book - i.e. his life story, lacked a theme, but I have to believe there is a theme in there somewhere, and it's just a matter of the author puling himself up a few thousand feet for the sake of perspective.
In the end I'm still a fan of his music and think he's probably a decent guy, but I have to say I liked him better before reading this. Love the title though!
July 8, 2019
Open this book and hang on. It's going to be a bumpy, funny, funky ride through the backstage corridors, and seamy nooks and crannies, of rock. For Boomers, think "Ball Four" with a soundtrack. Only better. You will recognize many of the characters and songs. This peek at the unruly (to put it mildly) behind-the-scenes workings of the sex- and drug-fueled rock 'n' roll machine is a fan's delight. Kooper skillfully unspools his first-person narrative, no mean trick considering that he peppers his stories with a great many names, places and other details, adding credibility to his account. Also, Kooper is funny as hell, irreverent, and decidedly un-PC. The unvarnished aspect of this book might be its most appealing aspect. But consider yourself warned.
If "Backstage Passes" prompts you to visit, or revisit, his back catalog, all the better. Want to know what the book is like? Listen to "I Can't Quit Her" and "Hollywood Vampire." Kooper takes that energy and puts it into prose. Don't worry that you're late to the party. That's the great thing about good music -- and good writing, for that matter. YOU bring it alive again simply by listening to -- or reading -- it. And it does come alive. Kooper's stuff crackles. Have a ball.
If "Backstage Passes" prompts you to visit, or revisit, his back catalog, all the better. Want to know what the book is like? Listen to "I Can't Quit Her" and "Hollywood Vampire." Kooper takes that energy and puts it into prose. Don't worry that you're late to the party. That's the great thing about good music -- and good writing, for that matter. YOU bring it alive again simply by listening to -- or reading -- it. And it does come alive. Kooper's stuff crackles. Have a ball.
February 18, 2024
Hey, this old rocker can write! Very entertaining autobiography of one of my favorite musicians. I didn’t know about this book but saw a passing reference to it somewhere so got it from the library for a look. It really is a great read. He’s honest about his foibles and some are not pretty. More women than drugs, lol. It was a quick read and definitely worth the time of anyone who has been a fan of the first Blood, Sweat & Tears album (Child Is Father to the Man), The Blues Project, and/or his solo albums. Oh and Super Session with Mike Bloomfield and Steve Stills. He also played extensively with Bob Dylan, helped Lynyrd Skynyrd get their start and produced albums for people all over the musical landscape. I get the sense he might have occasionally been hard to work with but clearly people wanted his talent and skills regardless. He comes across as a straight ahead kind of guy, sure of himself and what he brings to the table. In his 70s he lost most of his eyesight, weathered a brain tumor, and lives with diabetes. So a bit rickety but a terrific story teller.
April 1, 2022
Amazing music and production skills. Juicy gossip. A nice guy.
34 Thanks to his chutzpah, he played organ on Like a Rolling Stone (90% ambition, 10% skills) Luckily, organist Paul Griffin had left the Hammond on.
41 Dylan rerouted my entire train of thought
54 Blues Project
69 mid 60s, men’s long hair okay in NYC, LA, SF. Elsewhere, as dangerous as in Easy Rider
86 Got Joni Mitchell onto Newport fest
97 Electric Flag sphincter phone (to snare drum mic)
178 signed Lynrd Skynrd for $5k
188 Record Plant Sausalito
202 G Harrison Somewhere in England
239 Dylan: can’t come to soundcheck… must tune guitars
253 Crime Story music … Michael Mann approved changing title from Music Supervisor to “Guy that picks the music for the show”
262 BB King, no one is nicer
269 Nashville burglars, sold Hendrix guitar for 6 figures
277 Rock Btm Remainders … King, Barry, Tan, Kingsolver, Fulghum Critics chorus Groening, Blount
281 R&R HoF … should instead help people who are still alive
34 Thanks to his chutzpah, he played organ on Like a Rolling Stone (90% ambition, 10% skills) Luckily, organist Paul Griffin had left the Hammond on.
41 Dylan rerouted my entire train of thought
54 Blues Project
69 mid 60s, men’s long hair okay in NYC, LA, SF. Elsewhere, as dangerous as in Easy Rider
86 Got Joni Mitchell onto Newport fest
97 Electric Flag sphincter phone (to snare drum mic)
178 signed Lynrd Skynrd for $5k
188 Record Plant Sausalito
202 G Harrison Somewhere in England
239 Dylan: can’t come to soundcheck… must tune guitars
253 Crime Story music … Michael Mann approved changing title from Music Supervisor to “Guy that picks the music for the show”
262 BB King, no one is nicer
269 Nashville burglars, sold Hendrix guitar for 6 figures
277 Rock Btm Remainders … King, Barry, Tan, Kingsolver, Fulghum Critics chorus Groening, Blount
281 R&R HoF … should instead help people who are still alive
December 6, 2023
Dear Lord, how had I never heard of this guy? I guess I wasn't paying attention. Kooper shows up at key places in rock and roll history, Zelig-like. From writing "This Diamond Ring" to hanging around a recording studio and lucking into playing organ on Dylan's "Like a Rollin' Stone" to producing and playing on Lynyrd Skynyrd albums and the Tubes albums to starting Blood, Sweat and Tears, Kooper has been behind many of the songs I have loved throughout my lifetime. His story seems unbelievable, which is the one thing that made it a little uncomfortable reading -- were you being fed a line of bull, or is it possible a guy got this much exposure to the rock world for twenty years (with a name that didn't ring a bell). I guess I believe. Very fun read, lots of rock and roll anecdotes. Kooper is a big name dropper, he mentions many in the rock and roll, folk, jazz, and blues worlds. And he shares pictures with many of these other stars. Again, very Zelig-like. A fun read.
December 10, 2020
(2 1/2). For 60’s rock and rollers like myself (yes, I actually do remember the 60’s) this is almost mandatory reading. Kooper was one of the original players, doing his best to insert himself into any and all rock situations. A writer, performer, producer, A & R man, he did it all. This memoir is easy to read as Kooper’s irreverent and sarcastic feel really comes through. He even seems like a pretty reasonable guy. A small problem with drugs and alcohol, a major problem with wives and an unfortunate problem with an agent who ripped him off badly when he should have been highly rewarded for his efforts all make for an interesting ride. Totally my kind of thing. Good stuff.
July 17, 2023
4.5 stars, I don't really give 5. Absolutely loved this book! After reading more than 100 musicians' autobiographies, and a few biographies, I'm hard to impress. This one was full of firsts and Kooper's musical contemporaries and the recordings he participated in are impossible to beat, i.e. Stones, Beatles. He has a very enjoyable writing style, reminiscent of Steven Tyler and Chuck Berry, in the way he twists and uses the English language. He has so many cool stories, the book is hefty, but rarely does the action stop.
April 11, 2021
GREAT TITLE!
I read this mostly for Al Kooper's early years, the founding of Blood, Sweat, and Tears, and time with Dylan - read those parts fully, skimmed the rest. Kooper is a breezy story teller, with a quick and self-deprecating wit.
Did you know his first hit was "This Diamond Ring," that he wrote as an R&B numbers though it went to a whiter version with Gary Lewis and the Playboys?
Fun, probably more fun for someone interested in Kooper's full career.
I read this mostly for Al Kooper's early years, the founding of Blood, Sweat, and Tears, and time with Dylan - read those parts fully, skimmed the rest. Kooper is a breezy story teller, with a quick and self-deprecating wit.
Did you know his first hit was "This Diamond Ring," that he wrote as an R&B numbers though it went to a whiter version with Gary Lewis and the Playboys?
Fun, probably more fun for someone interested in Kooper's full career.
July 5, 2023
Before reading this, I was really only aware of the work that Al Kooper had done with Mike Bloomfield (Super Sessions, eg). But I learned that there is much more to his story.
The best part of reading books about music is that I come away with a list of recordings that I really want to listen to, or relisten to. This book generated quite a list.
So, if you are interested in earlier rock and roll or just want to learn more about the music business, this is quite a good read.
The best part of reading books about music is that I come away with a list of recordings that I really want to listen to, or relisten to. This book generated quite a list.
So, if you are interested in earlier rock and roll or just want to learn more about the music business, this is quite a good read.
June 29, 2018
This is definitely a "niche" book, meaning that you have to either be a certain age or a Blues Rock Historian to appreciate it. I fall into the "certain age" category and I loved hit. Great collection of Rock debauchery stories that include people from Bob Dylan, to Lynyrd Skynyrd to the Tubes with many many others in between along the way. It's a fun read for the right crowd.
November 4, 2020
I thought I knew something about Kooper; there's so much I didn't know. Not only was it enlightening, but his writing style is humble, and often times humorous. I only wish I would have read it slower.
February 5, 2021
This book was a lot of fun for me. I loved the Blues Project, I loved the first BS&T album and hated the later stuff, and loved the Super Session albums. I saw him at Boarding House Park in Lowell when he toured behind the Black Coffee CD. Al has enriched my life many times. Thanks, Al!
May 10, 2021
Al Kooper did a good job explaining the role he has played in the rock and roll business. From his time with Bob Dylan on Like a Rolling Stone to starting Blood, Sweat, and tears, producing Lynyrd Skynyrd ,and others.
December 5, 2017
B. I liked the book a lot. Mr. Kooper had his fingers in just about every aspect of the pop music industry.
January 1, 2018
Maybe not the best-written book in the world, but great fun for us music lovers! Al Kooper was like the proverbial fly on the wall at seemingly every interesting musical event in the '60s and '70s.
April 28, 2018
Some very entertaining, useful and TMI tales of the sleazier parts of the record industry.
June 23, 2018
Will he revise this book again now that 20 years have passed? If so, I’d read the update.
Three and a half stars.
Three and a half stars.
March 2, 2022
Al is an amazing icon of rock connecting the many eras and generas over time and through interpersonal experience!
April 14, 2022
Fun read with lots of great stories about rock recording and producing. Wanders a bit, and in some cases the name dropping feels... well, like name dropping. Enjoyed the book!
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