Black Vinyl, White Powder |
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Simon Napier-Bell
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Pages: 400 (Paperback)
ISBN: 0091880920
Pub: Ebury Press
Pub date: 2002-01-03
Amazon.co.uk Sales Rank: 5081
Editorial Review:
The lowly third position of musical pursuits in the familiar cry of "sex, drugs and rock 'n' roll" suggests what Simon Napier-Bell's book Black Vinyl White Powder makes all too clear: from it's mid-1950s beginnings: pop music has always been intrinsically linked not only with sex, but with all manner of illegal substances. Indeed, it is an often-repeated fact that success in the music business will frequently be accompanied by more than mere musical activity. "Drugs are sometimes as important as talent," explains Napier-Bell in this entertaining and often compelling read, and it is from this angle that he presents his gripping 50-year history of pop.
The author's previous memoir, the often-hilarious You Don't Have to Say You Love Me, detailed his career in the pop industry from his esteemed position as joint-roller for the Johnny Dankworth Orchestra to his later role as manager of huge acts such as Japan and Wham! With such a career behind him, his range of contacts and experiences result in an often breathtaking sprint through the history of pop, incorporating major icons such as Elvis and the Beatles to leading figures from numerous late 90s dance movements. In Black Vinyl he diligently notes the particular pharmaceuticals used in order to satisfy the creative and, more often, hedonistic needs of the artists in question. Fascinating anecdotes abound, from the amusing, (such as the report of keyboard player Graham Bond's frequently heard airport custom's cry, "If you want the drugs I've got them up my arse"), to the tragic, (as figures from Syd Barrett to Kurt Cobain fall by the wayside, their drug habits supported, if not actively encouraged by an industry where such behaviour is the norm).
If a fault can be aimed at this mostly enjoyable read, it is that Napier-Bell's insistence on maintaining the link between drug-taking and the music it frequently accompanies often results in a sensationalist tabloid feel which steers him away from the more revealing anecdotal style that proved so enjoyable in his earlier book. However, his droll approach is always entertaining and Black Vinyl White Powder is recommended to anyone interested in an industry where, according to one interviewee, half of those involved are left with "scrambled eggs for brains". --Steve Price
Reader Reviews:
"Black Vinyl..Or is it Simon Napier Bell's autobiography?!." (2/7 people found this helpful)
Embossed with biased journalist quotes on both front, back and inlay, "Black Vinyl-White Powder" is most certainly not "The greatest book written about pop..." as Julie Burchill excitedly claims...
Infact, after reading the first 5 chapters (which I did find reasonably interesting and mildly helpful), I did'nt know if I was reading the "behind the scenes" history of British Pop/Rock culture or Simon Napier-Bell's own Life story!! At every opportunity, the author manages to include himself, his opininons and his life style..He also constantly makes a point of mentioning if an artist is black, which I know is important so far as the contributions made by black musicians and artists over the last 50 years (I do not doubt the constant struggle and oppostition nearly all blacks faced during the 50's - 70's), but surely he does not need to underline every "black" artist if their skin colour is not relevant. He rarely mentions if a white person is "white" or not!
By the 27th chapter I was thrilled! Thrilled to be 5 minutes away from putting the book down and never having to endure such self-indulgent, overly-opinionated, arduous and, at times, patronising read....
When more is not enough... (1/1 people found this helpful)
This book comes loaded with great raves on the cover by many well known writers and critics on UK pop music - why, is easy to see in that the book tells more of the truth by a longtime insider in a manner that none of those writers have ever approached.
Napier- Bell has a simple thesis which is that UK pop owes it all to drugs and gay culture from the 1950s to date and certainly tells enough scurrilous but amusing anecdotes to support the proposition. His own predelictions (being gay but not into drugs) allow a writing style that seems to match Kenneth Anger and Hunter Thompson in sparing no blushes but also making telling points that this was sadly how it all was.
The most incisive aspects of the book and that justify it being a great read are on the wheeling and dealing by artiste's managers and the record companies and the tricks played along the way to maintain their control, with "rip off" being the only term applicable. With his own involvment with the Yardbirds and Wham being honestly told, the story has a level of depth and range that is rare in other pop books and avoids the researcher/avid fan tomes that litter this area of writing.
An excellent airplane or beach read - gripping but enjoyable.
An excellent guide to the British music business (3/3 people found this helpful)
I enjoyed every word of this wonderful account of the British music business. I was born in 1960 and found that this was a reminder of the soundtrack of my life, from Dusty Springfield, through the days of Marc Bolan and Ziggy Stardust to the greed of the eighties.
The way in which Napier-Bell links the sounds of each era with the most popular drug could have been a bit of a cheap gimmick, but it works beautifully and is never less than totally convincing.
Anyone who's interested in popular music should read it.
A Terrific Snort (2/3 people found this helpful)
Callow has a point he wants to get across in this history of British rock and pop: none of it would have happened without drugs. From amphetamines to grass to LSD to cocaine, everyone from Cliff Richard onwards was popping something to get them through the day. Should we be shocked? No chance. What's alcohol if not the biggest drug of the lot, and, as Callow states, when the Stones sang about "Mother's Little Helper", the Valium nation chose to hear but not to listen. If anything it's worse these days, but it's just not hip to recognise while you're tripping on E's down the club that your old dear is zonked on her own uppers and downers at home.
Being a manager, Callow gives a lot of attention to his peers - most of us are aware of Epstein and the Beatles, but Oldham and the Stones? To his credit, Callow doesn't pretend to be the guru behind the muse, and is always ready to hold his hands up about his inability to nurse the talent. Perhaps if he'd been better at his job, Led Zepplin would never have risen from The Yardbirds as the latter might have stayed the course. As the book progresses, however, you begin to realise that Callow's self-effacing style probably conceals a shrewd judge of both character and potential.
In the end, I was completely taken by the author's arguments and views. Yes, drugs really have shaped our pop and rock culture in a massive way. I agree, the gay community has had more than an influence too. And we Brits should be proud of what this small nation has culturally achieved.
Peppered with some cracking profiles, stories and the absolute cream of rock quotes, I doubt you'll find a more entertaining overview of the British music scene since the fifties. I'd thoroughly recommend this book.
"You don't have to say you love me" - in fact I don't. (3/8 people found this helpful)
Under no account waste your money buying this book nor your life reading it - I did both and I am angry with my self for doing it.
This book is a self-indulgent and at times inaccurate skip through the history of pop. If Simon Napier Bell is to be believed Japan was the greatest pop band in the world, Whams concert in China was only mildly less significant than Band Aid and "you don't have to say you love me" sung by Dusty Springfield was, quite simply, the best song ever. Managing these acts and writing this song being the most significant moments in the authors' life and so in pop history.
There are odd passages of interest but the endless conjecture and waffle outweigh these. If, as Julie Burchill states on the cover notes, this is the "Greatest book written about english pop ... breathtakingly brilliant" then we should thank her. If this is the best Ms Burchill has stopped us torturing ourselves and wasting our money buying and trying to read any more. There is no way this can be the "Greatest book written about english pop ... breathtakingly brilliant", PLEASE.
Stop now! Save yourself and your money before it's too late
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