I’m a 90s child, or better said a 90s teenager. It’s impossible that someone who is acquainted with me has any doubt about it. Not that I got stuck in this decade, but in many ways it was the most defining in terms of music and personality. 2000 could be acknowledged as the settlement time, of what I started experiencing and discovering in the nineties.
This been said, you should also know by now, I’m deep into 90’s music. Not all the genres, that’s for sure, as it’s impossible, at least for me, to cover all the styles, and also because there was lots of crap too. I never dug into industrial music, although I’m currently interested in NIN, and enjoyed Marilyn Manson lots, but Fear Factory and other currents never caught my interest, same as nu metal and those guys in Adidas trackies. Never cared about The Deftones or Korn, and BritPop was something I was punished to listen to with when I was working at the laundry factory in Essex, so even though I enjoy listening to Suede nowadays, I wasn’t a diehard fan of Pulp, Oasis or Blur.
Anyway, I don’t think at this point I have to justify and give explanations on why I don’t have any CDs of this or that band. You just can’t cope with everything if you have a “normal” life.
What I do reckon is that grunge, I prefer to call it Seattle sound even though isn’t still very accurate, crossed my life when I was 14-15, and hundreds of stories of bands immediately were part of my life. Thus, when I heard of Mark Yarm’s Seattle oral history was available, I knew I had to read it as soon as I had the chance. Thanks Mr Benavides for discovering this treasure to me.
This book is a compilation of interviews the author made to around 200 people: musicians, producers, sound engineers, managers, record companies A&Rs… basically people who had been involved with the several bands which propelled the ignored Northwest area of the States, and Seattle in particular, to be a huge worldwide attraction, thanks to the scene created throughout the years, since the early 80s to late 90s. It’d be a huge mistake if only the most prominent bands, you know, Nirvana, Pearl Jam Alice In Chains and Soundgarden, would have been covered, but luckily all the different bands previous to those, and many other such as Melvins, Mudhoney, TAD, 7-Year Bitch or even Candlebox, are also included.
Many stories, different confronted opinions, and people’s feelings are reflected, respecting a very well structured timeline, showing a family tree whose branches extend to many bands with different projection and fate. Of course, there are certain key figures which are never to be forgotten, which are pillars, or even breaking points at certain times, to situations and changes of events, such as the deaths of Andrew Wood, Mia Zapata, Kurt Cobain or Layne Staley. Addictions and substance abuse are too present, excess and delusions of grandeur can be found in many stories, ambition, friendship, hard work, love, disasters and drama, and most of all talent, are part of this big cocktail, and lots of stories, I used to listen thanks to overseas magazines and the damned MTV, are now told in first person.
For all these reasons and more, Everybody Loves Our Town, immediately has become a must read for all the music lovers, and those who used to wear flannel and Doc Martens, no mattered what their parents or people at their high schools could think of their appearance, trying to emulate their music heroes, which in the end were human beings.
One last thing, not trying to spoil anything: COURTNEY LOVE is even more asshole than I thought.