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The first ever full length biography of Whitesnake – written by one of rock’s most prolific writers.

Top music writer Martin Popoff tells the tale of rock legend David Coverdale from his Deep Purple roots, to the two distinct incarnations of his ὔber-creation.

Whitesnake began life as a UK based blues rock outfit, until the lad from England’s chilly east coast upped sticks to America’s sunny west coast in search of fame, fortune, big videos and even bigger hair. He found them all, and 1987’s self-titled album went platinum eight times in the US alone, before their bright star waned in the face of dowdy grunge.

In his 45th book, Martin has interviewed 30 major characters – including Coverdale – to piece together the band’s convoluted history. He traces the hirings and firings, the splits and reunions, the image changes which evolved over time enabling Coverdale and co. to stay ahead of the pack for over five decades.

If you’ve rocked out to anthems such as “Here I Go Again”, “Fool For Your Loving”, “Still Of The Night”, or The Heart Of The City”, you’ll want to read about the man and the band that created them.

• Sales Rank: #658552 in eBooks
• Published on: 2015-01-26
• Released on: 2015-01-26
• Format: Kindle eBook

About the Author
What can we say about Martin Popoff? He is a one of the world's best known writers on metal and classic rock both in books and magazines. This is his 45th book and likes his other work, the enthusiasm for the subject shines through. He knows just about every musician in the field personally and has a very loyal fanbase of readers. He's also a really nice guy.

Excerpt. © Reprinted by permission. All rights reserved.
“Tommy Bolin, he lived with me for three months, before he joined the band,” explains Glenn Hughes. “Tommy Bolin was a very sweet, kind, philosophical, hippie-ish, generous, loving person. There wasn’t a bad bone in his body. The only thing was, Tommy was riddled with drug addiction. I had no idea he was into the morphines and the other stuff at all. And we talked about it and he joked about it, but I hadn’t realized my friend was actually getting to be hooked on the stuff. But Tommy and I also have stuff we wrote together. He was a great guy. I mean, I was sort of into my disease as well. The cocaine was definitely drug of choice in the ‘70s, for people who could afford it. So I was in my own head at that time.”
“Look, here’s the deal,” frames Hughes, on the making of Come Taste The Band, Coverdale’s third record and the last for the band before the Mk. II reunion in ‘83. “Tommy Bolin joined Deep Purple in, I think, June of 1975. In June and July we basically rehearsed in Los Angeles, pretty much three quarters of them. We wrote a couple in the studio. Then we went to Munich to Musicland Studios and, you know, Tommy Bolin had moved into my home in Beverly Hills. There were definitely two camps being set up, maybe three camps being set up. There was me and Tommy to one side, David alone, and then Jon and Ian. And it was very obvious when we went to Germany that it was me and Tommy hanging out. Tommy and I were younger and we were more free-spirited.
It was basically, if you listen to the album, there is definitely a Tommy and Glenn influence on the one side, and Coverdale is doing the big voice in the middle. We were the toxic twins of the band. Tommy and I were young and we didn’t know what the hell we were doing.”

Most helpful customer reviews

7 of 7 people found the following review helpful.
I knew little of David Coverdale's Post-Purple Days, So I was glad to read this!
By Best_Legend
Well, ...I really wasn't familiar with David Coverdale's career after the Purple, so this book was very informative to me. I can talk all day about the events related to MARK III, and was aware of all the hoopla surrounding the 1987 album; but the high quality of the MARK ONE version of "White snake" had escaped me. I picked up a copy of the live CD they made, and it blew my mind! That band was very, very good!

I hate the name "White Snake", and all the phallic insinuations involved with all those ridiculous album covers of naked women, etc. that seemed to always "adorn" Coverdale's albums during those years. Many of his lyrics suffer from this adolescent perspective as well. But that man can sing with the best of the great rock singers in my opinion. I think he did all that "hair metal" music in '87 because that genre was the money-making method of success at that time, and who can blame him for cashing in. We all need money, ...right?

But he is a reasonably good guy, and can command the stage as well as anyone. I watch the California Jam about once a year, every year, ..for many years now. I love that MARK III band, and "Storm Bringer" is my favorite classic Purple record. But the blasted drug culture ruined that monster group just as they were really taking off, so Coverdale had to take the bull by the horns, and build a successful career, ..which he did.

This book, ...for me was able to answer the questions I had about what all happened with him in those decades immediately following the Purple demise in 1976. Maybe it is not a consummate story, but I really don't want to read a whole chapter on that Tammy Kitten woman anyway. I am interested in those blues-rock albums in the early 80's, and wanted to know about those three guitarists in that band. The live album I have tells a lot about their wonderful playing, but I had no idea that the bassist named Murray was THAT good! I have a hard time focusing on the other players because the bass lines keep drawing my attention on that CD.

Back to the book though, ...I believe it tells what there is to tell about Coverdale's journey. There are a few surprises like I did not know that the current bassist in STYX actually was playing with Coverdale & Page on their album in the early 90's. He is a great player! Also, I did not know that Glenn Hughes did some background vocals on that '87 album. Glenn Hughes records seem to stay in my CD player all the time; that guy is flat out the best at everything he does, ...he just can't seem to get a monster record noticed by the world yet. I'm glad that Coverdale got that notice with all those singles from that '87 thing with all those videos of that girl rolling around on hoods of those Volkswagens back then. That record was nowhere near his best music, but he deserved the rewards that sprung from that project.

This book tells the stories of all his endeavors in music, while not getting stuck in the Purple stories that I already knew so well.

5 of 6 people found the following review helpful.
For the true fans I do recommend purchasing. I know this author is talented
By Kindle Customer
As a fan of the band, I was thrilled a book was written. For the true fans I do recommend purchasing . I know this author is talented, but agree with earlier review of editing could of been better and I I felt the author bounced around a lot and rushed a lot of the content. A lot of early history , which was necessary, deserved (so much respect for the talent of the earlier band members) and educational but I felt there could of been more in depth interviews with Coverdale, past members of the band, reasons why they moved on, behind the scenes,in the studio, high and lows, etc. There was a lot of great players from 1987 to current and would of loved to have the book spend more time or more in depth interviews with those players. I always wondered why Vivian Campbell left and the book did a great job of addressing that and had some good interviews with Vivian and Steve Vai, but many people do not know Warren Demartini was in the band for a short time and that was a sentence or 2 in the book. Coverdale is one of the greatest rock singers and he has always had extremely talented musicians. I just wanted more content from this book and felt it summed up decades worth of history, music, and players too quickly.

4 of 5 people found the following review helpful.
Not Popoff's best book
By Daniele Purrone
I have read and enjoyed other books by the author in the past, but this was not the case. The interviews are, in my opinion, badly edited (for instance, it happens several time that you read a description of an event, then something else, giving you the impression that we have moved on, and then - a few pages later - you read the description of the same event by another person), the writing seems rushed, some important events are completely left out.
Also, I don't like the abuse of the terms metal and heavy metal applied to early Whitesnake and Purple material, but I guess that's more of a cultural difference between europeans (who would never call Deep Purple a metal band) and northern americans.

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Stop Making Excuses - Start Making Progress with Your Music Career
Consistent Top 5 Best Seller in the Music Business category!

This book gives you a comprehensive list of bite-size marketing activities that can literally be done in five minutes or less.

No kidding. Anyone - including YOU - can do this!

Of course, you can spend more than five minutes on them if you want to. But if you're pressed for time, you now have at your fingertips a handy selection of simple marketing actions you can take.

Use this book as a solution to that age-old complaint, "I don't have time to promote my music." Or as the antidote to the faulty rationale, "I'll focus on marketing when I have more time."

Don't get sucked into the "no-time, bad-time" trap!

Will five-minute activities really make a difference? Are they even worth doing? For me, the answer is a resounding YES!

Engaging in these actions on a daily basis will create momentum. They will help develop new habits that will serve you well. In fact, I bet it won't take long at all before you start to see the benefits.

You never know when an email you send, a photo you post online, or some simple step you take will lead to a new fan, live show, or exposure opportunity.

But if you take no action and keep putting things off until some mystical time in the future ... the only thing you'll see is stagnation.

My promise to you ...
If you take consistent action, continue to move forward, and keep chipping away at it, you will see results! But you must do these things on a daily basis.

With this book in your collection of marketing tools, there is no excuse to go days or weeks (or months or years) without doing something to make progress with your music career.

Read through these lists of five-minute marketing actions. Highlight the ones that resonate with you. And whenever you have five minutes to spare, pick one and act on it!

You can get started by taking this one-minute action right now: Scroll up and click the Buy button.

Your music and your destiny deserve it!

-Bob

Here's a quick look at the contents:

Section 1: Five-Minute Marketing Steps in the Real World
- Fourteen Things You Can Do Locally in Your Home Town
- Eighteen Things to Do Before, During and After Your Live Music Performances
- Four Things You Can Do to Network and Strengthen Your People Connections
- Six Things You Can Do When Songwriting or Recording New Music
- Eight Things You Can Do to Get Publicity and Media Exposure
- Nine Things You Can Do to Generate More Music Sales
- Eight Things You Can Do to Find Inspiration and Get Educated
- Eight Things You Can Do to Supercharge Your Planning and Productivity

Section 2: Five-Minute Marketing Steps in the Digital and Online Realms
- Seven Things You Can Do with Your Music Website
- Four Things You Can Do If You Publish a Blog
- Eight Things You Can Do to Brainstorm Content Marketing Ideas
- Seventeen Things You Can Do with Twitter
- Seven Things You Can Do on Your Facebook Fan Page
- Eleven Things You Can Do on YouTube
- Nine Things You Can Do on iTunes, Amazon and CD Baby
- Thirteen More Social Media and Digital Music Action Steps You Can Take

Final Thoughts
Book excerpt from Guerrilla Music Marketing, Vol 1
Book excerpt from Guerrilla Music Marketing, Vol 2

• Sales Rank: #195155 in eBooks
• Published on: 2015-01-18
• Released on: 2015-01-18
• Format: Kindle eBook

Most helpful customer reviews

1 of 1 people found the following review helpful.
Great Book!
By BRINDL
This book is a great collection of small and easy things you can do to share and market your music no matter how busy you are. Insightful DIY tips with Bob's special brand of encouragement for working musicians.

Bob Baker's material is accessible, and his books are affordable. Whenever I see he has a new book I don't hesitate to get it, and I am never disappointed. Guerrilla Music Marketing Handbook is one of my go-to bibles for music marketing and helped me successfully release 3 albums over the last 5 years.

1 of 1 people found the following review helpful.
Another Great Book by Bob Baker
By R. Lucas
A handy guide for independent musicians who want to further their careers. A step by step, easy to understand book with action steps anyone can do. Mr. Baker writes in a clear, concise way exactly what to do and how to do it. Each small step can indeed be done in 5 minutes or less. I've read several of his books and like the others this one is extremely well written.

1 of 1 people found the following review helpful.
The Five-Minute Music Marketer is a great quick review of how to keep your marking strategies ...
By Michael Perry / Jour Majesty Band
The Five-Minute Music Marketer is a great quick review of how to keep your marking strategies in focus five minutes at a time. For example, I had forgotten to complete my Amazon profile signature This was one of the five minute tasks listed in the reading. As you can see above my signature is now complete. Recommended.

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(Piano/Vocal/Guitar Artist Songbook). A dozen songs matching the debut album by this Australian punk pop boy band which reached the top of the Billboard 200 Album charts, including: Amnesia * Don't Stop * Everything I Didn't Say * Good Girls * Kiss Me Kiss Me * She Looks So Perfect * and more.

• Sales Rank: #739820 in Books
• Brand: 5 Seconds Of Summer (CRT)
• Published on: 2015-01-01
• Original language: English
• Number of items: 1
• Dimensions: 12.00" h x .26" w x 9.00" l, .0 pounds
• Binding: Paperback
• 90 pages

Features

• cf-type-piano-vocal-guitar-song-book, cf-vendor-hal-leonard

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a must have
By 5SOS
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Russian American artist Peter Blume was one of the earliest practitioners of surrealist painting in the United States, and his elaborately detailed and dreamlike compositions helped define American Modernist art. Blume worked out the themes of his ambitious large-scale paintings through dozens of drafts in different media, slowly developing layers of allegory and imagery that dramatized the creative process, cultural memory, urban expansion, destruction, rebirth, and political power. Showcasing over a hundred paintings and drawings, as well as sketches, sculpture, and ephemera from all periods of his six-decade career, Peter Blume: Nature and Metamorphosis provides unprecedented insight into the artist's process, his relationship to Surrealism, and his profound visions of twentieth-century social and spiritual upheaval.

This comprehensive volume draws on a selection of previously unpublished interviews with Blume and selected examples of the artist's writings, and reflects previously unknown aspects of Blume's work, including a poster design made during World War II, a major painting not seen in public since 1961, and extensive photographs and drawings from his archives. Essays by Samantha Baskind, Sergio Cortesini, Robert Cowley, David McCarthy, Sarah Vure, and Robert Cozzolino delve into topics such as Blume's relationship with an international community of artists and writers and their work, his engagement with politics in the 1930s and 1940s, his vital role in the evolution of Surrealism in America, the relationship between automatic drawing and precise painting in his own practice, and the influence of his Jewish heritage on his work. The first retrospective of this influential artist in several decades, Peter Blume: Nature and Metamorphosis brings the artist's significance within the history of American art into sharp focus.

Contributors: Samantha Baskind, Sergio Cortesini, Robert Cowley, Robert Cozzolino, David McCarthy, Sarah Vure.

• Sales Rank: #1300099 in Books
• Published on: 2015-01-06
• Original language: English
• Number of items: 1
• Dimensions: 11.17" h x 1.40" w x 9.62" l, .0 pounds
• Binding: Hardcover
• 352 pages

Review

Selected by Choice magazine as an Outstanding Academic Title for 2015

"This handsome book accompanies the 2015 retrospective exhibition of the artist's work at the Pennsylvania Academy of Art, the first such exhibit since 1976. The exhibition and this publication aim to make better known an American artist who was more popular in the 1930s and 1940s. . . . In addition to insightful essays by Cozzolino, who knew Blume as a family friend, the book includes chapters by Samantha Baskind, Sergio Cortesini, Robert Cowley, David McCarthy, and Sarah Vure. The book is well illustrated throughout. . . . Essential."—Choice

About the Author
Robert Cozzolino is Senior Curator and Curator of Modern Art at the Pennsylvania Academy of the Fine Arts.

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1 of 1 people found the following review helpful.
loved it, have an earlier book on Blume
By LDJ
I attended the Exhibition at the Wadsworth Atheneum, loved it, have an earlier book on Blume, saw this catalogue at the exhibit, and
immediately decided to buy it. I waited till I was able to order it at Amazon, less expensive and the same exact book.
Love it! It is probably the most complete book on Peter Blume available. Has most of his major works, many drawings (rare to see them in actuality
or in book form) and good text. I recommend this book to anyone interested in P. Blume. An important painter/artist in mid-20th C. American art.

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• Sales Rank: #3141503 in Books
• Published on: 2015
• Binding: Staple Bound
• 40 pages

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1 of 1 people found the following review helpful.
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By Isabelle V
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• Sales Rank: #1844876 in Books
• Published on: 2015-01-01
• Original language: English
• Number of items: 1
• Dimensions: 12.00" h x .27" w x 9.00" l, .0 pounds
• Binding: Paperback
• 80 pages

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A renowned scholar’s reflections on the romantic period, its disparate participants, and our unacknowledged debt to them

With his usual wit and élan, esteemed historian Peter Gay enters the contentious, long-standing debates over the romantic period. Here, in this concise and inviting volume, he reformulates the definition of romanticism and provides a fresh account of the immense achievements of romantic writers and artists in all media.
 
Gay’s scope is wide, his insights sharp. He takes on the recurring questions about how to interpret romantic figures and their works. Who qualifies to be a romantic? What ties together romantic figures who practice in different countries, employ different media, even live in different centuries? How is modernism indebted to romanticism, if at all?
 
Guiding readers through the history of the romantic movement across Britain, France, Germany, and Switzerland, Gay argues that the best way to conceptualize romanticism is to accept its complicated nature and acknowledge that there is no “single basket” to contain it. Gay conceives of romantics in “families,” whose individual members share fundamental values but retain unique qualities. He concludes by demonstrating that romanticism extends well into the twentieth century, where its deep and lasting impact may be measured in the work of writers such as T. S. Eliot and Virginia Woolf.

• Sales Rank: #1132865 in Books
• Published on: 2015-01-13
• Original language: English
• Number of items: 1
• Dimensions: 7.75" h x .69" w x 5.25" l, .0 pounds
• Binding: Hardcover
• 176 pages

Review
"With his usual deft, even chatty style, Peter Gay leads us through the paradoxes of the major European Romantics and documents their impact on Modernism. There is no page in his book that is not thoughtful and witty."—Geoffrey Hartman, author of The Eighth Day: Poems Old and New (Geoffrey Hartman)

“In this instructive and insightful book, a capstone to a career that has now spanned more than six decades, Peter Gay muses with characteristic brilliance and learning about the deep connections between Romanticism and Modernism, and how they have shaped the way the modern age thinks and feels.”—David A. Bell, Princeton University (David A. Bell)

“With Peter Gay's characteristic elegance and erudition, Why the Romantics Matter celebrates the power of Romanticism from the late eighteenth century to the early twentieth—a movement whose energies are inseparable from the self-image of men and women today.”—David Bromwich, Yale University (David Bromwich)

‘Until now the Romantic period was almost the only one about which prolific cultural historian Gay (now in his 90’s) had not written. Part of the Yale Why X Matters series, his erudite and idiosyncratic narrative argues the importance of Beethoven, Wilde and Kadinsky (his favoured exemplars, among many) to the developing story of art.’—Peter Swaab, the Sunday Telegraph.
(Peter Swaab The Sunday Telegraph 2015-02-15)

“Highly readable.”—Robert Fulford, National Post (Robert Fulford National Post)

Winner of the 2015 Jean-Pierre Barricelli Prize given by the International Conference on Romanticism. (Jean-Pierre Barricelli Prize International Conference on Romanticism 2015-12-31)

About the Author
Peter Gay is Sterling Professor of History Emeritus, Yale University, and former director of the New York Public Library Center for Scholars and Writers. He is the author of dozens of books and has won numerous awards for his scholarship, including the National Book Award and a Gold Medal from the American Academy of Arts and Letters. He lives in New York City.

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0 of 0 people found the following review helpful.
Peter Gay at His Leisure
By Richard B. Schwartz
The late Peter Gay’s last book, Why the Romantics Matter is a small book (117 pp. plus notes and bibliography). The title is somewhat misleading, in that the answer to the implied question is something like the following: the romantics matter because they inspired the modernists and many of the modernists are latter-day romantics. In assuming the romantics’ desire to develop new and jarring art forms the modernists actually created classics. What appeared ‘shocking’ for the moment has now expanded our view of art and immeasurably enriched our culture.

Fair enough, but Gay offered a stellar and far-reaching study of this subject in his (640 pp.) 2010 book, Modernism: The Lure of Heresy. Anything he writes, however, is of potential interest. Why the Romantics Matter is a comfortable, informal discussion, best enjoyed in a soft chair with a glass of good sherry or a cup of hot tea. It takes a vast subject and looks at a few instances, examples, artists and art supporters. There are five chapters--‘The Re-Enchantment of the World’, Romantic Psychology, Middlemen as Pedagogues, Art for Artists’ Sake, The Beethoven Decades—and an epilogue. He begins by acknowledging the mercurial nature of the subject. In 1924 A. O. Lovejoy published his landmark essay, “On the Discrimination of Romanticisms,” his basic point being that ‘romanticism’ defies clear definition because it covers so many art forms, so many artists, so many countries and covers such a long historical period. Isaiah Berlin, e.g. (who refers to this problem in his own book on romanticism) traces many of the aspects of German romanticism to that country’s experience in the Thirty Years War, while many would trace essential aspects of the experience of the English romantics to the French Revolution.

There is very little in Gay’s book concerning British romanticism, with the exception of a longish discussion on Oscar Wilde, who shares elements of the romantic spirit with earlier writers, but would not be included among the central figures of the movement--Wordsworth, Coleridge, Keats, Shelley, Byron and Blake. Gay is more interested in the German romantics and the French modernists. He is also more interested in painting and music than in poetry or architecture. Since the span and the conception of the book are so wide the case becomes attenuated. T. S. Eliot, e.g., is seldom thought of as a romantic writer, though Gay is at pains to link his modernism with romantic tendencies.

I was surprised to see virtually no discussion of Kant, whose Critique of Judgment seems to me, and to many, to be a crucial element—across countries--in both romanticism and modernism. In fairness, the subject is vast, but Frye was able to offer some lovely definitional explanations for the concept of romanticism in his little book on the subject (1968). The bottom line, I think, is that this is Peter Gay ‘at his leisure’, discussing a subject (of which he has vast knowledge) in an informal, off-the-cuff manner. The book both informs and delights, but it does not offer definitions, historical outlines or a fresh view of an infinitely complex subject. It feels like an extended footnote to Modernism: The Lure of Heresy, which I would strongly recommend to all readers interested in art and culture.

7 of 11 people found the following review helpful.
Or Do They?
By Charlus
Peter Gay is one of the pre-eminent cultural historians of Western Europe, having written seminal works on the Enlightenment, Victorian Culture and the Modernists. Here he ostensibly proposes to fill in the gap of the Romantics. After reading this work, I have my doubts he succeeded.

He starts by explaining that there is not a single Romanticism but "Romanticisms", a concept he makes no claims to be original (Isaiah Berlin made a similar argument in his work on the subject). And the thread argument is how Romantic concepts, such as Art for Art's Sake, was picked up and transformed by the Modernists. That thread is frequently snapped and disappears for chapters at a time, while he discusses odds and ends about artists between 1870 and 1914, something he already did in his more expansive work, Modernism. A long tangent about the life and trials of Oscar Wilde seems to come out of nowhere.

This is not to say that Mr Gay is ever dull or the ideas and people he examines are not without intrinsic interest. But a discussion about the relevancy of Romanticism, especially to contemporary times, is nowhere in evidence.

The second to last chapter finally returns to an unarguable Romantic, Beethoven, but again, except for assuming his self-evident influence in music, no particular argument is made. The last chapter covers Freud, Kadinsky, Cezanne and any effort tying them to the Romantics is abandoned. So why do the Romantics matter? Hopefully the answer will be forthcoming in some future book.

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