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Backstage Passes and Backstabbing Bastards

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Al Kooper has been rightly called the "Forrest Gump" of rock and roll. Throughout the 60's and 70's he seemed to turn up as a producer or band member with the right group of musicians until he either checked out of a band (the first electric Bob Dylan tour in 1965) or was thrown out (Blood, Sweat and Tears). Over the course of 40 years he's amassed an amazing amount of experiences that he's collected in Backstage Passes and Back Stabbing Bastards. This is the third edition of his music biography first published in 1979, then updated in the mid-90's, and now reissued covering 1998 to the present. "BP&BB" reads very much like a long-form interview you'd see in Rolling Stone (when it was good) or MOJO (always good). While he's never quite gone beyond cult figure status on his own, behind the scenes he's worked with some legends, most notably Bob Dylan and Lynyrd Skynyrd. Dylan pops up at various times throughout the book and Al's stories about him are alternately revealing but mostly hilarious. It was Dylan who gave Kooper his "calling card" to rock stardom when he overruled producer Tom Wilson and turned up the organist on "Like a Rolling Stone". The organist was Kooper, who'd BS'd his way onto the session and only jumped on the organ (an instrument he couldn't turn on let alone play) when Mike Bloomfield showed up and shattered Kooper's guitar hero dreams just by tuning up. That session would be both a blessing and a curse for Kooper, who got a ton of session work from producers looking for "that Dylan sound" but left Al wanting something more substantive musically. Enter Dylan, who dragged him onstage at the legendary Newport Folk Festival when he went electric. Al sets the record straight on that show and has a much different version of the event than the history books because he was RIGHT THERE. He was also "right there" when Bob went to Nashville to record "Blonde on Blonde". Al's relationship with Dylan has certainly evolved over the years and from his stories you get the impression that Bob's been doing everything he can to run away from his legacy instead of embracing it.

From there, he joined the Blues Project until they imploded. Organized and performed at Monterey Pop, then formed Blood Sweat and Tears until he was ousted by their drummer following their debut album. That might be the end of the story right? Wrong! Taking the phrase "if you can't beat `em, join `em" to heart, he became a staff producer at CBS Records under "Captain Clive" Davis. His first project would be the legendary "Super Session" album with Mike Bloomfield and Stephen Stills. Kooper's work with "Bloomers' is a case of missed opportunities, when things were good with him they were very good. They would produce 3 albums together but Mike could be exasperating to deal with. He only appeared on ½ of "SS" and "The Live Adventures", leaving suddenly midway through both due to chronic insomnia and/or a heroin addiction that eventually took his life.

After leaving CBS, he relocated to Atlanta with the idea of forming his own record label (ala` Phil Walden at Capricorn Records). While scouting local talent he spotted a guitar army from Jacksonville and "Sounds of the South's" first artist was Lynyrd Skynyrd. LS seem to have a love/hate relationship with Kooper. While grateful for producing their first 3 albums (as well as hits like "Free Bird", "Gimme 3 Steps" and "Sweet Home Alabama") his production methods seemed to soften the powerhouse sound they had live. It's no wonder he was immortalized as "Mr. Yankee Slicker" in the song "Workin' for MCA".

The one story I wished he'd expanded on was playing with Jimi Hendrix on "Electric Ladyland". They'd met at Monterey Pop and Al received one of Jimi's Strats as a thank-you for his work. That guitar would prove to be more trouble than it was worth later on.

The last 10 years have been something of a rough road for Al. He became an associate professor at Berklee College of Music in Boston, became a grandfather, and endured a long recovery from a debilitating eye disorder. But he's still out playing live (with his academic colleagues no less!) and his dry wit is still there, can't wait for volume 4!

Highly recommended!

I first discovered Al Kooper in 1966 at a local record store in rural northern Maine. I think it was the Jaquar (or was it a Jazzmaster) Steve Katz was holding on the album cover which drew me to it. Whatever...but, it was the crazy schizo guitar of Danny Kalb and keyboards of Al Kooper which really impacted on me. Later, I recognized this guy "Al Kooper's" name on Dylan albums, his face on the debut album of the first Jazz rock band (with horns, no less)and then his work with guitar virtuoso Mike Bloomfield. Decades later I actually met Mr. Kooper briefly (not that he would remember me)at the Redding Roadhouse in Connecticut and was releived that he was a gracious nice guy, more tolerant than most with fans. Enough about my experiences.

Al Kooper is a musician's musician. His experience spans the history of good popular music from the late '50s to the present. It is intriging to figuratively be a "fly on the wall" as Al relates his experiences with the Blues Project, Dylan, BS&T, Bloomfield, Skynrd, Jimmy Vivino, the Beatles, Stones...shall I go on? His wit, objectivity about himself and down to earth perspective on events which (although many of us see in mythic proportions - Dylan's Highway '61, for instance)he actually lived, make this book a uniqely honest portrayal of the period. If you are a guitar player who grew up during the mid-late '60s in America, you probably were either a Bloomfield or Kalb fan. Well, Al played with both of them. If you are a Hammond B3 player who grew up during the same period, well, you must be aware of Al's work. For you other people who may not know about Mr. Kooper's contributions,you you are in for a surprise, a big one!! Mr. Kooper, as a working musician, provides inside details of events only someone with his experience could. This book is highly recommended for anyone who has even a passing interest in rock, blues, culture or just likes a good read. "Dr." Kooper is one of the good guys and really delivers with this one!!

As a 50 year-old musician who was born and raised in Greenwich Village (Al's old stomping ground at one point in his life), I've read alot of biographies and autobiographies by musicians over the years, and I can honestly say that Al Kooper's book is without a doubt the best I have ever read. Period.

Al's writing style is remarkably conversational in tone, like you're kicking back with an old friend who is regaling you with stories and anecdotes from an extrordinary career in the music biz.

To his credit, Al doesn't just give you the the stuff that makes him look good, he gives you the bad and the ugly too. You get the whole enchilada: the sex, the drugs, AND the Rock n' Roll.

In sum, you get a fascinating glimpse into the life of a sucessful musician, composer, arranger, and producer who had the uncanny good fortune of being in the right place at the right time, and made the most of each opportunity. I cannot recommend this book too highly -- buy it, read it, digg it.

Al Kooper's 'Memoirs Of A Rock 'N Roll Survivor' makes for an extremely enjoyable reading: it's funny, loaded with very interesting anecdotes and behind-the-scenes stories and is very well-written.
One of the best books ever about the music world.
Highly Recommended!!!

Kooper writes honestly -- almost painfully, sometimes -- about his 40+ years as a professional musician. He's best known for his almost accidental organ part on Bob Dylan's "Like A Rolling Stone" created under pressure late one night in 1964. It's part accident / part intuitive stroke of genius / part BS-er. Which is how Kooper sort of describes his entire career.

The book is gritty and moves quickly. There are parts that will make you cringe (Oh no! I can't believe he's going to do that) like you are watching an episode of "Curb Your Enthusiasm."

He's clear that he's seen bad times. He's amazingly honest about a lot of it. You get a taste of the boredom and frustration of being a bit of a rock star. But don't feel too bad for him. He's had lots of exhilarating good times as well. And, at this point in his life, he seems like the last guy who would want anyone to feel sorry for him.

Al Kooper (not to be confused with Alice Cooper) is a true rock and roll survivor with a music career spanning several decades. Backstage Passes & Backstabbing Bastards gives us Kooper's perspective on his career as well as encounters with various significant musicians. Kooper's book is a rarity in this field because he comes across as an intelligent and likeable individual rather than the stereotypical rock musician qua druggie/devirginator. So don't go to this book if you're looking for lurid stories of ODs and groupies. Some of Al's fellow musicians, such as B.B. King, Gene Pitney, and George Harrison, are characterized as really great human beings but Al doesn't hesitate to take potshots at those who have done him wrong such as Bobby Colomby and Steve Katz of Blood, Sweat, and Tears. Kooper has had an amazing career playing with such notables as Bob Dylan, Mike Bloomfield, George Harrison, the Rolling Stones (You Can't Always Get What You Want), and Jimi Hendrix. And he was one of the writers of This Diamond Ring, a number one hit for Gary Lewis & the Playboys. Kooper writes intelligently and his book is a fun read. My only criticism is the lack of detail on some of Al's more interesting musical adventures. He came up with the idea for the Super Session album involving Mike Bloomfield, Steve Stills, and others but we don't get very much information about what it was like to work with Bloomfield beyond the fact that Bloomfield left with the album half-done apparently because of insomnia. On the other hand, Al is upfront in admitting that he showed up for Dylan's Highway 61 session expecting to play guitar but quickly abandoned that notion when Bloomfield played a few riffs on his Telecaster. Kooper was on the scene to work with Jimi Hendrix on the Electric Ladyland album but there's very little on this. Hendrix did think highly enough of Al to send him one of his guitars. There are interesting sections detailing Kooper's production work with Lynyrd Skynyrd and TV work with Ray Charles, and the crime drama "Crime Story." All in all, this is a very entertaining book even if it's somewhat lacking in details.

The reviewer that tagged Al Kooper as the rock 'n roll version of Forrest Gump hit the nail on the head. It's the exact thought I had as I finished the book. He had an uncanny knack for being in the right place at the right time. Al Kooper was there whenever something monumental was happening in rock music - whether it was Bob Dylan, Monterey Pop, the Rolling Stones, the Tubes, Lynyrd Skynryd and so on. His discography is STUNNING! He has played on records by and/or produced a tremendous number of musicians - and not "nobodys", people like Dylan, the Rolling Stones, BB King, Skynyrd, Rick Nelson, Gene Pitney, Judy Collins, The Who, Taj Mahal, George Harrison, Tom Petty etc... I can't think of ANYONE who has this kind of discography! This book is entertaining, informative and well-written. It has to be in the all time top 5 of books written about Rock 'n Roll. It's also inspirational. Al Kooper makes no bones about not being the most talented player on the block - he had to "fake it till he could make it."

This book was fetching upwards of $300 when it was out of print, so I was thrilled to see it revised and back in print. It's all here - inter and intra band conflicts, stories of the road - both the "glamour" (not much) and the boredom (plenty), drugs, women, the music industry, club owners etc... It's clear to me that Al Kooper must have a strong personality - he has some good musical vision (e.g. the horn band Blood Sweat and Tears was his concept). He also clearly rubs a lot of people the wrong way, and had numerous falling outs with bandmates, women and business people. This probably cost him a lot - both in reputation and money/success. I would love to see a book detailing other people's opinions of Al - I have read articles/interviews in Goldmine Magazine and Al was definitely controversial. In his autobiography Al comes across as honest and a good guy, but it's clear to me that he, like many rock 'n rollers was very self-absorbed and probably couldn't see himself objectively in many situations. Either way - get this book, it's a must read!

If you are a musiclover like I am than you must buy this book
it is telling of a long music-history in which Al had his mark on
the humour is also of a greatness you seldom find in rock literature
i first bought it in London city,i then visited the museum of Modern Arts where somebody stole it from me
but luckely i could rebuy it at Amazon

I first became aware of Al Kooper in college in '68 and wore out a copy of 'Super Session' honing my blues bass chops while listening to Harvey Brooks. After 1968's 'Live Adventures" LP, I kind of lost track of him so when I saw this book, I was hooked.

What a remarkable life! Starting out in New York, co-writing "This Diamond Ring", playing with Dylan, playing in the Blues Project, starting Blood, Sweat & Tears, switching to producing, discovering Lynard Skynard, it goes on and on. This guy had to be one of the best connected guys in pop music.

It's a fascinating story about one of my old heros from the '60's so if you like 60's and 70's popular music, read this. Great insights!

Al Cooper was there in the early days of Rock & Roll and his memories are excellent. His time with the Blues Project and Bob Dylan, or Mike Bloomfield are all fascinating stories of the Golden Age of Rock& Roll. HE captures many Classic Performances.