- Hardcover: 256 pages
- Publisher: Spiegel & Grau; First Edition edition (July 23, 2013)
- Language: English
- ISBN-10: 0812992881
- ISBN-13: 978-0812992885
- Product Dimensions: 6.3 x 1 x 9.5 inches
- Shipping Weight: 1 pounds
- Average Customer Review: 96 customer reviews
- Amazon Best Sellers Rank: #246,374 in Books (See Top 100 in Books)
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What You Want Is in the Limo: On the Road with Led Zeppelin, Alice Cooper, and the Who in 1973, the Year the Sixties Died and the Modern Rock Star Was Born Hardcover – July 23, 2013
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“Required reading . . . 1973 is a turning point in popular music—the border between hippie-ethos ’60s rock ’n’ roll and conspicuous-consumption excess ’70s rock.”—New York Post
“Loud and boisterous . . . Like a good vinyl-era single, it’s over before it wears out its welcome. You may even want to flip it over and start again when you’re finished.”—Fort Worth Star-Telegram
“You don’t have to love the music or personas of the three bands highlighted here . . . to appreciate the vital roles that all three played in creating the modern rock star. . . . [Walker] is convincing and entertaining in explaining why 1973 was a seminal year in rock.”—The Daily Beast
“[There’s] so much rock n' roll history packed inside.”—GQ
“Very well written . . . It gives an intellectual immersion into these bands’ lives.”—Led-Zeppelin.org
“[Walker] argues for  as a tipping point, when big tours—and bigger money—became a defining ethos in rock music.”—NPR
About the Author
Michael Walker is the author of the national bestseller Laurel Canyon: The Inside Story of Rock-and-Roll’s Legendary Neighborhood. His writing has appeared in The New York Times, the Los Angeles Times, The Washington Post, and Rolling Stone, among other publications. He lives in Los Angeles.
Top customer reviews
He also notes sarcastically that all the girls had preposterous dreams of marrying one or another rockstar. Again, and especially if you believe this preposterous: Read Pamela des Barres. Or you can ask me. She did it, i did it, and we are not alone. Where on earth does our typist think guys in the scene found girls to marry? Some other scene that none of them belong to? And of course the typist doesn't make any delineation between girls who fork em all, who aren't there for marriage, of all things, and the more serious girls. There were TWO types, buster, until the moribund carcass of rock & roll miserably exploded in the manner of Oscar Wilde. My late husband would tell you about the lines around the block of girls waiting to blow into, shall we say, Sebastian Bach's trailer. And then there's me.
Our typist won't even make a concession for well-known [as is now called] ultra-demi Alice Cooper. He notes that AC had a girlfriend and there wasnt a lot of blowing going on in his trailer—ONLY TO THEN NOTE the ONE time there was. Does he not know this is mean to just about everyone involved?
Except the Skeeze Kings. Skeeze Kings like Peter Grant are clearly the people from whom he got the most info. If he talked to a woman, it was only below her neck and then gone. Look, dude [i would say to him]: i was a kid in 1973. i don't remember it that well, but i remember that those were the most ecstatic of days until, eventually, i became the original 10-year-old Hollywood runaway, then later deep scenester forever. This cat, this typist, cannot tell you the story of the deep scene because he either doesn't know it exists or doesn't care that it does.
If yr looking for skeeze, though: he's yr man.
The criticisms I've seen for this book are that most of the information does not come from original sources, that he got a lot of it from other books. I would bet the Michael Des Barres quotage is direct, and even if the rest of it isn't he does a monumental job of connecting the dots in a way that reveals a ton of insight -- and that counts.
Lastly, this is the first rock book I've read digitally, and it was easier to read in the go but not as satisfying. However, no paperback yet so that's why I got the electronic version.