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An epic joyride through three history-making tours in 1973 that defined rock and roll superstardom—the money, the access, the excess—forevermore.
The Who’s Quadrophenia. Led Zeppelin’s Houses of the Holy. Alice Cooper’s Billion Dollar Babies. These three unprecedented tours—and the albums that inspired them—were the most ambitious of these artists’ careers, and they forever changed the landscape of rock and roll: the economics, the privileges, and the very essence of the concert experience. On these juggernauts, rock gods—and their entourages—were born, along with unimaginable overindulgence and the legendary flameouts. Tour buses were traded for private jets, arenas replaced theaters, and performances transmogrified into over-the-top, operatic spectacles. As the sixties ended and the seventies began, an altogether more cynical era took hold: peace, love, and understanding gave way to sex, drugs, and rock and roll.
But the decade didn’t become the seventies, acclaimed journalist Michael Walker writes, until 1973, a historic and mind-bogglingly prolific year for rock and roll that saw the release of countless classic albums, from The Dark Side of the Moon to Goat’s Head Soup; Goodbye Yellow Brick Road; Greetings from Asbury Park, N.J.; and The Wild, the Innocent & the E Street Shuffle. Aerosmith, Queen, and Lynyrd Skynyrd released their debut albums. The Roxy and CBGB opened their doors. Every major act of the era—from Fleetwood Mac to Black Sabbath—was on the road that summer, but of them all, Walker writes, it was The Who, Led Zeppelin, and Alice Cooper who emerged as the game changers.
Walker revisits each of these three tours in memorable, all-access detail: he goes backstage, onto the jets, and into the limos, where every conceivable wish could be granted. He wedges himself into the sweaty throng of teenage fans (Walker himself was one of them) who suddenly were an economic force to be reckoned with, and he vividly describes how a decade’s worth of decadence was squeezed into twelve heart-pounding, backbreaking, and rule-defying months that redefined, for our modern times, the business of superstardom.
Praise for What You Want Is in the Limo
“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 [1973] as a tipping point, when big tours—and bigger money—became a defining ethos in rock music.”—NPR
- Sales Rank: #123745 in Books
- Published on: 2013-07-23
- Released on: 2013-07-23
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 9.50" h x 1.00" w x 6.30" l, 1.06 pounds
- Binding: Hardcover
- 256 pages
Review
“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 [1973] 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.
Most helpful customer reviews
34 of 35 people found the following review helpful.
Sound historical (not first-hand) and critical analysis of a pivotal point in rock
By A. Reid
To me, a litmus test of a good nonfiction book is how much of it I wind up sharing aloud - and with whom. Family and friends heard major portions of this and factoids are still appearing, days after I finished reading.
I found this book utterly fascinating. I was around in 1973 and really just starting to get into music, and I was a major fan in my adolescence of two of these bands (and had a healthy respect for the third). This book was filled with details about the career arcs of all three, placing them solidly in the evolving rock and roll landscape. I'm sure that there are points in here that are debatable - I know there were a few claims that prompted skepticism and disagreement in me - but that's going to happen when any historian goes beyond relating bare fact and tries to draw critical conclusions about impact and influence. And in spite of those moments, I felt confident enough in Walker's research that they didn't make me question his conclusions entirely.
This does bring me to another point - I see from existing reviews that this book is divisive, with opinions all along the spectrum. Some people seem to be unhappy that Walker was not actually "on the road" with these bands, expecting more of a memoir than an academic treatise. I can understand, if that's what they were expecting, why this might have disappointed. My academic background is in history - and not recent history, either - so Walker's methods of reviewing sources from the period and interviewing experts (in this case, people who actually were there) is very comfortable to me. I was not expecting a memoir, so I was not disappointed. If you know what you're in for, it can help you better select (or not) this book.
It's also worth noting that in a book on the career arc of all three and the music landscape in general, Walker's information on any band is not as exhaustive as you might find in a book specifically devoted to it. I have read (though not recently) several books specifically about the Who including the 500+ page 1983 edition of Before I Get Old: The Story of the Who, and there's a lot I've read that's not in here. I wouldn't expect it to be. Nevertheless, there were things in here about even that band which I didn't know.
I am personally very happy with this book. I enjoyed it immensely. I found it an easy read, an interesting read, and an informative one. I look forward to sharing snippets of rock history with friends and family for years to come and will recommend it to them.
(What I cannot review are the pictures - the review copy did not include them, unfortunately, because I suspect I would have enjoyed them.)
1 of 1 people found the following review helpful.
Gets the worst of the guys; does not get the girls AT ALL.
By kafkette
Same deal, take it from an insider: he gets the sleaziest business of the guys, he doesn't get the girls at all. Wanna understand the girls? Read Pamela des Barres. Or maybe the old rolling stone press book, 'Groupies'. NOT THIS. One example: our typist [aka "author"] laughs at what is actually a famous quote, a girl's noting, "We're their muses!" as if this were an impossible idea. Within two pages he's talking about various songs written about various girls in the scene. What, pray, does he think the job description of a muse might be?
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.
10 of 10 people found the following review helpful.
SO MUCH MORE than the title implies
By Jeffrey Strawman
"The year 1973 distills a decade's worth of decadence into twelve awesome months and resets the clock for the rest of the seventies and all that they imply. It's a year that, by any measure, ought to be its own decade." - Michael Walker
What You Want Is In The Limo: On the Road with Led Zeppelin, Alice Cooper and the Who in 1973, the year that the Sixties Died and the Modern Rock Star Was Born is a very thorough look at the year in which three bands, Led Zeppelin, Alice Cooper and The Who became megahits, superstars, ultra sensations and every adjective in between. From skyrocketing album sales, to publicity (both good and bad), tickets sales, fans (and groupies) and the hype, if ever there was a formula for bands on how to succeed, these three bands figured it out.
What this book succeeded in what truly laying down the blueprints for this formula: how the bands formed, what the state the world was in at this time, what outside influences there were, and how the bands catapulted from the rest of the musical crowds. This all formed the catalyst, the tinder for the explosive fire that was what the bands experienced in 1973.
The book is very well written. It gives an intellectual immersion into these bands' lives, not necessarily in a day-by-day basis, but selected important events that allows any reader to understand how they became as ridiculously popular as they were without over-stimulation.
My attention was definitely kept to the stories contained within this book from start to finish. Some of the information was sourced from existing interviews, which as a self-proclaimed superfan, I've read before, however, it is how the information was sewn together, molded and formed, was how it was made into such an enjoyable read. And yes, author Michael Walker did go the full distance in how the bands advanced beyond the year 1973 into the present day.
When I first found out about the book, the main title What You Want Is In The Limo obviously invoked salacious thoughts in my head of potentially embarrassing recollections of the band members by groupies who had enjoyed their own portion of the bands, but this book is SO MUCH MORE THAN THAT. What the bands wanted wasn't just five minutes in heaven with offered wanton product, it was the fame, the money, the music, the buzz!
It is quite a tall task to prove the theory that one year in each of these bands' lives was the equivalent of a decade, however, Walker absolutely succeeded.
What You Want Is In The Limo: On the Road with Led Zeppelin, Alice Cooper and the Who in 1973, the year that the Sixties Died and the Modern Rock Star Was Born is available July 23, 2013 at all major bookstore and online for eReaders.
Jeff Strawman
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