No One Here Gets Out Alive
by Jerry Hopkins, Danny Sugerman
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Book Summary Information
Author: Danny Sugerman, Jerry HopkinsEdition: Paperback
Audio: English (Published)
Format: Bargain Price
Published: 2006-04-14
ISBN: N/A
Number of pages: 384
Publisher: Warner Books
Book Reviews of No One Here Gets Out Alive
Book Review: Lightweight and unpenetrating hagiography
Summary: 2 Stars
Rock biographies can be wonderful things - Guralnick's two volume life of the king Last Train to Memphis: The Rise of Elvis Presley and Careless Love: The Unmaking of Elvis Presley; the Gillmans' Alias David Bowie; and anything by Lester Bangs rank amongst the best biographies written about anyone - but despite having an undoubtedly fascinating subject in Jim Morrison and good pedigree in the Rolling Stone credentials of its authors, No One Gets Out Of Here Alive fails to impress on any level.
For me a decent biography has to have a thesis: A (perhaps controversial) view of its subject that the authors, having immersed themselves in research, can present, backed by evidence, to put a new perspective or shed some new light on a familiar subject: to tell a new story for a casual reader. Hopkins and Sugarman make no such effort: Morrison is portrayed as a clever, well-read alcoholic with an authority problem and a pretty apparent (but entirely unexplored) general social unease. The events of his life are thus trotted out is a somewhat patchy fashion, without the attempt to stitch together some overlying narrative or explanation where it feels one is called for: after all this phenomenon still occupies some (diminishing) part of the collective consciousness nearly forty years later. Yet James Morrison comes across as no more worthwhile or interesting a figure than Robbie Williams or Amy Winehouse, and while that may be true, I doubt it, and it doesn't explain the eerie and evocative content of nearly all the Doors' records. I can't imagine a Robbie Williams over the opening credits of Apocalypse Now, nor coming up with an album closer like Maggie McGill or Riders on the Storm.
This book doesn't even pretend to be a story about the rest of the band, and therefore leaves this fascinating artifact we still know as The Doors pretty much uninvestigated, let alone unexplained. Ray Manzarek is, at least, a peripheral figure: poor Robby Krieger and particularly John Densmore are barely mentioned, and the relationships, dynamics and creative processes of the band - which led to some undeniably memorable and haunting music, after all - are wholly unexplored. In any case Jim Morrison, even in his own right, can't be understood properly except through that prism, so this feels to me to be a dramatic failing.
Lastly, Hopkins and Sugarman indulge in absurd speculation about Morrison's demise - or more accurately the lack of evidence for it. Yet all of Morrison's behaviour before his, er "disappearance" - as patiently documented in this volume - points to exactly the sort of early death he apparently suffered, and the idea that such a publicity seeking (and utterly recognisable) drunkard could suddenly, miraculously, vanish without trace from the entire planet's conscience simply beggars belief.
There must be more rewarding accounts of The Doors than this.
Olly Buxton
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