Thanks for this, Tony, and sorry to only catch the post now.
In my limited correspondence with Chris, he's been unfailingly kind and responsive and I always look forward to a new blog entry from him.
In '22, Chris did me the great honor of publishing my review of The Who's return to Cincinnati on Just Backdated without a single edit. I'll always be grateful for that bit of charity and encouragement.
And, he's humble, too, folks: I once complimented Chris on what was a foundational read for me, his 1984 bio of Pete called "Townshend: A Career Biography," particularly memorable for its opening tee shot line. "Learning to play guitar hurts like hell," Chris wrote then, followed with a can't-be-a-yard-from-the-truth depiction of a young PT tossing his first guitar down after its strings and frets had gouged his flesh, something every guitarist has suffered at least once.
Chris thanked me for remembering it, but quickly cast shade on his own work. I believe he said he regretted some parts of the book as rushed, and wished he had timed the writing of that bio differently. Modesty is among the best of qualities, but I got the feeling Chris was truly and carefully reflective of his writing. That should clue his readers that he's always looking for a better phrase or a clearer perspective. And that's the only kind of writer I want to follow consistently. It reminds me of that West Wing episode where the top writers in the Bartlett administration pour over their draft of a birthday greeting message, because they "really want to nail it."
Anyway, kicking myself for having not his memoir already, so grateful for the reminder.
He covered a lot of stuff, and I wasn't interested in the big names as I already knew I found them dull. I was at school during most of his time there and had started taking the music papers a little more seriously. It was reading Chris' American coverage, far more interesting than anything anyone was writing in Britain, that made the Maker my favourite paper. That in turn ensured it was the paper I wanted to write for. Weird to think I also wrote a book for him, although I guess Omnibus was the only real player in the game.
Hi Mick, thanks for the comment and observation. You have just enough age on me to be aware of Chris's US coverage, I bought MM very occasionally during his tenure in the US, like maybe once a year. He will be glad to read your comment I'm sure.
Thanks for this, Tony, and sorry to only catch the post now.
In my limited correspondence with Chris, he's been unfailingly kind and responsive and I always look forward to a new blog entry from him.
In '22, Chris did me the great honor of publishing my review of The Who's return to Cincinnati on Just Backdated without a single edit. I'll always be grateful for that bit of charity and encouragement.
And, he's humble, too, folks: I once complimented Chris on what was a foundational read for me, his 1984 bio of Pete called "Townshend: A Career Biography," particularly memorable for its opening tee shot line. "Learning to play guitar hurts like hell," Chris wrote then, followed with a can't-be-a-yard-from-the-truth depiction of a young PT tossing his first guitar down after its strings and frets had gouged his flesh, something every guitarist has suffered at least once.
Chris thanked me for remembering it, but quickly cast shade on his own work. I believe he said he regretted some parts of the book as rushed, and wished he had timed the writing of that bio differently. Modesty is among the best of qualities, but I got the feeling Chris was truly and carefully reflective of his writing. That should clue his readers that he's always looking for a better phrase or a clearer perspective. And that's the only kind of writer I want to follow consistently. It reminds me of that West Wing episode where the top writers in the Bartlett administration pour over their draft of a birthday greeting message, because they "really want to nail it."
Anyway, kicking myself for having not his memoir already, so grateful for the reminder.
He covered a lot of stuff, and I wasn't interested in the big names as I already knew I found them dull. I was at school during most of his time there and had started taking the music papers a little more seriously. It was reading Chris' American coverage, far more interesting than anything anyone was writing in Britain, that made the Maker my favourite paper. That in turn ensured it was the paper I wanted to write for. Weird to think I also wrote a book for him, although I guess Omnibus was the only real player in the game.
Hi Mick, thanks for the comment and observation. You have just enough age on me to be aware of Chris's US coverage, I bought MM very occasionally during his tenure in the US, like maybe once a year. He will be glad to read your comment I'm sure.