I admit it: It took me a good 10 years to “get” Chuck Eddy. Reading his early pieces, mostly in The Village Voice, where music editor and ultra-talent-scout Robert Christgau showcased Eddy’s idiosyncratic ardencies (Montgomery Gentry? White Wizzard?) and a prose style that was conversational if your idea of conversation was being hectored by a good-natured obsessive, I was stumped. Eddy defeated my pride in being able to ignore the taste of a critic as long as he or she wrote well. His aesthetic seemed random, if not willfully, showily perverse.
But eventually – through sheer quality; through sheer quantity (as a once and future freelancer myself, I admire a man who churns out well-wrought sentences by the ream) – Eddy won me over. How glad I am to see the publication of Eddy’s new song(s) of himself Rock and Roll Always Forgets: A Quarter Century of Music Criticism (Duke University Press). Glad, first, because it’s truly a representative selection, tracing the slithery paths of Eddy’s enthusiasms from Marilyn Manson to Mindy McCready just to stick with the “M”s, with tart new intros that set up reprints of some of his greatest hits. And glad, second, that there exist publishers still willing to release anthologies of rock writing, since so much great rock criticism remains uncollected, neglected, less forgotten than never known to a wider audience. (Can we get a Tom Smucker book together, please? I’ll edit the damn thing myself.) READ FULL STORY »