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THE 50 GREATEST PROFESSIONAL WRESTLERS OF ALL TIME: THE DEFINITIVE SHOOT

(Larry Matysik; 464 pages; ECW PRESS; 2013)

50-Book

A lot of you may not recognize Larry Matysik’s name but, in Saint Louis wrestling circles, he looms large as an elder-statesman of the business. Larry started his career at the age of sixteen, working with legendary promoter (as well as president of the National Wrestling Alliance), Sam Muchnick and learning the ropes (so to speak) and the inner workings of the wrestling game. By his 22nd birthday, he was THE announcer in Saint Louis, calling the play-by-play on the influential WRESTLING AT THE CHASE, acting as ring announcer for the bi-weekly house matches at the Keil Auditorium (and, later, the Saint Louis Arena/Checkerdome), and holding his own in interviews with some of the top names in the business, including Harley Race, Jack Briscoe, Ted DiBiase (before he was worth a million), Dick the Bruiser, Baron Von Raschke, Ox Baker, Dick Murdoch (an absolutely hilarious interviewee who once chased Larry around the ring) and – whoooo! – that limousine ridin’, jet flyin’, kiss stealin’, wheelin’, dealin’ son of a gun, the Nature Boy, Ric Flair. To say that it was an honor to sit down with the man for a few minutes and pick his brain regarding the industry that gave me a closeness with my father that few of my generation ever knew is an understatement of epic proportions. Larry and I talked about and debated the greats, near greats and never weres, the state of the game today and, of course, his latest book, THE 50 GREATEST PROFESSIONAL WRESTLERS OF ALL TIME: THE DEFINITIVE SHOOT.

The Author discusses the 50 greatest with Larry Matysik (photo credit: SCOTT HARTMAN)
The Author discusses the 50 greatest with Larry Matysik (photo credit: SCOTT HARTMAN)

This was originally intended to be an interview piece with Larry, but we did the Q and A session before and during the breaks at a house show for a small, independent promotion and, well… it was LOUD! When the time came for me to transcribe the tape, I was getting maybe about a third of what was said. So, since the gist of the interview was the book, I decided to turn the piece into a fairly standard review, with a few of the pearls that I could salvage (or remember) from the interview. Thus, without further ado…

Harley Race and Ric Flair, in one of their numerous, bloody matches (uncredited photo)
Harley Race and Ric Flair, in one of their numerous, bloody matches (uncredited photo)

I don’t agree that some of these wrestlers are, indeed, among the all time greats; I don’t agree with the placement of several of the performers listed. But, then, that’s the fun of a book like this, isn’t it? Mister Matysik, however, took painstaking measures in his choices and their positions. In fact, the first 106 pages of the book outlines the criteria he implemented in compiling this list. Most of my likes and dislikes and disagreements with those choices are personal, generally fueled by a visceral dislike for a certain “rassler” or the company they worked (or work) for. For instance, I can fully understand why Terry (Hulk Hogan) Bollea is on the list: He became the most recognizable face of the World Wrestling Federation (now known as the WWE) and the industry, catapulting the WWF to the top of the promotional heap, actually going “world wide” at a time when territorial promotions were the norm; Hulk literally changed the industry, making wrestling far more marketable than just a weekly local television show and a monthly house show. However, in my humble opinion, he ruined the wrestling game for fans like me and, as such, there is no way that he deserves to be listed above Harley Race; always loved Race (the greatest ever in my eyes) and truly hated what Vince McMahon (Junior) did to him when he signed on with the then WWF; likewise, I always loathed the Hulkster, a poor worker with minimal ability who would be beaten mercilessly for ten minutes, bug his eyes out and point a menacing finger at his opponent who, naturally, would cower in fear and succumb to the Herculean effects of Hogan’s finishing move, the giant leg drop, in less than a minute. But, again, that’s just me; Larry, after all, is the expert and lays out the pros and cons of every member of this elite conglomeration in a studious and – above all – entertaining fashion. And, as one of the pros happens to be marketability (as well as the ability to bring in a big payday for the promoter), Hulk Hogan has his place near the top of the heap.

Multi-time World Heavyweight Champion Lou Thesz (publicity photo)
Multi-time World Heavyweight Champion Lou Thesz (publicity photo)

Matysik is a scholar of the game and is quite jealous when someone berates it, especially when they call it “fake.” He worked with and befriended many of these athletes (yes… I said athletes; they may be “entertainers” but what they do requires great athletic ability), even becoming business partners with one, Frank (King Kong/Bruiser Brody) Goodish. Larry brings his encyclopedic knowledge of the professional wrestling business to this book, drawing from every era and every promotion to compile his 50 greatest list. Out of curiosity, I asked him about some of my favorites (and not so favorites) over the years. Guys like Baron Von Raschke, Lord Alfred Hayes, Bulldog Bob Brown, Ken Patera, Dick Murdoch, Paul Orndorff and so many others. Most he knew personally, others he knew by reputation only, all he had an opinion on. So, were any of these guys considered for the list? Yes they were. Every professional wrestler who ever stepped into the squared circle was considered for a spot on Larry’s list. Some were great at drawing heat as a heel (a bad guy) and were real gentlemen out of the spotlight but, for whatever reason, never reached the upper echelons of the business, which precluded their garnering a spot on the list. Another thing to consider is, “How would a particular performer fair in any other era outside his own?” Taking all of Matysik’s criteria and applying them to that question eliminated a good number of candidates, including some dominating names from certain periods of wrestling history.

Hulk Hogan, brother! (uncredited photo)
Hulk Hogan, brother! (uncredited photo)

As an interesting sidebar, we also discussed the business side of the industry, in particular, the type of business practices utilized by one Vincent Kennedy McMahon (or VKM, as Larry calls him). While we both agree that VKM’s take-no-prisoner approach has manifestly harmed not only the game as a whole, but his brand, as well, we also recognize that he elevated public interest in a dying industry that – even some 30 years later – it still enjoys, though the WWE brand has more recently been responsible for continuing diminishing numbers on television and at house shows. McMahon is also notorious for “scorched earth” tactics that virtually guarantee that, eventually, every major star at rival promotions must sign with him or find another line of work. He then buries them in mid-card matches or stooges them out (like he did it with Harley Race and so many others), simply because they had the nerve to work for a competitor. If he sees a performer who becomes more popular than VKM’s chosen, he puts them in not only ridiculous, but untenable situations; the most recent example being Phil Brooks, better known as CM Punk who, rather than playing the game, chose to retire. Larry alluded to the fact that Punk was definitely in the running for this list and probably would have made the cut had he not walked away, citing a dearth of ring time (which, we are assuming he would have had if he hadn’t retired) as the primary reason that he didn’t get the nod. As the only truly viable alternative to Vince’s WWE currently is Total Nonstop Action (TNA), the discussion eventually turned to the problems within that promotion; even though he thinks that president Dixie Carter and her creative team are making a bad situation worse, Larry hopes to see the ship righted. At the time of the interview, rumors were rampant that McMahon had already or was going to initiate a hostile takeover of TNA (as he did with WCW and ECW); Matysik agrees that such a move would, ultimately, do more harm than good, stifling a healthy, competitive corporate atmosphere and further muddying WWE’s already murky talent pool. Several months removed from our talk, rumors abound that TNA’s ship is sinking faster than ever and, apparently, the hull is so badly damaged that even McMahon has no interest in acquiring the brand. He’s content to just sit in his WWE lifeboat and drag anyone he deems worthy of saving aboard… as long they’re willing to bow to his mastery.

Kurt Angle, one of the 50 greatest, puts an ankle lock on Samoa Joe (photo courtesy: TOTAL NONSTOP ACTION)
Kurt Angle, one of the 50 greatest, puts an ankle lock on Samoa Joe (photo courtesy: TOTAL NONSTOP ACTION)

As you can see, Larry certainly doesn’t pull any punches, making this book a must have for any true wrestling fan. Since we will all have our opinion as to who should be on the list and who shouldn’t and why, this could definitely serve as a starting point for spirited debates among the kindred (maybe even a headlock, a diving headbutt or – at the very least – a hip-toss takedown for the truly vociferous patron of the art). Each entry has a great black and white picture of the wrestler and a five to ten page overview of his career and why Larry chose him for the list (and why he placed him, numerically, where he did). And, while most of today’s fans know only the likes of John Cena, the Undertaker, Brock Lesner or Kurt Angle (all on the list, by the way… for better or worse), THE 50 GREATEST PROFESSIONAL WRESTLERS OF ALL TIME is a fantastic history lesson for them and a wonderful look back for us geezers who remember the National Wrestling Alliance, the American Wrestling Association, World Class Championship Wrestling or any of the other regional promotions. The names are legendary: Edouard Carpentier, Classy Freddie Blassie, Pat O’Connor, Fritz Von Erich (father of the ill-fated Von Erich wrestling clan), Nick Bockwinkel, Lou Thesz and, of course – whoooo! – that limousine ridin’, jet flyin’, kiss stealin’, wheelin’, dealin’ son of a gun, the Nature Boy, Ric Flair. See what I did there? I just brought this whole review back to the beginning!

John Cena, one of the 50 greatest, dropkicks Bray Wyatt (photo courtesy: WORLD WRESTLING ENTERTAINMENT)
John Cena, one of the 50 greatest, dropkicks Bray Wyatt (photo courtesy: WORLD WRESTLING ENTERTAINMENT)

Uh… yeah… so, anyway, you’re gonna have to pick up your very own copy of the book to see just where your favorites place; it’s available at most book stores, through Amazon online and, of course, directly from www.ecwpress.com, as are Larry’s other books, including BRODY: THE TRIUMPH AND TRAGEDY OF WRESTLING’S REBEL and WRESTLING AT THE CHASE: THE INSIDE STORY OF SAM MUCHNICK AND THE LEGENDS OF PROFESSIONAL WRESTLING.

LUNAR NOTES: ZOOT HORN ROLLO’S CAPTAIN BEEFHEART EXPERIENCE

(Bill Harkleroad with Billy James; 125 pages; Gonzo Multimedia, Re-released 2013)

LUNAR NOTES

Short and to the point (94 pages of text plus a preface and foreword along with several pages of rare and personal photos), Bill Harkleroad recounts his days as one of the most well-known members of Captain Beefheart’s Magic Band. Dubbed Zoot Horn Rollo by the Captain himself, Don Van Vliet, Harkleroad joined the group as an eighteen year old, just in time for the grueling rehearsal sessions for what would become – arguably – the band’s most-beloved (by the fans, anyway) album, TROUT MASK REPLICA.

TROUT MASK REPLICA (Bill Harkleroad, John French, Don Van Vliet, Mark Boston, Jeff Cotton (photo: Ed Caraeff)
TROUT MASK REPLICA (Bill Harkleroad, John French, Don Van Vliet, Mark Boston, Jeff Cotton (photo: Ed Caraeff)

Like Van Vliet’s high school buddy, Frank Zappa, the Captain was a dictatorial band leader. Unlike Zappa, however, Beefheart’s musical vision was scattered and unfocused, relying on the musicians to turn his various thoughts into a close approximation of that vision. He would dub a different member of the band “the bad guy” each day, fraying nerves and causing friction. This practice led to a heavy rate of turnover, eventually leading to Harkleroad becoming the “musical director” of the Magic Band. He would be the person that Van Vliet would call in the middle of the night, whistling a melody or thematic thread into the phone. It was his job to turn those threads into musical notations and to help the rest of the band turn them into a somewhat cohesive tune. The process was exacerbated by Van Vliet’s reluctance to practice with the band (if he bothered to show up at rehearsals at all). At least, Zappa actually attended his marathon rehearsal sessions, armed with ideas and music ready to play.

Zoot Horn Rollo (Bill Harkleroad onstage, circa 1970) (uncredited photos)
Zoot Horn Rollo (Bill Harkleroad onstage, circa 1970) (uncredited photos)

So, this is a “let’s bash the eccentric frontman” type of memoir, right? Wrong! Harkleroad (and, really, just about every player who ever shared a stage – or recording session – with Don Van Vliet) did butt heads with the enigmatic Captain, but maintained a deep, heartfelt love and an emotional tie that continued, at least, until the original taped remembrances (LUNAR NOTES was originally released in 1998 and has been out of print for more than 10 years) that make up this book. In Harkleroad’s preface, he mentions his reticence to doing a book like this, primarily because he wasn’t a writer. Noted publicist, musician and biographer of several outre artists (The Mothers, Todd Rundgren, Michael Bruce among others), Billy James, took up the mantel of “co-author.” James’ involvement allowed Bill to reminisce in a rather scattered, stream-of-consciousness way, with Billy cleaning up and streamlining the stories into a chronological order that takes us through Harkleroad’s first meeting with the Captain and His Magic Band in 1967 through his departure from the group in 1974 and the formation and dissolution of the band Mallard. The final part of the book recounts his life to that point (approximately 1996 through 1998) following Mallard and his ultimately coming to terms with his history and pedigree. That final chapter is entitled “I Am Zoot Horn Rollo.”

Bill Harkleroad, 1998 (photo: MAGNUS TOREN)
Bill Harkleroad, 1998 (photo: MAGNUS TOREN)

I have long been a fan of Captain Beefheart’s music. Yes, his lyrics and vocal delivery are a large part of what I enjoy about the music, but – equally important to me – was the musical acumen of the Magic Band. The inherent groove of almost every album draws me in, something I don’t believe would have been possible with other players. Bill Harkleroad, as Zoot Horn Rollo, was a major part of those late ’60s and early ’70s albums that I love so much. This book gives me insight into those times and the imaginative and talented musicians who created that music. For that, I must say, “Thank you, Rollo, for this book.” For any Beefheart or Zappa fan, this is a must read!

THE SINGULAR MARK TWAIN: A BIOGRAPHY; MAKEUP TO BREAKUP: MY LIFE IN AND OUT OF KISS

(Fred Kaplan; 655 pages; DOUBLEDAY, 2003); (Peter Criss and Larry Sloman; 384 pages; SCRIBNER, 2012)

TWAIN CRISS COVERS

 

One may ask (and rightly so), why are two such disparate (auto)biographies lumped together in one review? Well…

Short answer: These are actually the last two non-fiction books that I have read. Essay answer: I feel that, no matter how intriguing your subject matter (in Criss’ case, himself), at some point in the writing process, you’ve just gotta say, “Enough is enough!” In both instances, the story would have been much more enjoyable (and manageable) with… less! I mean, do you really care that on Clemens/Twain’s 63rd birthday, he was blessed with a healthy bowel movement? Yeah… okay… I’m exaggerating, but not by much. In the case of MAKEUP TO BREAKUP, a shaving (or, at the very least, a condensing) of a chapter or two wouldn’t have hurt. As far as Kaplan’s… uh… exhaustive (exhausting?) biography of Samuel Clemens/Mark Twain, shaving a couple hundred pages of minutia certainly would have made MY reading experience more enjoyable! His “no-stone-unturned” approach, while commendable, is fairly daunting. I mean, c’mon… in these hard economic times, everybody’s cutting back. Why not here?

Does that mean that I hated these books? No. Not really. At least, not completely. However, considering that I generally can read a couple of fair sized books in a week, the fact that it took over two MONTHS to complete THE SINGULAR MARK TWAIN, certainly doesn’t appear that it will be on my list of favorites or list of “re-reads.” Mister Kaplan’s thorough examination of perhaps the first true rock star of American literature comes off as dry and just a little foreboding to the ordinary reader. Once you get past the 655 pages of minutia, there’s still another 70 pages of notes and an index to further dissect the information (if more you must have)! I have only found one book impossible to get through, even though I’ve tried on several occasions, but this one sorely tried my patience. I would be lying, however, if I told you that I didn’t learn anything about the irascible humorist. His early allegiance to the South during the Civil War and his beliefs regarding slavery, while well-known, nonetheless came as a surprise as to the depths of both. The support Clemens offered his older brother, Orion, and the loathing that he harbored toward that same brother as a result was also unknown to me. There is an indication that he felt the same way about the rest of his family, as well, including his much-loved mother. As much as he doted on his wife, Livy, and their three daughters, he also spent much of his time away from them, not caring to be bothered by the intricacies of a family life.

Mark Twain and family in Hartford (The Mark Twain House & Museum-AP)
Mark Twain and family in Hartford (The Mark Twain House & Museum-AP)

The struggles of the man Samuel Clemens to rectify his life and short-comings with the mythical Mark Twain and his celebrity are, as they say, the stuff of legend. But even a legendary life can surely be summarized in a more concise, entertaining form than is offered in Fred Kaplan’s THE SINGULAR MARK TWAIN. Mister Kaplan is also the author of biographies on Thomas Carlyle and Charles Dickens, among others. I mention those two because I was very interested in seeking them out, but after sinking chest deep into the morass of this book, I think I’ll look for other options regarding the life of those two.

Mark Twain (uncredited photo) Peter Criss (Bryan Bedder-Getty Images)
Mark Twain (uncredited photo); Peter Criss (Bryan Bedder-Getty Images)

I think that, like many others, I’ve always had a soft spot in my heart for Peter Criss. At the height of KISS’ career, he seemed to be the most together guy in the band. When he fell from grace, I tended to give him the benefit of the doubt. After reading his tell-all autobiography, MAKEUP TO BREAKUP, I still feel for the Cat. Not because he was wronged by band mates Gene Simmons and Paul Stanley, but because he was wrong in many instances himself and refuses to take responsibility. His cavalier attitude toward his sexual conquests collide head-on with his derision of Simmons’ and guitarist Ace Frehley’s sexual proclivities. He complains about Gene and Paul being all about the money, but he doesn’t see the hypocrisy of his abandoning his band, Criss, for the high-profile, high-profit KISS reunion tour in 1996 and quitting the band again – and turning his back on his one true friend in the group, Ace – when he discovered that Frehley was making more than he was per show. He attacks both current drummer Eric Singer and guitarist Tommy Thayer for wearing the Cat and Space-Ace make-up when both he and Frehley signed their rights to the make-up over to the KISS corporate body (in other words, Gene and Paul) for a few thousand dollars. He spends paragraphs discussing how betrayed he felt by his second wife when he discovered that she was having an affair, but shows little or no remorse for the fact that he was having sex with two or three women every night on the road; to say that’s expected because he’s in a rock band just doesn’t cut it! My point is, we all make mistakes; it’s what we learn from our mistakes that matter. Unfortunately, for Peter Criss, all he’s learned is avoidance of guilt and buck-passing.

Peter Criss (publicity photo)
Peter Criss (publicity photo)

 

Now, like the Clemens/Twain book, there are some enjoyable – even uplifting – moments (actually, more here than there). In particular, Criss’ wife Gigi’s fight with breast cancer and the ultimate revelation that he, too, had breast cancer was a wake-up call to everyone, males included, to do a regular self-examination. There are also some moments that could have been condensed (or cut completely!). Just about every person who reads this book is a KISS fan; they wanna know about Peter’s time in what was once the biggest band on the planet. As such, the first three chapters or so of the book (BK: Before KISS) could be cut down to one shorter, introductory chapter. The constant and continual references to dicks, titties, pussy and sexual gratification in its many forms get tiresome unless you’re a ten year old boy. Okay, Peter… we get it! You were a big rock star! The overwrought bashing of just about everyone who has ever been in Peter’s life tends to make this more of a “oh-woe-is-me” book as opposed to a tell-all. Manager Bill Aucoin and Casablanca Records owner Neil Bogart went above and beyond, financing the band and molding them into the juggernaut they became after the release of ALIVE in 1975, but one perceived slight from Peter Criss and they were finished in his mind. He never trusted them again and they became cannon-fodder in MAKEUP TO BREAKUP.

I have very fond memories of KISS and Peter Criss from their heyday in the ’70s. His raspy, Rod Stewart-like vocals were always a welcome surprise and his drum solo during “100,000 Years” on ALIVE is testament to his talents (and to his adoration of drum legend Gene Krupa). This book, though, leaves a rather bitter taste in my mouth. (DT)

NECESSITY IS (THE EARLY YEARS OF FRANK ZAPPA AND THE MOTHERS OF INVENTION)

(Billy James; 223 pages; SAF Publishing; 2001, Revised 2005) A REVIEW FROM THE VAULTS

NECESSITY IS COVER

Pieced together from various interviews with early band-mates conducted and compiled by the author, NECESSITY IS delves into the psyche of one of the true musical geniuses of the past half-century (maybe the only one, in fact): Frank Vincent Zappa. Mister James (a musician himself, who has worked with many of the Mothers quoted) is obviously a fan, and that’s alright. Really, unless an author wishes simply to vilify another person (or organization), why would he write about someone he wasn’t a fan of? It’s obvious, as well, that most of the gentlemen interviewed were/are fans of Frank and remained in contact with him until his death in 1993. That doesn’t mean that every quote or remembrance is pleasant. As is the case with many struggling bands (especially one with a dominant figure like Zappa), disagreements – and downright vicious fights – arose. The early Mothers (1964-1971) was a revolving door of jazz, rock, and avant-garde musicians, all struggling to be heard over (through?) the mayhem orchestrated by composer/arranger/guitarist Zappa.

The Mothers of Invention
The Mothers of Invention

Zappa was known as a task-master and this book confirms that estimation. Many of the quotes from original drummer Jimmy Carl Black, keyboardist/electronics genius Don Preston, multi-instrumentalist Bunk Gardner, and others relay (sometimes humorously) the love/hate relationship between the band and Zappa. Indeed, as Frank’s dominance and creative genius materialized, the original core group – the band who recorded the first album, FREAK OUT (1966) – of drummer Jimmy Carl Black, bassist Roy Estrada, vocalist Ray Collins, and guitarist Elliot Ingber were either forced to take a back seat to more “advanced” musicians (those who could read music, like Gardner, Preston and Ian Underwood) or asked to leave the group. In the case of Ingber, the first to be ousted from the band, a predilection for drugs was his downfall (highlighting Zappa’s strong anti-drug stance and no nonsense approach to his leadership role, Ray Collins remembers, “…He maybe smoked a little bit too much.” in regards to Ingber’s “drug abuse” and subsequent dismissal from the band). Ingber famously became a member of Captain Beefheart’s Magic Band, as Winged Eel Fingerling. Ray Collins seemed to wander in and out of the group, as he and Zappa butted heads or he would become disillusioned by the direction Frank was taking the band. Another problem, apparently, was money. Zappa had the group on a rigorous rehearsal schedule – several hours a day, seven days a week, holidays included – for which there was no pay. Frank and manager Herb Cohen had a habit of funneling money from paying gigs back into the organization, promising an eventual big payday for the band.

All of this information, including background and history on the individual Mothers, comes in the first chapter of the book. Rather than rewrite the book here and now, I’ll leave you to imagine, from the above capsule, the breadth and scope of NECESSITY IS as Billy James takes you through the late ’60s, the infighting and insanity of the original group, the later versions of the band with Aynsley Dunbar, Mark Vohlman and Howard Kaylan, the frightening and life-changing on-stage attack by a fan in London that crushed Zappa’s larynx and left him in a cast for a year, and, inevitably to the dissolution of the Mothers in 1971. James also goes into extensive detail regarding the lives of the principal figures after “Motherhood.” Late in the book, there is an extensive section quoting an interview with Zappa that supplies his side of the Mothers’ story, which does soften and enlighten the reader’s previous views of the dictatorial band leader. As is true in any disagreement between two (or several) people, you can probably temper both sides a bit, meet somewhere in the middle and come up with your own ideas about what really happened.

Mother Frank
Mother Frank

Mister James, while not an absolute master wordsmith, has produced a highly enjoyable and easily read book, covering the early history of one of the most infamous and influential bands of the rock era. With an extensive “Where Are They Now?” section, an exhaustive discography of everyone who was a part of the Mothers (including design artist Cal Schenkel) during the period covered in the book, a tour history through 1972, and a well-documented list of source materials, James has given us a history of Frank Zappa and the Mothers of Invention that should be read (and owned) by every music lover on the planet. (DT)