Of course, Alan McGee and his Creation label had already had some nerve-wracking years behind him when all the pieces of the puzzle came together in 1991. With “Loveless” by My Bloody Valentine, “Screamadelica” by Primal Scream and “Bandwagonesque” by Teenage Fanclub, the Scottish music manager, who grew up in poor circumstances in Glasgow and always remained true to his youthful loudmouthedness, had three masterpieces to offer.
Before that, of course, was the success with Jesus And Mary Chain, which was wrested from rioting and some excesses. In his autobiography, guided by coarse language and (now) ironically broken big man’s addiction, McGee now tells of his years in the music industry, including a long-faded microcosm in which such a radical gut person, who for his possibly intensified passion for Musicians and bands risked economic ruin more than once and had a free hand.
Alan McGee had what is called a good hand
But McGee kept going because he wanted to see people grow beyond themselves. Because he was looking for a deep bond with those for whom music was their life (the utterly touching relationship with Bobby Gillespie forms, so to speak, the almost amorous psychological foundation for McGee’s thesis that all of this could only go well: Have fun together!).
Sometimes his wards mutilated themselves with neurotic antics. McGee allowed them to. When things got tight, something kept falling at his feet. Like Oasis, the climax and endpoint of McGee’s fairy tale. Your first encounter with him is of course the most beautiful theater of the absurd.
Before retiring to a spiritual life without excitement and destructive substances in 2013, McGee tried to manage the libertines to become a world power, which, as is well known, failed, and joined Tony Blair’s staff.
You can read this eventful memoir, easily written by hand, as a nostalgic return to analog times – or enjoy it as a comprehensive fund of anecdotes, in which the person index alone comprises 16 pages.
Alan McGee – “Randale, Raves und Ruhm” is published by Matthes & Seitz.
Eamonn McCormack WireImage